I Thought I Would Hate Virgin Punk (And I Was Dead Wrong)

[Trigger Warning: This review covers a film that touches on some sensitive subject matter. Namely, a villain with a lolita fetish and a main character being forced into a younger version of her body and being controlled by said villain. There is – thankfully – no sexual violence depicted in this film, but I felt the need to put a disclaimer anyway.]

During Aniplex Online Fest 2024, a trailer dropped for a film that instantly captivated my attention like nothing else. A cyberpunk action story, but one that traded the traditional neon-drenched eerie gloom for a bright, sun-drenched European-inspired city that might look utopian if it weren’t for all the blood being shed. Gunfights, explosions, sinister men, and amid the chaos, a young woman in a cybernetic body, dragging a large attache case and toting a mean-looking pistol. This was Virgin Punk, and I couldn’t fucking wait to watch it

It was to be the start of a new series from Yasuomi Umetsu, a beloved director and animator behind Kite (1998) and Mezzo Forte (2000), two OVAs famed for their gunporn, to say nothing of the actual porn in their extended editions. Yep, they were hentai, albeit with enough exciting action and competent attempts at weaving revenge stories and crime thrillers that they could cut out the sex entirely and still find an audience. And that’s exactly what happened when the OVAs found their way overseas, not that there was much choice when the uncensored versions were banned in multiple countries.

But see, I didn’t like Kite. It’s actually one of my least favorite anime. I found it a little gross, to be honest, and even the highs of the action weren’t enough to compensate. It was heralded as a classic, but I found it lacking, such that it stained my perception of the director and his work. You might wonder why I’d be so excited for Virgin Punk in that case, but I think the trailer speaks for itself. There’s just one problem: the trailer speaks for itself, and once it got subtitles, I feared that this new film would fall victim to the fetishes of an unfortunately cracked director.

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Demon Slayer: Infinity Castle Made Me a Fan Again

TitleDemon Slayer The Movie: Infinity Castle
DirectorHaruo Sotozaki, Hikaru Kondo (Chief Director)
StudioUfotable
Premiere Date9/12/2025 (United States)

It’s been nearly six years since Ufotable’s adaptation of Demon Slayer concluded its first season, becoming a worldwide phenomenon and earning an admittedly impulsive 10/10 from yours truly. Granted, my love began to wane in the years since, bogged down by the TV anime’s questionable pacing, which created a sensation that not much progress was being made in the story. And now, it’s already coming to an end… well, technically. There’s still a lot more to adapt, I hear.

Demon Slayer The Movie: Infinity Castle sells itself as the beginning of the end, but if anything, it makes the six years between Season 1 and now feel like nothing more than an interlude. Season 1 adapted 53 chapters, but this trilogy aims to adapt the final 66. It’s not just an ending; it’s the story’s next major saga, from its pacing to its beating heart. In that, this film exemplifies the anime’s intervening failings, yet at the same time, it is also a rekindling of its greatest strengths.

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An Abridged Summary of My Thoughts on the Demon Slayer Anime For No Reason At All

Hey everyone, remember in 2019 when I gave Demon Slayer a 10/10?

Probably not, and that’s fine. I mean, I didn’t give it a 10 in the post itself, but that is what I gave it on MyAnimeList.net when I finished it, and honestly, I still stand by that. Season 1 of Demon Slayer was such a fun and jam-packed adventure that really hit all the right notes. Animation, music, performances, heartfelt themes – it had it all, and from when it began to where it ended, it truly felt like we’d experienced an adventure with only more on the horizon.

Fast forward to 2021, and I reviewed Demon Slayer the Movie: Mugen Train almost just as positively. It was kinda the first shonen anime film to prove that studios could feasibly continue the canon story through films rather than just making high-budget theatrical side stories that were dubiously canon at best. Mugen Train was awesome, and later, while writing for GameRant, I would go on to write about what I considered to be the most emotional scene, not only in that film, but in the series at large. That film rocked and made me even more excited for what the franchise held in store for the future…

That is, until that future came. Now I’m just a bit sad.

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My Top Ten Anime List, a Decade in the Making

Over a Christmas break in 2013, I binged Attack on Titan and became an anime fan. This often surprises the friends that I’ve made since then because, what with how I talk about this industry and my favorite shows therein, one would think I’ve been this way since I was a kid. My high school pals have been watching Dragonball and Naruto since they were kids, but they would likely call me out as the biggest weeb in the group.

A few years ago, I decided that when 2024 struck, I’d have a list of the top ten anime I have watched in those ten years. And then, New Year’s came and went and I realized I’d completely forgotten to write this. Thankfully, I already had the skeleton of a list ready to go and only had to make a few adjustments. I know I haven’t kept up with this blog as much as I would have liked, but I wasn’t about to miss this occasion.

So without further ado, whether you’re a friend or mutual anime blogger with whom I have been blessed to share this platform, here are the best anime I have ever seen.

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“Bang!” | The Guns of Cowboy Bebop

Cowboy Bebop‘s cultural influences trace heavily to classic action cinema, be it Hollywood or Hong Kong, western or noir. And though most will remember Bebop for its martial arts and the Bruce Lee stylings that define the leading man, the gunplay in Bebop scratches quite the itch.

It’s not like there haven’t been tons of good gunfights in anime, even in recent years, but they often lose out to melee combat, be it realistic or stylized. There’s something about the gunplay in anime of the 90s and the early 2000s that feels distinct.

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‘The Witcher: Nightmare of the Wolf’ is the Best Entry Since ‘Witcher 3’

The Witcher 3: Wild Hunt is one of the best RPGs I’ve ever played. A rich yet depressive fantasy epic spanning multiple nations plagued by monsters and war. It’s a story about prejudice and choosing between greater and lesser evils. Amidst all of that, it remains a world that players couldn’t help but get lost in.

After the release of the live-action Witcher series on Netflix, the game saw a resurgence in interest from fans new and old. I should know, I was replaying it too. It was a quirky and often epic show that had its highs and lows, but despite it all, I loved it. News of new spinoffs and films were only natural, but was the franchise biting off more than it could chew?

If I had any concerns, they were minor, because Nightmare of the Wolf, the first of these spinoffs, was a film I highly anticipated. It came from Studio Mir, the studio behind Legend of Korra. Everything looked in place for this to be an enjoyable prequel centered around Vesemir, Geralt’s mentor.

And somehow, this film surpassed every expectation I had.

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Stranger By The Shore Was Great & I Wish It Was Longer

I’ve spoken about my thoughts on LGBT anime in the past. I’ve grappled with my thoughts on how homosexuality is portrayed in Japan and my feelings with shows that I’ve loved in the past that had queer-coded elements or queer-baiting. But in the last year especially, I’ve started to look on the brighter side of things. I’ve started to appreciate what my earliest exposures to queerness in anime gave me, regardless of any flaws.

Representation can only get better with time and with more diversity in the room when stories are being crafted. With studios like Blue Lynx producing higher quality gay cinema, gay representation in anime reaching new heights. And after delaying it for FAR too long, I’m happy to say that Studio Hibari’s The Stranger by the Shore is the best gay romance I’ve seen yet, but for very particular reasons…

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Check Out My New Blog For Things That Aren’t Anime!

Hey everyone! This blog has seen huge growth over the last year and I couldn’t be happier to have people reading what I write. I’m so inspired by this growth that I’m branching out and writing about far more than just anime. I want to analyze film and television and even books when something interests me. And I don’t want to overhaul this whole blog, so instead I just made a new blog.

It’s called Sakura Shuffle!

And since visual novels are pretty tangential to anime, I figured my newest post would be a fine pitch to get y’all interested in my new site. Here is a review of the 2012 VN from Nitro+, Guilty Crown: Lost Christmas.

Guilty Crown: Lost Christmas is Everything I Wish I Could Write

And when you’re done with that, check out my film analysis posts such as…

I Like Birds of Prey and I Want You To Think About Why You Don’t

TENET and The Art of The Protagonist

If you like what you read, give my other blog a follow and be sure to tell your friends about it too! Thank you for reading and as always, I’ll see you next time!

Shukou Murase’s Visual Masterpiece | Gundam: Hathaway

Seldom is a movie so addicting that I find myself rewatching it within a day. Even most good films hit the spot just right that I can give it at least a while before a second watch. But some movies, whether they’re short or just incredibly well-paced, get me coming back almost instantly. The kind of film varies, but they have something in common: spectacles that I can’t get out of my head.

Mobile Suit Gundam: Hathaway is one such movie. Director Shukou Murase, the man behind Gangsta, Ergo Proxy, and Genocidal Organ – among others – brings this story to life, from novel to film. It’s the first of a planned trilogy from Studio Sunrise, and it might just be the most gorgeous film to look at in 2021.

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A Fate/Grand Order Movie With A Good Story? | A Review of Wandering; Agateram

The only thing more annoying than stupidly long light novel titles is unnecessarily wordy Fate titles. I bet it’s half the reason this franchise seems so alienating to newcomers. With so many spinoffs, the franchise never seems to have an easily identifiable starting point. Even the ones that are generally agreed to be the essentials are criticized for not being flawless adaptations of the original visual novels.

Nothing has quite been more perplexing in the series’ tenure than Fate/Grand Order, the mobile game which has spawned numerous animated adaptations of varying quality. I reviewed F/GO Babylonia last year, praising it as one of the most visually impressive shows in years, though its story had problems.

As I understand it, F/GO‘s story in the mobile game has been… iffy. Some early arcs are abysmal, the later ones get better, and there are some stories that flat-out retcon established lore of the universe. Needless to say, fans of Garden of Sinners or Tsukihime, which traditionally take place in Fate‘s universe, have been left wanting by the direction of the brand.

When it comes to animation, the producers of these adaptations seem to cherry-pick which arcs to animate, and different studios try their hand at bringing these stories to life. Babylonia, the first huge adaptation, skipped straight to the last “singularity” of Fate/Grand Order‘s first arc. This week’s review is of a film set before that TV series.

Fate/Grand Order THE MOVIE Divine Realm of the Round Table: Camelot – Wandering; Agateram… Over a full line for just the title… I’m not mad I’m just disappointed. BUT! As for the movie itself, I’m the furthest thing from disappointed. I really enjoyed this film, which is baffling because apparently some diehard fans of F/GO really don’t. Why?

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