Let me begin by reminding you: I am the girl with two Zhongli tattoos, with a third that depicts Xiao’s and Childe’s masks. My left side limbs are Genshin Impact. When I step into HoYoFEST, I am first and foremost coming in as a fan who loves the titles that HoYoverse makes—which includes Honkai Star Rail and Zenless Zone Zero—and journalist second.

Last year, we walked into a hall greeted by soft, fluffy Saurians of Natlan whom we could interact with by throwing balls at them to win prizes. (Don’t worry, no real Saurians were harmed in the process.)

Last year, we were awed by majestic Doric Greek pillars adorned with creeping vines and blooming purple flowers, framing Phainon in not just one, but two forms, as he towered over us in all his glory.

Last year, we could stand in one spot and admire 10 Zenless Zone Zero characters dominating us from above as they posed energetically on both sides of a three-panel showcase. 

But on Friday, July 31, 2026 when doors opened to HoYoFEST Singapore 2026, we were greeted by white walls, cold, grey concrete floors, and saw nothing but bobbing heads before we saw anything HoYo. 

Before doors opened at HoYoFEST 2026

HoYoFEST is HoYoverse’s annual community event that invites fans to come together and celebrate all their titles.

Tickets prices and non-existing media passes 

The convention-style format of HoYoFEST in Singapore saw its first run at Suntec City Mall’s public atrium with free entry. In 2025, it became a ticketed event held in a hall at the Suntec Singapore Convention and Exhibition Centre with one-day passes priced at $14, $32 for all days, and a single-day Fast Pass at $48.

This year, ticket prices increased to $16 for one-day passes, $35 for all days, and $50 for Fast Pass. Despite the increase in price, HoYoFEST was still held at the same single convention hall with even barer exhibits. Instead of highlighting HoYoverse titles as its centerpieces, the crowd spent most of their time queuing, visibly occupying 60 to 70% of the space.

“Previous years, the exhibitions were built up and looked very nice. They look like they are from the game itself. But then now that it’s in the hall, it’s just a rectangle wall. There’s not enough effort to justify the price,” HoYoFEST 2026 Fast Pass attendee Sya, told Fanstanza.

As a media outlet, we were invited to attend HoYoFEST just like the past two years. The biggest difference is that instead of giving us a media pass, we were issued a free one-day ticket. On top of that, the third-party organizer conveyed that they were told to treat us like any other normal attendee without any media access, which I detail in my LinkedIn post here.

Absent branding outside the hall

While other local media left as they had other events to attend to, I chose to stand in line for one hour and 10 minutes for the delayed entry after Fast Pass holders because I am first and foremost a fan. During that slow hour, I couldn’t help but notice the stark contrast to an adjoining convention that was taking place over the same weekend.

Held over the weekend at Halls 404, 405, and 406, TableCon Quest 2026 had clear signs plastered on the outer walls for media and ticket holders, as well as a large step-and-repeat backdrop adjacent to the front door.

In comparison, HoYoFEST had a total of two A4 sized posters and one standing banner, two for ticketing and one to welcome fans at the door.

And for the same ticket prices, everyone was squashed into a single Hall 403.

Real concerns about the HoYoFEST 2026 Singapore experience

While queuing is Singaporeans’ favorite past-time, the intention for HoYoFEST has always been for the community to enjoy the festivities together.

HoYoFEST attendees pay for a ticket only to spend most of their time queuing. Everything from entry, to the merch booth, to check-in redemption, and to individual game title showcases required hours of queuing.

While queuing was also present in 2025, it seems like instead of choosing to host HoYoFEST in a larger venue, the solution was to downsize the displays and increase the amount of space for queue management.

“This is a bunch of nothing. Last year, I was so amazed with Phainon. Even for the Natlan showcase, they had full-sized plushie Saurians. Even Zenless had so many life-sized standees. There’s only four standees at HoYoFEST 2026 and the rest are behind the stage,” a participating artist, who wished to remain anonymous, shared with Fanstanza.

Naazneen, a HoYoFEST 2026 Fast Pass attendee based in Melbourne who flew back for a short trip to Singapore, shared a similar view: “I expected a bit more decorations. As we know, Snezhnaya is coming out, Tear of Themis has an anniversary, but they’re not really represented. I think it would be nicer if HoYoFEST is more themed and more immersive.”

Besides aesthetics, there were also stock issues. Despite knowing the number of tickets sold and how many participants are expected, the organizer had no more stock for the Honkai Star Rail booth freebies. 

I returned to Day 1 of HoYoFEST on Friday in the late afternoon and was told that they’ve run out, which is why there was no queue at the showcase. A friend who went on Saturday and Sunday confirmed that the no-stock situation persisted over the weekend as well.

What was most concerning was the exposed concrete ground and utility covers that had holes in them. I’ve been to so many cons at Suntec Convention Center and this is the first time I’ve noticed them because there wasn’t a single carpeted area at HoYoFEST 2026. 

Having holes in the ground is a real safety concern, especially since fans were dressing up in cosplay, some of whom were wearing heels. The risk of tripping, falling, and injuring themselves and others in a densely crowded area was high. 

Aside from exposed flooring, I noticed storage boxes and a trolley placed behind the photo booth, which also pose a danger. When it’s crowded and all you can see is the person in front of you, it is easy to walk into things that are out of place.

Public safety should be prioritized, no matter the con.

HoYoFEST 2026 Artist Alley working conditions 

Beyond public safety, Artist safety was another key concern during HoYoFEST Singapore.

Walking into Artist Alley, the physical strain on local creators was visible. Booths were crammed so tightly back-to-back that chairs were practically locked together, leaving artists with virtually no room to shift or stretch throughout the day. 

Yet, physical squeezing was only half the story because the organizational boundaries were just as rigid. Despite being officially featured artists whose work anchors the event’s grassroots charm, multiple artists shared with Fanstanza that they were barred from participating in any official HoYoFEST activities unless they secured a separate general admission ticket.

These are the very creators who are helping to draw in thousands of fans through the venue doors, and are naturally big fans of HoYoverse titles. Yet, they are not seen as equal partners, but rather, isolated vendors.

This organizational rule has been long-standing since last year when Artist Alley debuted at HoYoFEST 2025, which is why some artists told Fanstanza that they went out of their way to buy tickets beforehand just so that they can partake in the activities on the ground. 

Despite these persistent friction points, there were noticeable improvements this time around. According to one returning artist who wished to remain anonymous, the organizers adjusted the layout to minimize incidents of people bumping into artist booths.

That said, the artist still had hoped that “the hall could be larger” with wider walkways that make it easier for attendees to browse. However, they are aware that unlike other conventions, HoYoFEST is one where there’s “co-sharing of activities” and is understanding of the organizer’s decisions.

The future of HoYoFEST in Southeast Asia

While the global servers may receive the same in-game content as China, the offline activations have not delivered the same quality, apparent in this year’s HoYoFEST.

Instead of combining titles into one festival, miHoYo celebrates each game title individually on the mainland. Genshin FES was held at Shanghai National Exhibition and Convention Center over the span of four days from January 1 to 4 this year with larger-than-life installations, showcases, and statues.

Likewise, Zenless Zone Zero FES took place at Canton Fair Complex in Guangzhou from December 26 to 28 last year that practically recreated the city New Eridu itself.

“I knew I shouldn’t expect too much because for HoYoFEST they usually pour in more on the China side of things. They do a lot of big things there. And Singapore is a very small market,” Naazneen reflected.

“For next year, I wouldn’t pay for the Fast Pass. I’m just here to hang out with my friends and collect stamps together. The normal ticket is $16 and Fast Pass is $50, which is quite a jump,” Sya added.

When casual fans start rethinking their ticket tiers, the strain flows directly to the creators whose booths depend on foot traffic and attendee goodwill. 

“I come here just for HoYo, so I think it’s still very pertinent to what I draw. A lot of my art is HoYo. But the thing is, after this year’s HoYoFEST, I’m not sure if people want to come for next year’s,” a participating artist, who wished to remain anonymous, told Fanstanza.

That warning gets to the heart of HoYoFEST’s trajectory in Southeast Asia. Fan passion in this region is deep and resilient. Even as entry costs rise and floor layouts feel cramped, fans will still show up for shiny laser tickets, exclusive merch, and a chance to celebrate the games they love.

But brand loyalty shouldn’t be mistaken for infinite patience. If HoYoFEST wants to sustain the community that powers its offline culture, future iterations will need to offer more. Heading into 2027, the question isn’t whether fans will show up—it’s whether the event will finally give them a reason to stay.

I’ll admit it—I wasn’t planning on watching this series initially.

The only reason I hit play was because Otsuka voices protagonist Elma Edvan. If you’ve followed his work as Jinshi in The Apothecary Diaries, Sunday in Honkai Star Rail, Tsukasa Akeuraji in Medalist, Shinichi Akiyama in Liar Game, or Haru Tennoji in Trillion Game, you’ll know why.

I’m a huge fan. I even bought meet-and-greet tickets during AFA Singapore 2024 for the Oshi no Ko cast, where getting to meet him was genuinely a dream come true. So yes, I was absolutely here to support his newest leading role.

Thankfully, I walked away with much more to talk about than just the voice acting.

Streaming exclusively on Crunchyroll from July 2, 2026, The Exiled Heavy Knight Knows How To Game The System delivers a visually distinctive fantasy adventure that isn’t afraid to be dramatic—sometimes to its benefit, and sometimes to its detriment.

What is The Exiled Heavy Knight Knows How To Game The System anime about?

Born into a prestigious family of master swordsmen, Elymas “Elma” Edvan’s future is destroyed after awakening the supposedly “defective” Heavy Knight class.

Cast out by his own family, he suddenly regains memories from another life and realizes the world he now lives in is identical to a VR game he once mastered.

Armed with knowledge no one else possesses, Elma decides to rewrite the fate everyone has already decided for him, proving that the class everyone dismisses as the weakest may actually be the strongest in the right hands.

The anime adapts the manga by Brocco Lee, based on the original light novel by Necoco, with character designs by Jaian.

The Exiled Heavy Knight Knows How To Game The System review

Takeo Otsuka once again proves why he’s one of the best

Even before the story properly gets going, Otsuka immediately sells Elma as someone worth following.

It certainly helps that Elma looks every bit the fantasy protagonist—blonde hair, striking blue eyes that almost resemble galaxies, and those unusually sharp eyebrows that somehow perfectly communicate his stubborn determination before he even says a word.

More importantly, Otsuka captures the internal side of Elma exceptionally well.

Unlike many action protagonists who simply overpower every obstacle, Elma constantly narrates his own thought process throughout battles. Every fight becomes part strategy session, part internal monologue as he applies knowledge from his previous life to situations nobody else understands.

Rather than feeling like exposition, these moments flesh out his personality. You understand why he makes certain decisions, how far ahead he’s thinking, and why he’s willing to challenge an entire society that has already written him off.

His motivations are immediately easy to grasp. He’s been disowned, labelled a failure, and cast aside simply because of his class. Now he’s choosing to weaponize the very thing everyone considers worthless. It’s a simple premise, but an effective one.

Supporting performances from Shion Wakayama as Luce Rubis and Natsuko Abe as Maris Edvan round out the main cast well, although Episode 1 understandably remains focused on establishing Elma.

Studio GoHands’ signature style is impossible to ignore

If you’ve watched a Studio GoHands production before, you’ll immediately recognize its visual identity.

The studio has developed a reputation for heavily stylised cinematography across series such as K, Hand Shakers, The Girl I Like Forgot Her Glasses, Momentary Lily, Seitokai Yakuindomo, Mardock Scramble, and Coppelion. Their productions rarely look like anyone else’s—for better or worse.

Dark shadows dominate many scenes, giving environments a surprisingly heavy atmosphere despite the fantasy setting. Character eyes, magical crystals and other important visual elements receive incredible amounts of texture and colour.

Even Elma’s hair deserves its own mention. Every strand seems individually rendered with remarkable detail, making me convinced he uses S-rank shampoo and conditioner.

Where GoHands truly shines, however, is during combat. The action rarely stays fixed on one character. Instead, the camera flows through each encounter, weaving between combatants almost as though it’s another participant in the battle itself.

Perspectives shift rapidly from human to monster, attacker to defender, without obvious cuts, creating an almost continuous sense of motion.

At several points, it reminded me of how Jujutsu Kaisen approaches action cinematography—not because the choreography is identical, but because the “camera” itself feels alive, constantly guiding your eyes through the movement instead of simply recording it.

The result is energetic, ambitious and technically impressive. You can tell these aren’t action scenes where corners were cut.

RPG inspirations extend beyond the story itself

What I appreciated most was how the anime embraces its RPG inspirations without resorting to floating menus or obvious game UI.

Instead, those influences are woven into the presentation. Weapon clashes burst with vibrant orange and yellow visual effects that feel closer to high-impact fighting games than traditional fantasy anime. They give every sword strike extra weight and spectacle.

The anime also introduces new locations much like an RPG would. Before Elma enters a city or area, the camera often provides sweeping overhead views that establish the layout first. Only afterwards does it shift down to his perspective, almost as though control has been handed over to the player.

It’s a subtle touch, but one that constantly reinforces the idea that Elma understands this world because he’s effectively played it before.

Ludvig Forssell’s soundtrack was the biggest surprise

One name in the credits genuinely caught me off guard.

The soundtrack is composed by Ludvig Forssell, the Swedish composer best known for his work on Death Stranding, Death Stranding 2: On the Beach, and the Metal Gear Solid V games.

Forssell relocated from Sweden to Japan early in his career to work in game audio before joining Kojima Productions, where he eventually became Audio Director and Lead Composer. His work on Death Stranding earned widespread acclaim, culminating in Best Score and Music at The Game Awards 2019.

Seeing someone with that resume attached to a fantasy isekai certainly wasn’t on my bingo card.

The opening episode begins with ominous thunder and lightning before transitioning into an appropriately dramatic score that leans into heavy orchestration and darker tones. The music complements the anime’s strong shadows and theatrical presentation rather than trying to overpower them.

SPYAIR delivers exactly the opening theme you’d hope for

Then, there’s the opening theme. The moment “Awake” started playing, I knew it was SPYAIR before checking the credits.

It’s classic SPYAIR. The song begins relatively restrained before exploding into a powerful chorus, building momentum in exactly the way longtime fans would expect. By the time YOSUKE unleashes his signature scream near the end, you’re completely ready for the episode ahead.

It’s energetic, uplifting and exactly the kind of opening that gets stuck in your head after a single listen. If you’re a J-pop fan, this one’s going straight onto the playlist.

Style sometimes takes priority over substance

As much as I admire GoHands’ ambition, there were moments where its signature style started working against the anime.

The constantly shifting camera angles eventually become exhausting. Some fight scenes continue well past the point where they’ve communicated everything they needed to. Rather than developing the world, revealing new information or pushing the narrative forward, they simply keep escalating visually.

They’re dramatic. That’s about it.

The spectacle exists because it looks impressive, not because the story benefits from it.

In Episode 1 alone, I occasionally found myself feeling slightly dizzy from the relentless movement. Every sequence wants to maintain maximum energy, but without quieter moments to balance things out, the overall pacing begins to suffer.

The same applies to some of the vocal performances. Characters often deliver lines with enormous intensity before the audience has been given enough reason to emotionally invest. The performances themselves aren’t weak—far from it—but the drama sometimes arrives before the stakes have earned it.

Instead of feeling the weight of Elma’s exile, I occasionally felt like the anime was trying very hard to convince me I should.

The fan service feels one-sided

Another aspect that didn’t quite work for me was the fan service.

Female characters frequently wear very revealing outfits despite actively participating in combat. Armour is largely absent, with exposed waists, cleavage, and thighs making regular appearances.

Combined with GoHands’ constantly moving camera, this results in plenty of lingering angles that feel designed less for storytelling and more for the presumed target audience.

One scene in particular frames a female character falling from above, exposing her underwear beneath an extremely short skirt. Moments like these add little beyond visual fan service.

It also creates an odd imbalance. If the series is comfortable showcasing its female cast from every conceivable angle, where’s the equivalent treatment for viewers who might appreciate Elma?

He’s a handsome protagonist wielding an enormous sword while wearing actual armor. Surely there’s room for a little more equality there.

The Exiled Heavy Knight Knows How To Game The System final verdict

What stayed with me most after watching The Exiled Heavy Knight Knows How To Game The System wasn’t necessarily the flashy animation.

It was Elma. He’s an interesting protagonist precisely because he’s built around an archetype anime rarely celebrates. Tanks are usually the dependable supporting characters—the ones who absorb damage while someone flashier lands the finishing blow.

Elma flips that expectation completely. His unwavering confidence, determination and refusal to accept the role society assigns him become the driving force of the story.

Those qualities are normally reserved for high-damage heroes or overpowered protagonists like those seen in series such as Solo Leveling or One Punch Man. Here, they’re embodied by the heavily armored knight everyone underestimated.

That contrast gives the anime its identity. It’s certainly not flawless. The pacing could be tighter, the cinematography occasionally reins itself in, and the fan service is difficult to ignore.

But between Takeo Otsuka’s engaging performance, Studio GoHands’ undeniably distinctive visual direction and Ludvig Forssell’s strong soundtrack, there’s enough here to make this one worth keeping an eye on—especially if you’re looking for an isekai that approaches its game-inspired premise from a slightly different angle.

Catch The Exiled Heavy Knight Knows How To Game The System anime on Crunchyroll from Thursday, July 2, 2026 with weekly episode releases.

The Young Ladies Don’t Play Fighting Games anime adaptation is here to shatter that assumption, break a few gender stereotypes, and cause an unreasonable amount of gay panic along the way.

In this spoiler-free Young Ladies Don’t Play Fighting Games anime review, we’re breaking down everything you need to know before jumping into this Summer 2026 title.

Originally a manga series by Eri Ejima, Young Ladies Don’t Play Fighting Games (Tai Ari Deshita: Ojou-sama wa Kakuto Gemu Nante Shinai in Japanese) has been running in Media Factory’s Monthly Comic Flapper seinen manga magazine since January 2020. Seven Seas Entertainment brought it to English-speaking audiences, and the premise is exactly what it sounds like.

At Kuromi Girls Academy, a refined and elegant school that holds its young ladies to the highest standards of deportment, a group of students have a secret — they’re deeply, obsessively, unapologetically into fighting games.

The manga previously received a live-action web drama adaptation in 2023, directed by Ryouma Ouchida and streamed on Lemino across eight episodes, starring Mizuki Kayashima as Aya Mitsuki and Ririka Tanabe as Mio Yorue.

The anime is being brought to the screen by studio Diomedea, with Shota Ihata directing and Wataru Watari handling series composition.

Diomedea is a studio with a long track record in comedy, romance, and slice-of-life adaptations, including Domestic Girlfriend, Problem Children Are Coming from Another World, Aren’t They?, and Aho Girl. They do not immediately come to mind for a fighting game anime, which makes this interesting.

Now, full disclosure: I’m coming into this as someone whose fighting game experience starts and ends with Tekken and a passing familiarity with Street Fighter lore. I don’t main anyone particularly impressive, and I’m not exactly the best person to analyze what frame data is.

I’m also not really a yuri anime viewer by habit. My comfort zone is squarely in school life anime such as Hana Kimi, You and I are Polar Opposites, and Go For It, Nakamura-kun!!). They’re the kind with club activities, cultural festivals, and friendships that somehow feel both ordinary and cinematic.

So if you’re wondering whether this show has anything to offer someone who isn’t already deep in either fandom, that’s exactly what I’m here to find out.

Young Ladies Don’t Play Fighting Games anime review: When elegance meets the FGC

Young Ladies Don’t Play Fighting Games episode 1 knows exactly what it is, and it’s confident about it from the jump.

The series follows Aya Mitsuki, voiced by Ikumi Hasegawa (Vladilena Milize in 86, Ikuyo Kita in Bocchi the Rock!, Ubel in Frieren: Beyond Journey’s End), a girl who works incredibly hard to fit into the elegant world of Kuromi Girls Academy.

Our other protagonist, Mio Yorue, voiced by Kana Ichinose (Fern in Frieren: Beyond Journey’s End, Ichigo in Darling in the FranXX, Suletta Mercury in Mobile Suit Gundam: The Witch from Mercury), is the school’s best-kept secret. She is a Street Fighter 6 obsessive who hides her competitive gaming life behind the same polished exterior that everyone else is performing.

The plot kicks off when their worlds collide and what starts as an accidental discovery slowly becomes something neither of them expected.

In Young Ladies Don’t Play Fighting Games episode 1, Kuromi Girls Academy is introduced with all its trimmings, manicured gardens, stone fountains, and a choral BGM that practically floats off the screen.

It sets up the fantasy of the elegant school life. At the top of that pedestal sits Mio or more popularly known as Shirayuri-san, the academy’s so-called “white lily.” She’s the ideal. The standard. The girl everyone quietly measures themselves against. If you’ve ever watched a school life anime before, you’ll recognize her immediately—except this show has very different plans for that archetype.

While the school life setup is familiar territory, Young Ladies Don’t Play Fighting Games episode 1 carves out its own lane pretty quickly. Rather than leaning on the usual school life beats, it gets inside Aya’s head. The show visualizes her inner monologue in exaggerated, almost cartoonish ways that give it a comedic edge you don’t see coming.

The episode doesn’t rush to get to the good stuff either. It lets you sit with Aya first — her routines, her quiet desperation to fit in, the way she carries herself like she’s always one wrong step away from ruining everything. By the time you feel like you’ve got a read on her, the anime pulls the curtain back.

Then, Mio picks up a controller, and everything changes.

Behind closed doors and away from the careful performance of being a proper young lady, Mio has a whole other life. She plays Street Fighter 6, and she plays it seriously. The gap between who she is in the hallway and who she is with a fight stick in her hand is almost funny, except the anime plays it completely straight, which somehow makes it even better.

Mio is a Ryu main — composed, methodical, and the kind of player who’s clearly puts in the hours. Surprisingly, the show takes time to walk you through the mechanics of what she’s doing in a way that doesn’t feel like a serious tutorial.

As someone who mostly plays Tekken and has a loose understanding of Street Fighter, I appreciated not being lost. Honestly, seeing her play made me want to open SF6 and actually try it out for myself!

It is worth noting that the anime has full licensing for Street Fighter 6, along with brand partnerships with gaming peripheral brands Hori and Mad Catz. There are no weird spoof names or fictional branding, and that matters more than it sounds because it means that the anime can engage with the game honestly.

Being a yuri anime, Young Ladies Don’t Play Fighting Games episode 1 doesn’t shy away from a few fanservice moments, but nothing that overshadows what the show is actually about.

The fighting game side of things stays front and center, and the two coexist without one feeling like it’s getting in the way of the other. If you’ve been on the fence about picking this up purely because of the yuri anime label, that’s worth knowing going in.

For everything Young Ladies Don’t Play Fighting Games episode 1 throws at you, it closes out in the most unexpectedly gentle way. Two girls, each carrying something the other needs: Mio finds a real opponent, while Aya finds something she didn’t know she was looking for. You get the sense that something shifted for both of them, even if neither of them fully realizes it yet.

Good pilot episodes make you want to keep watching, and Young Ladies Don’t Play Fighting Games episode 1 did exactly that.

Young Ladies Don’t Play Fighting Games anime review

Elegance has never looked this intense

If the plot is what draws you in, the animation is what makes you stay.

Diomedea’s work here is deliberate in the best way. The academy scenes are lush and unhurried, the kind of visual language that tells you exactly what kind of world this is before a single line of dialogue lands. But where the animation really earns its keep is in the fighting game sequences.

There’s a particular attention to detail in how the show portrays players in competitive mode and it goes beyond just showing characters staring at a screen. You see it in their eyes first, then the flick of the stick. The crisp, satisfying sound of buttons being pressed at exactly the right moment. The timing is precise enough that even as a casual player, I feel the weight of each input.

That’s not an easy thing to animate convincingly, and it’s even harder to make a viewer feel it. The fact that it landed for a casual gamer like me says a lot about how well the technical execution supports the storytelling.

Mio is composed on the outside, locked in on the inside

Kana Ichinose’s performance as Mio absolutely nails it. What makes the role tricky is that Mio essentially has two modes—the composed, collected young lady of Kuromi Girls Academy, and the locked-in competitor who couldn’t care less about appearances. Ichinose switches between the two with a convincing ease, and the contrast is stark enough that it genuinely feels like two different people sharing the same voice.

Equally worth talking about is Aya herself as a character. There’s something genuinely relatable about a girl who is constantly working to appear composed and put-together, because who hasn’t felt that pressure at some point?

The show taps into something real about the expectations placed on women, the exhausting performance of having it all together, and Aya carries that weight in a way that feels authentic rather than played for laughs.

As for pacing, Young Ladies Don’t Play Fighting Games episode 1 handles itself well. It never rushes, but it also never really lets you settle too comfortably. Just when things start to mellow out and you think you know the rhythm of what you’re watching, something pulls you back in.

Right track, right moment

The music might not be the first thing you bring up when recommending this show to a friend, but it earns its place. What stands out isn’t any single track but rather the show’s sense of timing with its background music.

It also has a knack for making informational moments feel engaging. When it walks you through fighting game mechanics and strategies, the music helps those sequences feel less like a lesson and more like you’re watching something genuinely exciting unfold.

Young Ladies Don’t Play Fighting Games anime review score

After watching Young Ladies Don’t Play Fighting Games episode 1, the series has made its case. It’s charming, it’s specific, and it’s a lot more thoughtful than the premise might suggest on paper.

A yuri anime about elite school girls secretly addicted to Street Fighter could have easily leaned too hard in any one direction—too fanservice-heavy, too niche for non-FGC viewers, too surface-level for anyone actually invested in the genre.

Young Ladies Don’t Play Fighting Games episode 1 doesn’t fall into any of those traps.

More than anything, this is a show for anyone who has ever felt trapped by expectations and discovered an unexpected sense of freedom through a video game. Aya and Mio are two sides of the same coin, and watching them slowly find each other is the kind of setup that makes you want to come back next week.

Watch the Young Ladies Don’t Play Fighting Games anime on Crunchyroll when it releases on Tuesday, July 7, 2026.

Just you, a tiny floating planet, and the simple joy of making it bloom. But does it actually deliver on that promise? This Petit Planet review breaks it all down.

Right off the bat, I have to say, Petit Planet is not what longtime HoYoverse fans might expect.

The video game company built its reputation on action RPGs, deep lore, and some of the most demanding combat systems in the gacha space. Can a developer famous for the gacha grind successfully pivot to a genre where the primary goal is to simply exist and relax?

In this Petit Planet review, we’ll dive into whether this game captures the magic of the cozy genre—or if it’s just a polished distraction from your daily commissions.

What is Petit Planet?

Petit Planet is a life simulation game developed and published by HoYoverse, their very first title within the genre.

Announced at Tokyo Game Show in September 2025, players take on the role of a caretaker known as Planet Tender tasked with nurturing a tiny floating world.

The core Petit Planet gameplay centers on a blend of personal planetary management, relationship building with Neighbors, and community exploration.

The game held its first closed beta in November 2025 to test its core systems and a second beta test in April 2026. Petit Planet is confirmed for release on PC and mobile, with additional platforms in development.

On paper, this cozy life sim from HoYoverse sounds like it was built for two very specific types of players. And as it happens, I am both of them.

My daily routine is usually dictated by the gacha grind. I religiously explore regions in Genshin Impact, clear Memory of Chaos in Honkai Star Rail, and pull gorgeous 5-star and 4-star characters in between.

And long before I felt the pain of losing 50-50, I was a kid hunched over a Nintendo DS Lite, completely absorbed in Animal Crossing: Wild World.

I logged easily over 100 hours into that tiny cartridge, making sure my town didn’t have any weeds, paying off a mortgage to a certain enterprising raccoon, and talking to the same villagers day after day like they were real friends. That game shaped what I look for in a relaxing experience.

When Petit Planet landed on my radar, it felt almost like it was made for me. I knew exactly what a great cozy game should feel like, and I knew exactly what HoYoverse was capable of delivering.

The question was whether those two things could actually exist in the same game, and this Petit Planet review is here to provide an answer.

How Petit Planet stands out from other HoYoverse titles

HoYoverse built its reputation on spectacle. Genshin Impact dazzles you with open worlds, elemental combat, and a story that spans regions and gods. Honkai Star Rail takes you across the universe on a train, pitting you against cosmic threats in battles that demand strategic thinking. Zenless Zone Zero puts you in a stylish urban underworld and asks you to fight your way through it with flair.

Every single one of these games is built around a conflict, an enemy, a challenge to overcome. That is the HoYoverse formula, and it works extraordinarily well.

Petit Planet has none of that. There is no villain on your planet, no Archon to team up with, no Hollow to clear, no stars to save. The closest thing to conflict you will find here is a Neighbor who wants a specific crop you have not grown yet.

The game does not ask you to be powerful. It does not ask you to build the perfect team or master a rotation. It simply asks you to show up and take care of something.

Then, there is the gacha game pressure, a trademark of HoYoverse’s other titles that is essential to the gaming experience. You already know the drill — log in, burn your resin or stamina, clear your dailies before reset, and do not dare miss a limited-time event.

There is always something expiring. There is always a banner counting down while your Primogems sit at an uncomfortable number. Even on a light day in Genshin Impact or Honkai Star Rail, the structure has a way of making you feel like you are perpetually behind.

Petit Planet simply does not operate that way. Tasks exist, dailies exist, and there is plenty to do, but none of it feels like it is punishing you for logging off. The game feels absolutely comfortable at the pace you choose to play, which is something HoYoverse has never really built before.

That said, if you look closely enough, the HoYoverse DNA is still very much in there, just tucked into systems you might not notice at first.

At the heart of your planet, the Luca Tree draws an almost immediate comparison to the regional trees of Teyvat in Genshin Impact, both acting as living markers of your progress and bond with the world around you.

Neighbor Constellations feel familiar to anyone who has ever unlocked Eidolons in Honkai Star Rail or Constellations in Genshin. Loomix Footprints’ Daily section serves as Petit Planet’s version of daily commissions, small tasks that give you a reason to log in and putter around each day.

In short, HoYoverse did not abandon what it knows. It just stripped away the urgency and allowed space for the systems to breathe.

Petit Planet review: Surprisingly, it works

Let me be honest with you: the first hour of Petit Planet feels like a lot.

World-building concepts are thrown at you one after another, tutorials stack on top of each other, and your to-do list grows faster than you can clear it.

Even coming in as someone familiar with both Animal Crossing and HoYoverse games, I felt overwhelmed. If you go in expecting to immediately kick back and relax, the opening stretch will catch you off guard.

But push through it, because once the rhythm clicks, Petit Planet becomes something lovely to sit inside.

The core gameplay loop will feel immediately familiar to any Animal Crossing player. You collect resources, upgrade your home, fulfill your Neighbors’ requests, and earn enough Dough to keep customizing your space. That foundation is inspired almost directly from the Animal Crossing formula. What HoYoverse adds on top of that, though, is where things get interesting.

You are actively growing your Neighbors’ needs, deepening bonds, and unlocking new sides to their personalities over time. Beyond your Neighbors, there is the Luca Tree to tend to, your planet’s overall ecosystem to shape, and islets to explore for resources you cannot find at home.

The customization deserves its own mention because it goes further than I expected. Beyond decorating your home and dressing your character, you can reshape the planet itself using Luca Fruits, a detail that gives Petit Planet a sense of personal ownership. You can even decide where to place your bridges, giving you control over how your planet is laid out and how it flows.

Aesthetically, Petit Planet is doing everything right. The character designs are charming, the visuals are warm and inviting, and the soundtrack is the kind of mellow, dreamy background music that cozy games live and die by.

The presence of voice acting was an adjustment, since I come from the gibberish of Animal Crossing’s Animalese, but it holds up well and adds personality to each Neighbor in a way that text alone could not carry.

HoYoverse has never made a bad-looking game, and Petit Planet is no exception. What genuinely surprised me, though, was not the visuals but its heart. It is there in the characters, in the systems, in the way the game is completely unbothered by your pace. It does not reinvent the cozy life sim, but it earns its place in it.

For the Animal Crossing kid who grew up on a DS Lite and the HoYoverse player who has not slowed down in years, Petit Planet felt like a reminder that games are allowed to just be nice.

If you have been on the fence about trying it, consider this your sign—your planet is waiting.

After watching episodes 1 and 2, you’ll notice that the Liar Game anime 2026 adaptation wastes little time introducing its high-stakes premise, where honesty becomes a weakness and deception can quickly spiral into crushing debt.

Even for viewers unfamiliar with the source material, the opening episodes do a solid job of establishing the series’ tense atmosphere and strategic hook.

If you’ve been wondering “Is Liar Game anime worth watching?”, the early answer is promising — though the anime’s slower pacing and old-school presentation may not immediately click with everyone.

What is the Liar Game?

Before diving deeper into this Liar Game anime review, it helps to understand why the series has carried such a strong reputation for years.

Liar Game is a Japanese psychological thriller manga written and illustrated by Shinobu Kaitani, a mangaka best known for strategy-heavy and mind-game-driven works such as One Outs.

The series was first serialized in Shueisha’s Weekly Young Jump on February 17, 2005, and it continued until January 22, 2015. Its chapters were later collected into 19 tankobon volumes, released from September 16, 2005 to April 17, 2015.

At its core, Liar Game follows Nao Kanzaki, a painfully honest college student who suddenly receives 100 million yen and an invitation to participate in the mysterious “Liar Game.”

The rules are simple on paper but ruthless in execution:

• Deceive your opponent
• Take their money
• Avoid falling into debt yourself

After quickly getting swindled, Nao seeks help from Shinichi Akiyama, a brilliant former con artist who becomes her partner in navigating the increasingly complex rounds of the competition.

What made Liar Game stand out during its manga run was how heavily it leaned into strategy, psychology, manipulation, and social pressure instead of physical conflict. The appeal of the series comes from watching how people behave when money, fear, trust, and self-preservation are all put under extreme pressure. Rather than relying on action, the story thrives on negotiation, bluffing, and mental warfare.

The franchise had already built a loyal following long before the anime. It previously inspired several live-action adaptations, including the original Japanese television drama in April 2007, a second season in November 2009, and later films such as Liar Game: The Final Stage and Liar Game: Reborn.

These helped solidify the series as a cult favorite among fans of psychological suspense even without an anime adaptation for years.

That finally changed when the anime adaptation was officially announced in August 2025, with more production details released on December 18, 2025. Produced by Madhouse, it is the studio behind acclaimed series like Hunter x Hunter, Trigun, and Death Note, and more recently, Frieren Beyond Journey’s End.

Liar Game anime review

One of the biggest takeaways from this Liar Game anime review is how different the series feels compared to modern anime, not just in pacing, but in presentation.

Visually, the anime is clearly an upgrade from the original manga, but it still carries a distinctly old-school aesthetic. From exaggerated character movements, like Nao Kanzaki’s flailing run, to the overall character designs, Liar Game often feels like a series pulled straight out of the early 2000s and released in 2026.

That feeling becomes even more noticeable when compared to modern anime like Frieren: Beyond Journey’s End, Jujutsu Kaisen, or Demon Slayer: Kimetsu no Yaiba, which tend to prioritize sleeker character art, cleaner motion, and a more contemporary visual language.

There’s nothing inherently wrong with Liar Game’s presentation, but it definitely feels like an acquired taste. Watching it can feel less like experiencing a modern seasonal anime and more like discovering an older psychological series that somehow arrived in 2026.

That dated feel extends to the character designs too. The cast often looks awkward and lanky, and the anime leans hard into dramatic facial shifts whenever a character’s true nature starts to slip through.

During some of its “evil reveal” moments, the characters suddenly take on expressions that feel closer to horror imagery than standard anime reactions. It’s striking, and at times effective, but it also makes you keenly aware just how far Liar Game veers off from current anime trends.

Pacing is another area where the series may divide viewers. Based on the first two episodes, Liar Game takes a slower, more deliberate approach to setting up its first major conflict.

Unlike many modern anime that try to make a huge impression immediately, this one spends a lot of time establishing the game, its rules, and the psychology behind how its players behave.

That can make the opening feel a bit draggy, especially since the first two episodes don’t fully deliver the kind of payoff some viewers may expect from an anime premiere. In fact, Liar Game feels almost stubbornly patient.

Whether that works for you will probably depend on how much you enjoy slow-burn psychological setups over immediate spectacle.

Is Liar Game anime worth watching?

What keeps the show engaging is the strength of the concept itself. The Liar Game places people into situations where trust, manipulation, and self-interest all collide — like Netflix’s Squid Game. It’s the kind of setup that naturally makes you imagine what you would do in that position, and that’s where the series does some of its best work.

The characters help sell that dynamic, even if they don’t feel especially layered yet. Nao Kanzaki is almost impossibly honest, to the point where her kindness and trust can feel frustrating. She is the kind of character who will probably either endear herself to viewers or completely test their patience.

Meanwhile, Shinichi Akiyama offers the opposite energy: calm, observant, and far more realistic about how cruel people can be when money is involved.

That contrast gives the show its emotional and thematic backbone. Nao represents idealism pushed to an extreme, while Akiyama feels like someone shaped by experience and disappointment.

What makes their pairing interesting is that Akiyama seems to see something in Nao that goes beyond simple sympathy, hinting that there is more to his interest in her than the first two episodes fully explain.

Even so, both characters currently come across as somewhat one-dimensional. Nao is almost entirely defined by her honesty, and Akiyama by his intelligence and detached coolness.

And that’s ultimately where Liar Game shines the most.

Like Squid Game, even if the execution and medium may vary, both series are built around ordinary people being thrown into high-pressure games that expose greed, fear, and desperation.

The difference is that Liar Game is far more cerebral. The tension here doesn’t come from physical danger or violence, but from the constant pressure of trying to outsmart, outwit, and outmaneuver everyone around you.

This makes the anime especially appealing to viewers who enjoy thought-provoking stories. The strongest moments in these opening episodes come from the scenarios themselves—how rules are manipulated, how people react under pressure, and how quickly morality bends when debt is on the line.

That is the real promise of Liar Game. Even if the pacing is slow and the presentation feels dated, the core setup is compelling enough to make you want to see where the game goes next.

Watch the Liar Game anime on Crunchyroll from April 6, 2026 onwards.

This Kobo Libra Color review comes from someone who has been using eReaders for years—and that experience really matters here.

I’ve been using an older Kindle Paperwhite for a long time. It still works perfectly fine, but compared to newer devices, it definitely feels heavier and a bit dated.

I’m also someone who reads both on eReaders, mobile phones, and physical books, so I’m very used to switching between formats and noticing the small differences in comfort.

That said, the biggest philosophical difference is this: Kindle is a closed system, while Kobo is more open. Transferring your own files is much easier here, even if you’re still using Kobo’s store for books and manga.

Kobo Libra Color review: Display and reading experience

The color display is the headline feature, but what stands out more is how comfortable it feels to read on.

It’s not the kind of color you’d expect from a tablet. Instead, everything looks softer and more muted, which actually works in its favor. The 7-inch color screen feels natural, almost like paper, and it’s incredibly easy on the eyes even during long reading sessions—a very relaxed reading experience that you settle into without thinking.

It’s hard to describe precisely besides simply saying it feels “comfortable”—perhaps of a feeling of warmth, coziness, and ease combined.

Ease also extends to its battery life. Kobo claims up to around 40 days on a single charge with light use. In practice, it lasts anywhere from several days to a few weeks depending on usage. Either way, it’s not something you’ll find yourself constantly charging—it just quietly keeps up with your reading.

A small detail I really appreciate is the Kobo Libra Color’s screensaver. It displays the cover of the book you’re currently reading, which makes the device feel a bit more personal and also lets you instantly remember where you left off.

Design and weight of the Kobo Libra Color

This is easily the best part of the Kobo Libra Color. At around 199 grams, it’s noticeably lighter than older Kindle Paperwhite models, which tend to sit above 200 grams depending on the version.

On paper that difference doesn’t sound huge, but in daily use, it really is.

The device feels light, balanced, and very easy to hold for long periods. It’s also compact enough that you can just throw it into your bag and (almost) forget it’s there. Reading in bed at night is a breeze—unlike holding a thick 500-page novel, which can feel like a workout before you even start reading. Honestly compared to my Kindle, which always makes its weight known, this feels almost weightless.

The overall ergonomics are just right. Everything from the grip to the physical feel makes it a device you actually want to pick up and use, and it’s no surprise that so many people seem to be switching to it.

What’s more, Kobo Libra Color comes fully waterproof with an IPX8 rating, offering reliable protection against spills, rain, and even full submersion. Beyond that, it takes a more thoughtful approach to sustainability—constructed using recycled and ocean-bound plastics, and designed with repairability in mind to help extend its lifespan rather than replace it outright.

My expereince using the Kobo Stylus 2

The Kobo Stylus 2 adds another layer to the device, but whether it’s essential really depends on how you plan to use it.

In terms of design, it’s thin, light, and very easy to handle. Charging is simple via USB-C, and there’s no power button to worry about—it’s always ready as long as it has battery.

It also magnetically attaches to the side of the Kobo, which makes it convenient to carry around, although you’ll probably still want a pouch if you’re putting it in your bag in case something lobs it off.

Using it feels responsive, especially for general writing and navigation. It feels comfortable to write on, especially when using a slightly thicker pen setting, and it works well for jotting down notes, making lists, or annotating text.

The built-in templates are also a nice touch, offering different formats like dots and lines depending on what you need.

For drawing, it works well for quick sketches and casual doodles—which is why it’s important to keep expectations realistic.

There are no layers, the color options are limited, and brush sizes are basic, so this isn’t a device for serious digital art. It’s much better suited for quick ideas or practice rather than anything detailed.

The eraser works, but it’s clearly more optimized for writing than drawing. When sketching, using the undo function is often more reliable than trying to erase precisely.

However, there are a couple of frustrations. The stylus button sits right where your fingers naturally rest, which makes it easy to press accidentally. This can switch tools mid-writing, especially when you’re moving quickly.

On top of that, if you don’t disable touch gestures, your palm can sometimes trigger page turns while you’re writing, which breaks the flow.

So while the stylus is very convenient, it’s not flawless, particularly for fast or heavy note-taking.

System and ecosystem

This is where Kobo really stands out: transferring files from your computer is extremely straightforward, and this alone makes a huge difference compared to Kindle.

EPUB files work without any hassle, and the entire process of loading and reading your own content feels seamless.

There’s also support for local library integration, which means you’re not locked into buying everything from the Kobo store.

That added flexibility makes the device much more versatile, especially if you already have your own collection of books or prefer sourcing content elsewhere.

The final verdict

Priced at S$339.90, the Kobo Libra Color sits in that slightly premium range for eReaders, especially once you factor in the Kobo Stylus 2 (S$99) as an additional cost.

That said, I do think it’s worth it for what you’re getting. The lightweight design, comfortable reading experience, color display, and open file support all add up to something that feels genuinely better to use day-to-day.

If you’re just looking for a basic reading device, there are cheaper options—but if you care about comfort, flexibility, and a more modern experience, this justifies the price.

The Kobo Libra Color, to me, is one of those devices that gets most things right in a way that actually matters.

The Kobo Stylus 2 is a useful addition, but it’s best seen as optional. It’s great for annotations, quick notes, and casual sketches, but not essential if your focus is purely on reading.

If you’re looking for a modern eReader that feels effortless to use and fits naturally into your daily routine, this is an easy recommendation.

The Vredo Pack introduces highly specialized machinery and brand-new overseeding mechanics into the game, offering a refreshing way to maximize crop yields.

It also introduces unpredictable wildlife like boars, adding a dynamic new layer to your farm management.

If you’re an avid fan of the farming genre, this pass delivers a massive wave of fresh content to grow your virtual agricultural empire. Want the full verdict? Read our Farming Simulator 25 Year 2 Season Pass review.

Farming Simulator 25: What to expect with the Vredo pack and new wildlife

The first major content drop of Year 2 is the Vredo Pack, which launched on March 24, 2026. This pack is a fantastic quality-of-life upgrade for field maintenance. It introduces highly specialized Vredo machinery that excels at efficient slurry (manure/fertilizer) application.

Improvements to field maintenance

The biggest gameplay addition is the ability to “overseed” your pastures. Previously, dealing with degraded grassland was a bit of a chore. 

Now, you can use the new DZ5 seeder generation which includes the Vredo Agri Twin 580, Agri 290, and Agri Air 290 to rejuvenate your grass and restore its full yield potential without ever having to touch a plow!

Nutrient management gets a massive upgrade with a heavy focus on deep-soil injection. Instead of just spraying fertilizer, these new tools inject slurry directly into the soil so every drop of nutrition reaches the roots, boosting your crop quality.

The verdict on Vredo machinery

The absolute star of this lineup is the Vredo VT7138, a massive, high-capacity, slurry tanker. When you pair it with the Vredo Profi series injectors or the Evers Agro Toric 48-672, your fertilization game becomes incredibly efficient.

Vredo machinery offers a meaningful upgrade in performance, though its efficiency is tempered by high in-game costs compared to standard equipment.

As such, you will need to carefully budget your finances and ensure you have a highly profitable operation running before you can comfortably afford to add these powerhouse tools to your fleet.

Going wild

Farming just got a lot more unpredictable. For the first time, wild boars roam the map, and they aren’t just there for the scenery — they’re an active threat. These pesky invaders will cause real damage to your crops when they forage through your fields. 

You have to actively manage this risk by using the new feeding station to distract them and lure them away from your valuable harvests.

However, the interaction with the boars is pretty shallow, making them feel like a minor chore and gimmicky at best because you won’t be able to rear or cook them.

Farming Simulator 25 review

The Year 1 Season Pass set an incredibly high bar for the game’s post-launch lifespan. It completely transformed the sandbox by introducing the Highlands Fishing Expansion, which brought highly requested, lucrative aquaculture chains into the mix.

It also bolsters your fleet with new heavy-duty machines through the Mercedes-Benz Trucks Pack.

Paired with the base game’s deeply immersive East Asian rice paddies and dynamic weather systems, the experience is further elevated by an overhauled sound design—giving every tractor and harvester distinct, realistic engine notes alongside calming ambient nature sounds. The result is gameplay that feels incredibly authentic.

The new rice farming system is a standout base game addition, offering a specialized and rewarding cultivation loop. It requires building flooded fields, managing water pump levels, and raising saplings in a greenhouse before planting.

The methodical use of specialized machinery, such as Iseki rice planters and harvesters, introduces a distinctive layer to the gameplay, setting it apart entirely from conventional dry-crop agriculture from the previous games.

The simulation remains highly popular due to its exceptional depth, offering a deeply rewarding sandbox for virtual farmers to explore. Nevertheless, new players may still find the game’s notoriously steep learning curve quite daunting, and the Worker AI’s continued lack of refinement can make automating your massive fields feel more frustrating than it should. 

Despite these lingering base-game flaws, the core mechanics provide an incredibly solid foundation that begs to be expanded upon. Picking up the Year 1 and Year 2 Season Passes is highly recommended, as they feel like much-needed add-ons rather than simple cash grabs. 

At first glance, a vehicle-heavy season pass might largely resemble acquiring more collectibles, like how a child loves receiving additional toy trucks to play with.

However, the Year 1 pass completely shattered that expectation by introducing game-changing production chains that’s just as massive as the industrial aquaculture systems of the Highlands Fishing Expansion and the heavy-duty logistical power of the Mercedes-Benz trucks. These fundamentally change how you operate and monetize your farm.

When you combine these massive Year 1 gameplay shifts with the new quality-of-life improvements and specialized machinery rolling out in Year 2, the passes transform the base game into a much richer experience.

Rather than just padding out your garage with shiny new models, these add-ons offer a ton of deeply integrated, dynamic content. Ultimately, investing in the season passes provides a massive wave of fresh gameplay that will easily keep dedicated players busy for hundreds of hours as they continue to expand their agricultural empires.

That’s why the idea of a Jujutsu Kaisen sequel inevitably carries high expectations, especially after how definitive the original story felt.

A sequel isn’t just about continuing the story — it needs a reason to exist.

After reading Jujutsu Kaisen Modulo, it raises the uncomfortable question of whether this continuation meaningfully adds to the story—or simply exists for the sake of it.

What Is Jujutsu Kaisen Modulo?

Jujutsu Kaisen Modulo is a sequel manga to Jujutsu Kaisen, written by Gege Akutami and illustrated by Yūji Iwasaki.

It was serialized in Weekly Shonen Jump, beginning on September 8, 2025, and concluded on March 9, 2026, with a total of 25 chapters.

Set in the year 2086, the story takes place roughly 68 years after the events of the original series. Instead of continuing directly with the original cast, the sequel shifts its focus to a new generation—primarily the descendants of Yuta Okkotsu and Maki Zenin.

The story introduces a new global conflict through an extraterrestrial race known as the Simurians, whose understanding of cursed energy differs from that of humans.

This creates a large-scale clash that expands the scope of the series beyond Japan, blending supernatural elements with a more science-fiction-driven premise.

As multiple factions collide, the story builds toward a resolution that directly impacts the existence of cursed energy itself.

Did we need a Jujutsu Kaisen sequel?

In my opinion, Jujutsu Kaisen Modulo has a lot of interesting ideas, but very few of them are explored deeply enough to justify its existence as a sequel.

One of the most interesting ideas going into Modulo is how it handles legacy characters. The concept of Yuta Okkotsu and Maki Zenin ending up together and having descendants is compelling on paper because it opens the door for entirely new combinations of abilities and techniques.

When it came to narrative execution, however, it feels like the series leans too heavily on its proven formula by going back to “what worked”.

Yuka Okkotsu inheriting the Ten Shadows Technique, and Tsurugi Okkotsu being born with a Heavenly Restriction similar to Maki and Toji, are ideas we have already seen before.

Instead of expanding the system of cursed techniques, the sequel recycles familiar concepts. While this does tap into nostalgia, it does not really push the possibilities forward.

In my opinion, it would have been better to give these abilities to side characters instead of the main cast, so the sequel could introduce new techniques rather than rely on familiar ones. For example, having these abilities show up through Yuka and Tsurugi’s parents, who may not have been exceptional sorcerers themselves, could have added more depth.

It keeps the original characters relevant without actually evolving the world they helped build, and that is where it starts to feel limiting.

It would highlight how rare and refined these abilities were in the hands of characters like Megumi, Maki, and Toji. By comparison, giving those same techniques directly to the new protagonists makes them feel less special, rather than reinforcing how unique they originally were.

That said, the premise of Modulo is one of its strongest aspects. Introducing the Simurians, an alien race with a fundamentally different understanding of cursed energy, immediately raises the stakes.

It expands the conflict beyond what the original series established and introduces a new kind of threat that is not bound by the same rules. Unlike curses, which are born from human negativity, the Simurians operate under their own system, forcing sorcerers to adapt to something unfamiliar.

Another layer to this conflict is their motivation. The Simurians are searching for a new home, which puts them in a position where they either take over Earth or attempt to coexist with humans. This ambiguity works well: it creates tension without making them outright villains, and adds unpredictability to how the conflict might unfold.

Characters like Dabura Karaba and the Val Vol Yelvori brothers, Cross and Maru, are interesting in their own right. Dabura, in particular, being positioned as a warrior comparable to Ryomen Sukuna, sets expectations for something major.

Disappointingly, the series never quite reaches that level.

Compared to the original Jujutsu Kaisen, where the motives and backstory of Kenjaku’s group of sorcerers and special grade curses are developed over time, these new characters do not receive the same depth. They are introduced quickly, given strong concepts, and that’s about it.

Dabura is a perfect example. The climax of the series was clearly building toward one question: how does this new generation deal with a Sukuna-level threat?

It was compelling to see Yuka summon Eight-Handled Sword Divergent Sila Divine General Mahoraga, one of the strongest entities in the series. Mahoraga has always been used as a last-resort trump card, and its ability to adapt to anything keeps the outcome unpredictable.

But that is also the problem. Mahoraga has always felt like an incomplete character. It does not speak, show emotion, or have any personal motivation.

Having it act as the main opponent against Dabura makes the fight feel less appealing. It works as an appetizer, but not the main course.

What’s even more confusing is that the story definitely felt like it was keen on serving up a main course at the climax that we were so looking forward to. With Yuji entering the fray, Modulo seemed to be setting up its version of a “strongest versus strongest” fight, similar to Gojo versus Sukuna.

Instead, that confrontation is never realized. All we got is buildup without a payoff.

After Dabura reaches his realization and decides to fight on his own terms rather than as a weapon, he leaves Earth after recognizing that the conflict was never truly his to begin with.

He determines that it lies with the Deskunte on his home planet, Simuria. He then returns, takes control of the Deskunte as its new leader, and that is where his story ends.

Because of that, both his character arc and the larger conflict between the Simurians and the jujutsu sorcerers resolve in a way that feels completely unsatisfying.

An ending that was rushed

Maru’s cursed technique is one of the most interesting abilities introduced in Modulo. It operates on two concepts:

• Chaos, which allows him to manipulate physical laws like gravity and trajectory, and
• Harmony, which enables him to align or connect individuals and groups.

In theory, it is one of the most versatile abilities ever seen in the series.

Yuji’s plan revolves around using this Harmony to create balance between humans, cursed spirits, and the Simurians, essentially ending the cycle that produces curses. It is a major shift in direction, moving away from extermination toward coexistence.

Unfortunately, the narrative execution of his plan completely falls short.

The explanation is heavily reliant on exposition, and even then, it is not entirely clear how far Maru’s ability can actually go.

It is stated that his technique cannot fully eliminate cursed energy, yet the solution presented leans heavily on that assumption. For something that fundamentally changes the entire world of Jujutsu Kaisen, the resolution feels too easy.

A big part of that comes down to how much time the series spends explaining rather than showing. From chapters 21 to 25, a large portion of the story is dedicated to explaining, reasoning, and ultimately accepting this decision.

Considering the series only runs for 25 chapters, that is a significant amount of time spent on exposition, especially for an ending that is supposed to carry the most impact.

It also does not help that this decision comes from a conversation between two characters who barely know each other. Their encounter at the end was the first and only time Yuji and Maru met. The scale of the decision does not match the way it is delivered.

For me, that is where Modulo misses what made Jujutsu Kaisen work in the first place. The original series was at its best when it built anticipation and followed through on it.

The Culling Game and Shinjuku Showdown arcs are good examples of this, where each chapter pushed things forward in a way that made you want to see what happened next.

Modulo sets up that same sense of anticipation, but instead of delivering on it, it slows down at the finish line. By the time it reaches its conclusion, it feels less like a payoff and more like an explanation.

One clear improvement in Modulo, however, is the art.

Yuji Iwasaki’s illustrations are noticeably more polished compared to the original series. The linework is cleaner, the action is easier to follow, and the overall presentation feels more refined.

Visually at least, the sequel does feel like an evolution, even if the storytelling does not always match that level of advancement.

Jujutsu Kaisen Modulo is a sequel that raises more questions than answers

Ultimately, Jujutsu Kaisen Modulo feels like a sequel that was not given enough time to fully justify itself.

It introduces big ideas, a new generation, a global conflict, and the potential end of cursed energy, but does not explore them deeply enough.

Instead of expanding the world in a meaningful way, it resolves its biggest conflicts too quickly, leaving behind more questions than answers.

One of the biggest gaps is the absence of Megumi Fushiguro. For a character so central to the original story, not even being mentioned stands out in a way that is hard to ignore.

In the end, Modulo is not a bad sequel, but it feels incomplete. With more time, more chapters, and a slower pace, it could have been something much more impactful.

As it stands, it shows potential, but never fully delivers on it, coming to an unsatisfying end.

Paired with sweeping classical opera music that lends an air of gravitas, every tasting becomes something more than indulgence—it becomes a search for meaning.

In this world, the path to divinity begins with a single sip. Our protagonist Kanzaki Shizuku, however, would vehemently disagree—at least at the start of the story where all this begins.

The anime adapts Drops of God (Kami no Shizuku), a Japanese wine-themed manga written by Tadashi Agi—the joint pen name of siblings Shin Kibayashi and Yuko Kibayashi—and illustrated by Shu Okimoto. The manga has a total of 44 volumes across 439 chapters that ran until June 2014.

It was first published in Weekly Morning by Kondasha in 2004, the same year that Bartender came out in Super Jump by Shueisha.

The Drops of God anime: What to expect in the story

Despite debuting more than 20 years ago, Drops of God surprisingly never got its anime adaptation until now. Instead, it received several live-action adaptations over the years.

The first was a Japanese TV drama, Kami no Shizuku, which aired on Nippon TV from January to March 2009. Starring Kazuya Kamenashi as Shizuku Kanzaki, the series ran for nine episodes and brought the wine-focused story to a wider television audience.

More than a decade later, the franchise received a new interpretation with the 2023 international series Drops of God, produced through a collaboration between Japan, France, and the United States and released globally on Apple TV+.

This version reimagined the narrative by introducing a French protagonist named Camille while keeping the central rivalry over the legendary wines at the heart of the story.

The original story centers on Shizuku Kanzaki, the estranged son of a renowned wine critic. After his father passes away, Shizuku discovers that the late critic’s vast wine collection will be inherited by whoever can correctly identify twelve legendary wines described through poetic clues, known as the “Twelve Apostles.”

His chief rival is Issei Tomine, a talented wine critic who had been adopted by Shizuku’s father shortly before his death.

Their rivalry eventually leads both men on a quest to uncover the legendary wine referred to as the “Drops of God.”

The manga became a worldwide phenomenon and even had a real-world impact on the wine industry, with bottles featured in the story often seeing spikes in demand after appearing in the series. The anime could very well inspire the same.

The Drops of God anime review: Is this worth your time?

Get treated to swirling visuals and animation

I don’t usually watch food or drink-centered anime because if you’ve ever played Genshin Impact at 11pm (or Final Fanstay 15 for that matter), you would know how dangerously tempting supper becomes.

My first brush with any alcohol-induced anime came last year when I took a chance on the 2024 reboot of Bartender Glass of God—and loved it. While it still hasn’t convinced me to try the Singapore Sling despite being Singaporean, I became very interested in every other drink that Ryu made in the 12-episode series.

So when I got the chance to dip into the first episode of The Drops of God anime for this review, I took it because I’m still on the quest to find God in all the liquor I’ve been drinking.

Besides being hit with high octave opera in the first few frames, you’ll quickly notice that The Drops of God anime style, colors, and tones used are very 2000s, which stays true to the original manga.

Produced by Satelight, this is the same studio behind Fairy Tale, Log Horizon, and boys love anime, Cherry Magic! Thirty Years of Virginity Can Make You a Wizard?!.

Known for their bold use of color and lighting, Satelight excels at dramatizing moments, creating cinematic, immersive worlds where CGI and 2D animation blend seamlessly in action-packed or highly stylized scenes.

This works perfectly for The Drops of God anime, where the first sip in wine tasting transforms into a defining moment of revelation, aroma, flavor, and emotion, unfolding like a symphony on the palate.

You must understand—it’s always challenging for anything olfactory or gustatory to be translated onto the screen, especially in animation. Prepare to be amazed by how creative director Kenji Itoso weaves Eishi Segawa’s music with fantastically colorful visuals—especially since both rivals spend much of each episode tasting wine.

A once in a lifetime voice actor cast

Kanzaki Shizuku is actually not voiced by a seiyuu (Japanese voice actor by profession). Instead, we’re going full circle—the original Japanese actor who played him in the live-action series Kami no Shizuku, is back to lend his vocals.

Also a singer, model, host, and producer, it is Kazuya Kamenashi’s first-ever voice acting role in his illustrious 28-year long career in the entertainment industry.

More often seen playing lead roles in TV dramas (Shoutai, The Scales of Justice, I’m Your Destiny), he splits screentime with veteran seiyuu Takuya Satou (Zayne in Love and Deepspace, Albert James Moriarty in Moriarty the Patriot, Ayato Yuri in Yarichin Bitch Club), who voices Issei in The Drops of God anime.

On top of all this sexy talent, we have Maaya Uchida (Fischl in Genshin Impact, Hiyori Iki in Noragami, Christine in Lazarus) playing Miyabi Shinohara who eases Kanzaki into the world of wine that he’s completely unfamiliar with despite being the son of a world-renowned wine critic. She even sings the ending song, Kami no Shizuku!

The final critique

As far as Spring 2026 anime goes, The Drops of God anime could’ve well flown under your radar. After all, we’ve got a couple of returning blockbuster titles like ReZero Starting Life in Another World Season 4, Dr Stone: Science Future Part 3, That Time I Got Reincarnated as a Slime Season 4, and The Beginning After the End Season 2.

As if those aren’t enough, there’s also new hype anime like Witch Hat Atelier and Liar Game.

The Drops of God anime isn’t here to compete with any of these titles. If you want something different that may be out of your comfort zone where you learn many new things about wine, its real world production, and the vineyard business, this is definitely worth your while.

Drawing a parallel, I started Bartender Glass of God being totally uninterested in hard liquor. Colored by society’s often negative portrayal of drinking at bars, I was glad that Bartender had completely changed my mind by the end of the series.

I’m not a big fan of wine either—so I’m expecting The Drops of God anime to change my view as well. And while it may sometimes be difficult to imagine just how velvety and viscous one sip may be, at the very least, you can be sure that your ears will be treated to voice acting that’s smoother than fine wine.

And while it’s too early to say from just one episode, I would definitely want to see increasing levels of love-hate tension between Shizuku and Issei. After all, fujoshis are the best appreciators of well-pressed grapes.

Catch The Drops of God on Crunchyroll from Friday, April 10, 2026 with weekly episode releases.

In this spoiler-free Go For It Nakamura-kun!! anime review, we’ll dive into what you can expect from this Spring 2026 title.

Originally a manga series by Japanese mangaka Syundei, Ganbare! Nakamura-kun!! built a dedicated following during its serialization in Opera magazine from 2014 to 2016, eventually receiving an English-language release by Seven Seas Entertainment in 2018.

The story is brought to the screen in 2026 by studio Drive, known for their work on titles like To Your Eternity and KonoSuba: God’s Blessing on This Wonderful World!.

As someone dipping their toes into the Boys’ Love genre for the first time, I’m breaking down the highs, the lows, and the overall vibe in this Go For It Nakamura-kun!! anime review to help you decide if it’s worth your time.

Go For It Nakamura-kun!! anime review: A fresh look at high school love

When I first saw the key visual for this series, I was immediately struck by the art style. I don’t often dive into series with a primary focus on same-sex leads, but as a fan of all things high school romance, I couldn’t pass up the chance to see how this story would unfold.

The plot centers on the shy, awkward Okuto Nakamura, voiced by Chiaki Kobayashi (Stark in Frieren, Askeladd in Vinland Saga, Durin in Genshin Impact), and his intense crush on his classmate, Aiki Hirose, voiced by Yuki Sakakihara (Corpse God in Dead Mount Death Play, Juushi Aimono in Hypnosis Mic, Kirara Hoshi in Jujutsu Kaisen: The Culling Game Part 1).

Despite never having spoken a word to him, Nakamura desperately—and often hilariously—tries to overcome his paralyzing shyness and close the distance between them.

While the school setting is a familiar trope, the series is anything but dull, mostly thanks to the hilarious ways Nakamura dreams of initiating contact.

The production quality stands out in Go For It Nakamura-kun!! episode 1. The aesthetic is gorgeous and vibrant, perfectly capturing the bright, hopeful atmosphere of a budding high school romance.

What impressed me most was the attention to detail in character animation. The show captures Nakamura’s micro-expressions brilliantly, especially his frequent retreat into his own head where he imagines scenarios involving Hirose.

Seeing Nakamura as this introverted lover boy lost in his own world makes his character incredibly endearing. Without going into spoilers, let’s just say their first real attempt at breaking the ice in Go For It Nakamura-kun!! episode 1 is both awkward and surprisingly sweet. It’s a strong start that grounds its comedy in very human, relatable emotions.

Go For It Nakamura-kun!!’s appeal transcends genre boundaries. I haven’t watched much within the BL space, so I wasn’t entirely sure what to expect, but the series handles its romance with so much relatability.

Rather than leaning into heavy tropes or complex drama, the show highlights the jittery, universal awkwardness of a schoolboy crush.

By framing the narrative around Nakamura’s internal struggle to approach his classmate, the story focuses more on the relatable anxiety of wanting to connect with someone you admire.

It treats the pursuit of love with such sincerity and lightheartedness that it feels accessible to anyone who has ever felt too shy to speak to their crush, regardless of their own orientation or familiarity with the genre.

Go For It Nakamura-kun!! anime review

A love letter to the 80s and 90s aesthetic

The production team has clearly leaned into a retro aesthetic that feels incredibly charming. The animation style is visually distinct, showcasing a color palette and grading that feel reminiscent of classic anime titles from the 80s and 90s.

This carries over beautifully into the opening sequence, which utilizes fun, bold geometric patterns and shapes that catch the eye and set a playful tone right from the start.

Soundscapes and synth-heavy nostalgia

The nostalgia factor is bolstered by the music choices as well. It features iconic songs Glory Days by Senri Oe from the 80s and Sekaide Ichiban Atsui Natsu by Princess Princess from the 90s for both the opening and ending themes.

Particularly, the ending song Sekaide Ichiban Atsui Natsu is very synth-heavy, leaning into that vintage, atmospheric sound that wraps up each episode with a perfect sense of longing and retro warmth. The use of the song makes the series feel like a hidden gem from a different era.

The sound design is equally meticulous. The team put a lot of work into the audio, as the soundtrack shifts dynamically to match the protagonist’s emotional state, underscoring his more humorous internal monologues and awkward encounters with perfect comedic timing.

Performance and pacing

The voice acting is another standout. Chiaki Kobayashi as Nakamura is incredibly effective at delivering his lines with just the right amount of hesitation. He captures the character’s social anxiety so well that you, as a viewer, might even feel a bit of second-hand embarrassment during awkward situations.

As for the pacing, Go For It Nakamura-kun!! episode 1 gets straight to the point within the first few minutes, establishing the premise immediately. However, as the story settles into its slice-of-life rhythm, the tempo slows down significantly.

While this makes it a very easy, low-pressure watch, I personally found the progression a bit too relaxed at times. If you’re a fan of fast-moving plots, the slower beats in this episode might feel a little drawn out.

Go For It Nakamura-kun!! anime review score

As we’ve explored in this Go For It Nakamura-kun!! anime review, the series is a solid choice for anyone looking for a visually charming, easy-going experience that leans into the relatable awkwardness of a first crush.

More than anything, this show is recommended for those who appreciate detailed character work and want to see a socially anxious internal monologue brought to life with such sincerity.

While it may be a bit of a slow burn for some, this Go For It Nakamura-kun!! anime review finds that it remains a sweet, sincere look at the hurdles of young love. If you are looking for a visually unique series to add to your seasonal watchlist, this is a charming place to start.

Watch the Go For It Nakamura-kun!! anime on Crunchyroll when it releases on April 1, 2026.