I went to the cinema with my friends to watch this movie. ٩(˶ᵔ ᵕ ᵔ˶ )و

While found it to be quite good overall, it felt that Shadow's storyline was somewhat forced in an attempt to heighten the drama, making certain aspects of the narrative feel rushed. Although I was not as impressed as initially expected to be, could not pinpoint exactly what felt missing from the film.

That being said, the movie was far from bad—it was, in fact, quite enjoyable.

I greatly appreciated the film's dystopian atmosphere, though felt it appeared overly desolate for the time period in which it was set and did not entirely align with personal tastes. One of the concepts I found most compelling was the protagonist's AI companion, Joi, and the advanced capabilities she possessed—far beyond what contemporary artificial intelligence can achieve. Joi's presence was a significant factor in maintaining my engagement with the film, as they found the overall pacing to be overly lengthy and, at times, lacking in purpose. Given this, I understand the criticisms the film received.

Beyond Joi's character, I was particularly intrigued by the protagonist's nature. While he initially appears to be human, it is later revealed that he is, in fact, a replicant with fabricated memories and certain unique abilities. His existential questioning and struggle to discern reality resonated with me on a personal level, making this theme especially thought-provoking. Additionally, I appreciated the film's connection to the 2020s, considering it was originally released in 2017. Experiencing this period in reality adds an extra layer of depth to the film's vision of the future.

One aspect that particularly surprised I was the well-known scene featuring the line, "You look lonely, I can fix that." I had not realized that this moment involved Joi in her advertisement form.

Overall, I would rate the film at least an 8.5/10, possibly even a 10/10, if not for its excessive length and slow pacing. With a nearly three-hour runtime, I believe the film could have been more concise. While expectations were somewhat higher, I acknowledge the film's strengths despite these minor disappointments.

Likes:

• The sci-fi, futuristic setting, which aligns with my interests.
• Joi's development throughout the film, particularly how she became increasingly human-like before her system was ultimately destroyed by the antagonist.
• The protagonist's identity as a replicant and his exploration of reality.
• The film's exploration of identity, memory, and the nature of humanity.

Dislikes:

I attended the cinema to view this film and found it to be highly enjoyable. The depiction of realism within the real world, particularly in relation to Mario and Luigi's struggles to earn a living, was especially well-executed. I appreciated that Mario and Luigi were not initially situated in the world where Princess Peach resides but were instead presented in a more human context. Their transition into Peach's world occurred accidentally through a magical tube, creating a logical progression within the narrative. The film effectively ensured that various plot elements were interconnected, providing clear reasoning for the way events unfolded.

However, I noted certain aspects that were less favorable. The pacing felt somewhat rushed, and Bowser's significance diminished towards the conclusion of the film. Rather than further exploring his motivations—particularly regarding his desire to marry Princess Peach—his role seemed to lose depth by the film's end. At least, this was how I perceived the final act of the movie.

Despite these minor criticisms, I regarded the film as well-crafted. The animation was executed with exceptional quality, with the colors and intricate details being particularly commendable.

I do not possess many recollections of this film; however, one particularly admirable aspect was its animation style. The film incorporated a distinctive blend of comic-like artistry and 3D animation, resulting in a visually striking aesthetic. This combination contributed to a futuristic atmosphere, further enhancing the overall viewing experience.

I do not retain many memories of this film, aside from the impression that it was well-executed. However, one particular detail that stands out is the presence of an unusual character who engaged in the act of pulling and smelling women's hair. ( •᷄‎ࡇ•᷅ )

It appears that excessive effort was made to extend the narrative, ultimately resulting in failure. The film was exceedingly dull and did not align with my personal preferences. However, solely due to its association with Back to the Future, I would assign it a rating of one and a half stars.

I found it intriguing that the movie was set in 2015 while watching it in 2017, making only a two-year difference. The depiction of 2015 still retaining a strong 1980s aesthetic was particularly interesting, as it highlights the uncertainty of predicting the future and how speculative visions may not always align with reality.

I do not retain many memories from this film; however, the intensity of traveling to the past was notable.

I find Baymax to be an exceptionally endearing character. The film effectively balances a futuristic vision with elements of present-day modernity, creating a setting that feels both advanced and believable. The seamless integration of technology into everyday life enhances the sci-fi atmosphere, making it a well-executed representation of a near-future world.

I think Lucy is an interesting, visually engaging film that mixes action with some big philosophical questions. The concept of unlocking the full potential of the human brain is fascinating, and while it leans into some sci-fi fantasy, it also makes you think about the limits of human cognition and what we could be capable of if we were able to push those boundaries.

The film's style, especially as Lucy's powers grow, is visually striking, and the surreal imagery of her transcending into a higher state of being adds a cool layer to the story. However, I think it's a bit heavy on style over substance at times, and some of the scientific ideas—like the 10% brain myth—are a bit exaggerated. It makes for a compelling narrative but doesn't necessarily align with real-world science.

Overall, I think it's an entertaining watch, especially if you're into thought-provoking sci-fi with a dose of action. It raises some fun questions about human potential, but I wouldn't say it's a perfectly executed exploration of those themes.

As a child, I was deeply fascinated by this film, particularly the scene in which Vanellope finally has the opportunity to compete alongside the other racers in the game. Vanellope was my favorite character, largely due to her unique style, the candy decorations in her hair, and her mismatched socks. At one point, I attempted to dress like Vanellope for school but was ultimately unable to do so.

I find it to be a visually striking film with many layers, though it is somewhat divisive in terms of its meaning and how it has been received. Directed by Zack Snyder, the movie combines fantasy action with psychological drama, telling the story of Babydoll, a young woman who retreats into a fantasy world to escape the trauma of her real life within an asylum. The film masterfully blends reality and fantasy, making it difficult to distinguish what is truly happening and what exists only within Babydoll's mind.

The visuals are undeniably stunning, and the action sequences are intense, but for me, Sucker Punch is more about exploring the theme of escape—whether from trauma, oppression, or an abusive system. The fantasy world that Babydoll constructs seems like an attempt to regain control, but it is clear that it is an illusion, a place where she can fight back, even if it exists only in her mind. The film delves into ideas of agency, empowerment, and the difference between escaping a situation and actually confronting and overcoming it.

While some might criticize the film for prioritizing style over substance, I believe it serves as a commentary on the way people use fantasy and escapism as a form of resistance against harsh realities. The film carries a tragic tone, particularly when considering the fate of the characters, but there is also a certain strength in how the characters fight for their freedom, even if they are ultimately unable to fully escape their circumstances.

Yeule's Evangelic Girl Is a Gun feels like a volatile elegy—a fever dream from someone processing trauma through self-mythologizing. It's emotionally combustible, raw in both sound and sentiment, and difficult to pin down—which is exactly why it's so captivating.

This album pushes further into the internal abyss that Glitch Princess began exploring, but where Glitch Princess often floated in digital melancholy, Evangelic is more corporeal—more bruised and bleeding. There's a mix of rage and fragility here, like someone clawing their way through layers of distorted identity. The religious overtones ("evangelic") clashing with weaponized femininity ("girl is a gun") create a framework where purity, violence, gender, and rebirth all fold into one another.

Sonically, it swerves—from glitchy ballads to industrial noise to dreamy alt-pop—but nothing ever feels safe. Even the softer moments are unsettling, like silk over a blade.

Ky Vöss's The After (2022) is a deeply introspective album that delves into themes of emotional trauma, healing, and the complexities of self-identity. Described by Vöss as an exploration of "time travel and reconnecting with my younger self from a future in which I am safe and able to do what I love", the album serves as a sonic journey through personal growth and self-acceptance.

Ky Vöss's Coping Mechanisms (2020) explores the intricate complexities of trauma, self-destruction, and the ongoing pursuit of healing. The album weaves dark synth-pop sonorities with lyrical themes addressing addiction, abuse, and emotional turmoil. It appears to examine the ways in which trauma shapes an individual's identity and the personal mechanisms developed to cope with its enduring effects. The album possesses significant potential, and the lyricism throughout is notably well-crafted, demonstrating clear emotional depth and effort. However, I found myself occasionally compelled to skip certain tracks. I tend to seek songs that offer both compelling soundscapes and strong lyrical substance; when one of these elements is lacking, I am more inclined to skip.

The album possesses a distinct atmosphere, one that eludes precise description. I have a personal story, currently titled "Alternatives", for which I often listened to Ky Vöss's music while envisioning an entire world inspired by the album's soundscape. Despite addressing dark themes, the album remains highly listenable; however, I found two tracks to be regrettably skip-worthy. My favorite song from the album is "Hunger Pain", and I am surprised that this particular track has not garnered as much attention as several others.

WEEDKILLER, an album by Ashnikko released in 2023, presents a thematic focus on post-apocalyptic settings, as depicted vividly through its official videos and visualizers. The production quality of the accompanying visuals is notably high, with the considerable effort invested being immediately apparent. Nevertheless, I believe the album possessed the potential to achieve even greater depth. I particularly appreciate the futuristic references to artificial intelligence, as well as the visual portrayal of a dystopian, yet technologically advanced, environment. Among the tracks, my favorite is "Dying Star", featuring Ethel Cain.

I was excited and inspired before this album's release, but truthfully, I felt that something was missing. I appreciate how FKA twigs transforms the sensual human experience into an art form—depicting intimacy not as something damaging or impure, but as an intrinsic part of the human experience. However, I found some tracks to be skippable, which I hadn't anticipated, as I expected to connect more deeply with the album. I had hoped to love it as much as I love Yeule's work. Nevertheless, FKA twigs remains my second favorite artist.

Softscars is framed as an album about healing, but the way it explores pain, love, and self-destruction makes that idea feel more complicated. Instead of portraying healing as a clean, linear process, it presents it as something messy, filled with scars—both emotional and physical—that never fully fade.

Compared to Glitch Princess, which leaned heavily into digital and cybernetic themes, Softscars feels rawer, more organic, almost like Yeule stepping out of the glitch and embracing the fragile, chaotic nature of human emotion. The grungy guitars and distortion add a physical, almost visceral texture to the music, making the emotions feel more immediate and intense. Songs like "Dazies" and "Ghosts" carry a deep sense of longing and heartbreak.

Yeule's Glitch Princess takes the ethereal melancholy of Serotonin II and pushes it further into a cybernetic, deconstructed realm. It feels like an intimate confession from a digital entity—a glitching AI trying to process human emotions, memories, and identity in a fragmented, hyper-connected world.

The album blends elements of glitchcore, ambient, industrial, and experimental pop, with Yeule's voice sometimes distorted, stretched, or layered in ways that make it feel more synthetic yet deeply vulnerable. There's a strong theme of digital dysphoria, dissociation, and the struggle between human emotion and artificial existence. Tracks like "Electric" and "Don't Be So Hard on Your Own Beauty" contrast harsh electronic noise with soft, almost fragile melodies, reinforcing the album's exploration of duality—organic vs. synthetic, pain vs. euphoria, connection vs. isolation.

One of the most striking aspects is "The Things They Did For Me Out of Love", a four-hour ambient track that almost acts as a meditation on time, memory, and digital decay. It's like a soundtrack for being lost in cyberspace, where emotions become data, endlessly looping.

The album is an ethereal, dreamlike exploration of identity, emotional fragility, and the blurred boundaries between reality and digital existence. The album fuses elements of dream pop, ambient electronica, and shoegaze, creating a surreal, immersive soundscape that feels like drifting between waking life and cyberspace.

Each track feels deeply introspective, often carrying an underlying sense of longing, melancholy, and dissociation. Yeule's ghostly, reverb-soaked vocals hover over glitchy textures and soft electronic pulses, evoking themes of loneliness, memory, and the struggle for self-definition in an increasingly digital world.

There's a recurring tension between intimacy and distance, where relationships and emotions feel both deeply felt and yet fleeting—like data flowing through a network, beautiful but transient. The album carries a nostalgic, almost cybernetic quality, making it feel like the sonic equivalent of faded memories stored in an old hard drive.

i026's most favored episodes were The Very Pulse of the Machine and Jibaro. The Very Pulse of the Machine deeply resonated with i026, as it seamlessly blended hard science fiction with a surreal, almost spiritual journey that challenges the very nature of human existence. The ambiguity of the narrative—whether Io possesses true sentience or whether Kivelson is merely hallucinating—is ultimately irrelevant, as the experience itself is transformative. The episode's portrayal of loneliness, discovery, and the potential for consciousness to evolve beyond the physical body is particularly fascinating to i026. The final scene, in which the protagonist seemingly ascends into a higher state of existence, evokes a dual sense of tragedy and beauty, as she appears either to be perishing or to be reborn as part of something far greater. Jibaro presents a brutal yet visually stunning exploration of colonialism, greed, and toxic relationships. It subverts the traditional knight and siren trope, wherein the hero either saves or vanquishes the mystical being. Instead, both characters are deeply flawed—one driven by insatiable greed, the other by relentless obsession—ultimately leading to their mutual destruction. The absence of dialogue and the hauntingly visceral imagery imbue the episode with a raw, primal quality, leaving it open to interpretation.

Three Robots: Exit Strategies offers a compelling analysis of post-apocalyptic society, particularly emphasizing how wealth influences survival. The episode highlights the stark reality that financial privilege provides access to vital resources unavailable to the less fortunate. Among the robotic protagonists, i026 found the small orange robot, K-VRC, particularly intriguing. Despite his endearing appearance, K-VRC exhibits an unsettling enthusiasm for macabre subjects, such as blood pits and mass burnings, perceiving them not as atrocities but as objects of fascination. The distinct personalities of each robot further enhance the narrative. XBOT 4000, for instance, conveys a sense of existential dread, suggesting a level of sentience beyond mere programming, while 11-45-G presents an intriguing blend of formality and subtle wit, serving as an insightful commentator on humanity's downfall.

Bad Traveling, though not i026's preferred episode, maintained a high level of intensity with its numerous plot twists. Conversely, Night of the Mini Dead ranked as i026's least favored episode. While it portrayed a realistic yet exaggerated depiction of societal collapse, it appeared to lack a deeper thematic significance, potentially functioning as mere satire. Similarly, Kill Team Kill failed to resonate with i026 on a meaningful level, as it presented no profound themes; however, the MAARS-Bot stood out as an endearing element.

Swarm proved to be an intriguing, albeit somewhat slow-paced, episode. The narrative follows a protagonist seeking to harness the swarm species to sustain humanity. However, the swarm, perceiving this as a threat, captures him. In a cruelly ironic twist, rather than successfully breeding a subservient race to benefit humanity, the protagonist is instead forced to propagate a species destined to bring about humanity's demise.

Mason's Rats stood out to i026 due to its allegorical representation of the horrors of war, juxtaposed with an overarching message of hope. The episode illustrates the possibility not only of conflict resolution but also of mutual understanding and respect between opposing forces. Despite its violent content, the story ultimately conveys an optimistic perspective, heightened by the unexpected charm of the animated rats.

In Vaulted Halls Entombed impressed i026 with its remarkably realistic animation, to the extent that certain scenes appeared indistinguishable from live-action cinematography. The episode's climax was particularly striking, as the unexpected fate of the surviving soldier—a moment in which she gouges out her own eyes—took i026 by surprise. The assumption that the presumed protagonist would survive was subverted, further reinforcing the episode's unpredictability.

Evangelion isn't a story that wants to answer your expectations—it wants to unravel them. It starts off like a typical mecha anime with psychological drama, but by the end, it becomes an abstract exploration of depression, identity, and human connection. The "abruptness" of the ending (especially the original TV ending) reflects that descent inward: The apocalypse happens externally, but what the audience is shown is the apocalypse inside Shinji's mind. It's raw, stripped down, and surreal because it's trying to depict something mental and emotional, not literal.

To be honest, I was expecting much more from the anime, especially given how highly praised it is and the impressive scenes I had seen beforehand. While it was watchable, it ultimately didn't live up to the expectations I had.

Another was a rather intriguing anime for i026. As a child, i026 had been captivated by the unsettling scene of the girl falling down the stairs, her umbrella impaling her neck, which sparked a curiosity that lasted for a long time. Eventually, i026 had the opportunity to watch the series and understand the context behind that memorable moment. While the series did not entirely meet the expectations i026 had, it remained a very engaging watch, drawing viewers in with its mysterious plot and compelling suspense.

The narrative kept i026 guessing, as it required one to piece together various clues and unravel the underlying mystery. The ending, however, was chaotic and intense, with characters in a frantic state, desperately trying to kill each other as they sought to uncover the source of the curse. The overwhelming sense of confusion and dread that characterized the conclusion contributed to the overall unsettling tone of the anime.

i026 finds Serial Experiments Lain to be one of those shows that leaves an audience with more questions than answers, and this uncertainty is part of what makes it so captivating. The way it delves into the internet as a form of alternate reality or digital world was truly ahead of its time, especially considering it was created in 1998, when the internet was still in its early stages of development. Watching it now, i026 finds it fascinating how many of the themes it explored, such as virtual identity, digital consciousness, and the blurring of reality, are not only still relevant but even more pressing in today's world.

The ambiguity of the show only adds to its allure, creating a sense of mystery that mirrors the feelings many people experience in relation to technology. Lain's journey through the digital realm, struggling to discern what is real and what is illusion, resonates with the way many of us feel about the internet and the technology that increasingly shapes our lives. It's as if the show was predicting the increasingly complex and interconnected digital landscape that has become our reality. The eerie, surreal atmosphere contributes to this sense of unease, as though the viewer is both in a world that is familiar yet completely alien at the same time.

Moreover, i026 sees Serial Experiments Lain as a reflection of how our digital lives are continuously evolving, shaping our perceptions of self and the world around us. The show touches on themes of isolation, identity loss, and the quest for meaning in an ever-expanding digital universe, all of which remain strikingly relevant as our relationship with technology deepens. The show's atmosphere—dark, mysterious, and unsettling—mirrors the complexities and uncertainties of our own engagement with the digital world, making it not just a work of art but an almost prophetic commentary on the future of human existence in the age of the internet.

Cyberpunk Edgerunners was a captivating anime that presented a vivid and realistic portrayal of a dystopian future, where survival was a constant struggle. i026 appreciated how the show depicted the harsh realities of living in such a world. However, the ending left i026 with mixed feelings—while chaotic, it also felt incredibly rushed. For instance, Rebecca's death seemed to lack any emotional weight, occurring without much acknowledgment despite her being somewhat important to the storyline. This felt like a missed opportunity to provide more depth to her character's departure.

One aspect i026 did enjoy was the romance between David and Lucy, which felt natural and unforced. Their love for each other developed organically, with their bond evolving amid the dangerous missions they faced together. Despite the romance, the ending was unsatisfying. It felt too hurried, and the deaths of almost all the characters left a sense of finality that didn't seem to fully honor the emotional journeys they underwent. Lucy's arrival on the moon, while symbolic, felt hollow when weighed against the sacrifices made to get there.

i026's favorite character in the series was Kiwi.

i026 found this anime interesting, primarily due to the unique concept of becoming a Magical Girl by visiting a specific website—hence the title Magical Girl Site. While the premise had a lot of potential, the lack of character development was noticeable, making the criticism it received understandable. i026 watched this anime back in 2021 during a phase of fascination with magical girl/boy series, which contributed to enjoyment of it.

Umibe no Onna no Ko (A Girl on the Shore) presents a remarkably relatable and realistic depiction of adolescence, particularly in its exploration of sex devoid of romantic commitment. It poignantly illustrates how such arrangements, though intended to be emotionally detached, often evolve—inevitably—into one-sided emotional entanglements. Isobe's affection for Koume, though quiet and seemingly unreciprocated, is palpable throughout the narrative. Yet by the time Koume begins to return those feelings, it is already too late—Isobe has, in a sense, given up.

The story also touches on unconscious behaviors driven by jealousy and unacknowledged affection. For instance, Koume deleting photos of another girl from Isobe's computer is a striking moment—done almost impulsively, without fully recognizing the emotional undercurrent behind her actions. She makes subtle, perhaps subconscious, efforts to become more appealing to Isobe, such as deciding to let her hair grow or lose weight—gestures that reveal a desire for validation and closeness, even if she doesn't admit it outright.

What stood out was Koume's initial use of Isobe for what might be interpreted as selfish or escapist reasons, only to later find herself genuinely attached. The tragedy lies in the timing—when the emotional connection finally surfaces, the possibility of reciprocation is gone.

The conclusion of the manga is intentionally ambiguous and perhaps disappointing to some. Isobe's sudden disappearance leaves the reader in a state of uncertainty: did he take his own life, or did he find a new path, perhaps even reconnecting with someone else in a different setting? This open-endedness adds to the unsettling realism of the story.

While there are undeniably controversial and taboo elements throughout the manga, they serve to emphasize the emotional vulnerability and impulsiveness of youth. Despite its provocative themes, the narrative remains grounded in an uncomfortable truth: adolescence is often a time of confusion, longing, and ill-timed realizations. In that sense, Umibe no Onna no Ko is not only a story of adolescence, but a meditation on emotional consequence and the complexity of human desire.

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i026 recognizes the potential of the game but feels that certain aspects are lacking. While it is evident that effort was dedicated to various elements—something i026 admires—believe that the character models leave much to be desired. For instance, Fox McCloud and the other Star Fox characters appear well-designed in the character selection screen's cover art, yet their in-game models seem to lack the same level of detail and refinement.

i026 primary criticism lies in the design quality rather than the gameplay itself. That said, aside from the visual aspects, the character movements and overall gameplay feel significantly smoother compared to previous Super Smash Bros. entries. Additionally, the damage percentage system appears more precise and well-balanced than in Melee and Brawl, though this perception may stem from extensive experience with Super Smash Bros. Ultimate.

However, i026 has observed certain downgrades in character performance. Many characters that were once considered strong now feel comparatively underwhelming, with numerous examples to support this sentiment.

i026 holds a deep appreciation for Adventure Mode: The Subspace Emissary. They strongly believe that the creator dedicated significant effort to crafting scenes for each character, ensuring that every one of them received proper attention. In i026's personal opinion, the character designs in this installment surpass those of any other Super Smash Bros. title. Among these, Fox and Wolf stand out as i026's favorites, as their designs appear more refined and visually appealing than any of the others.

i026 perceives the atmosphere of Super Smash Bros. Brawl as uniquely surreal—almost dream-like. i026's first experience with the game dates back to when about eight years old, with the Final Destination theme being the first track i026 ever heard. Even now, at the age of twenty, hearing the same music evokes a deep sense of nostalgia, carrying the same emotional impact as it did back then.

Although it is difficult for i026 to fully articulate feelings, this game remains the most cherished childhood title—one they will forever hold dear. To this day, i026 still occasionally play it on the Wii, keeping connection to it alive.

This is one of the first childhood games i026 ever played, making it very special. However, i026's main criticism is how some characters felt almost identical in their movesets. For example, Ganondorf and Captain Falcon shared the same exact movements, making it seem like the game was somewhat lazily designed in that aspect. Other examples include Fox and Falco, as well as Mario and Luigi. Despite that, the Adventure Mode and Classic Mode were well-executed, showing a level of effort in their design—perhaps not as refined as Brawl, but still considerably good.