Kamisama ni Natta Hi

Coming out from "Kamisama ni Natta Hi" (KS) with questions is par for the course. How on earth does an original Key anime, helmed by none other than Jun Maeda himself, struggle to barely crack the Top 10 for Fall seasonals on MAL? How did a promising premise from a strong first episode morph into a completely different show in its second week? Also, why was I OK with that? Also also, when did I stop being OK with the narrative? What in god's name is going on? If you're looking for answers, you've come to a terrible place; but I'll do my best to give mytake on all the above points and more. This review contains mild spoilers, so feel free to skip ahead to my Tl;Dr if you'd like to go in blind. "What happens when you have both the power of god and anime on your side?" KS introduces the audience to Hina, an odd girl dressed like a nun. She approaches the unassuming protagonist, Youta, and nags him to let her crash at his place (this isn't a sus thing, I promise.) You see, Hina claims to be a god capable of predicting future events, and has foreseen that she'll be staying over at Youta's for the time being. Obviously our baffled MC has no reason to believe her audacious claims, but several demonstrations of her divine abilities force him to accept the improbable: that the mysterious Hina really is a god, and that she's offering to act as his personal genie during her stay. But there is a catch: in 30 days, the world ends. It's a great hook to kick off a series, one with limitless potential. Youta is allowed to live life in any way he chooses, with no consequences. And as a title card counted us off towards the impending apocalypse, I was left with several questions. What will Youta do with this power, and what adventures will he end up on? How exactly does the world end? Just who is Hina anyway? What would happen next? The answer? ...Nothing much, really. KS' second episode, in stark contrast with the ambitious series pilot, goes as far as to sideline Hina and spend 15 minutes doing budget parodies of '90s Hollywood blockbusters. KS only kept up this trend in the coming weeks, putting aside its promising story in exchange for an episodic sitcom. Short asides, featuring a gifted hacker tangled in a mysterious corporate investigation, would serve as the only reminder that KS actually had, y'know, a plot. The Doomsday Clock continued to wind down with every episode, but I'd never feel like KS was headed anywhere. Though KS didn't pan out the way most audiences would have expected, I was surprised to find out that I was still having a great time. As the kind of critic who finds himself with the bad habit of lamenting over missed storytelling potential, I was uncharacteristically forgiving towards KS' first half. That's because the show still managed to pack some elements that kept things enjoyable from week-to-week. The first idea that seemed interesting was the series' usage of fatalism. The world is coming to an end in 30 days, yet no one in the cast seems to care. There's something pretty funny about Youta encountering a deity, only for him to continue spending his summer in the most vanilla way possible - studying for finals and playing video games. While the characters aren't complex enough to acknowledge these philosophical ideas, I did find this theme amusing all the same. The threat of Armageddon is never depicted as a depressing existential tragedy or anything, but leans towards a somewhat optimistic direction instead. Sure, there are circumstances fated to happen, beyond our control. So let's just focus on making the present the best it can be. Another highlight worth praising is the entertaining comedy. This caught me off guard, given that it wasn't particularly an aspect of the script I was looking forward to. My previous run-ins with Jun Maeda shows involved the borderline sleep-inducing first episode of "Clannad" and the absolutely absurd energy of "Angel Beats." Neither were really to my liking, but KS brings the best of both worlds together for a winning combination. The show walks a fine line between realism and absurdity, with a mildly-heightened reality that snowballs its lunacy to hilarious effect. KS uses Hina's powers to account for some silly contrivances that ensure each episode feels different from the next. Sure, the gags don't make a ton of sense at times and they can often drag throughout an entire episode's runtime. Yet the show makes itself really easy to enjoy, taking inspiration from "Love Is War" through the use of dramatization and pop culture references. Hina and Youta's VAs complement this chaotic energy well, with great line delivery from both. All these elements set a fittingly fun tone to explore KS' message: the value behind memories. Memories are part-and-parcel of the human experience. Some of them are fun and enjoyable, and those happy moments can bring all sorts of people together. But, as explored in Ep 5^, other memories can be dark and murky, causing pain as they linger in your mind. KS looks at how memories influence our thoughts and motivate us to take action. It's in those bleak places where we need to seek closure and look ahead, clinging to our past while seeking out the future. And in overcoming those obstacles with those we love, we strengthen our bonds and make new memories to look back on. This theme offers an explanation for why the show was willing to forego the big plot teased in the first episode. KS was more concerned about putting together a wild summer filled with adventure, fun and heart. Those days of sun were presented really well, thanks to great work from P.A. Works. The studio hadn't quite topped themselves or anything, but average P.A. visuals still look more stunning than most studios' best works. Na-Ga makes a comeback with KS' character designs, so be sure to look out for those if you're a massive fan of Key instalments. Personally my favorite inclusion to the show was its soundtrack. Nagi Yanagi shines with all her song performances and accompanies the cast on their Summer holidays. As the world neared its end, these friends made great memories, which geared them to face the uncertainty of KS' second half. And here's where things start to fall apart. KS did deliver some good material in the early stages, but cracks were already beginning to emerge. If I were to summarize KS as a whole, the phrase I'd come up with is "don't worry about it." There's no need for a grand overarching plot that fully utilized Hina's powers, there was no need to worry too much about generating big conflict. It's all about having a good time! It's a chill approach that I could get behind, and didn't turn out all that pointless either. However, a couple of problems persisted, taking this thoughtless construction to an unhealthy extreme. Characters felt largely one-dimensional, and the unnecessarily large ensemble cast made matters worse. Youta is a boring blank slate who's in love with his childhood friend, and has to rely on gimmicky stage-impersonations (ramen connoisseur, "mahjong" prodigy, etc.) to disguise his one-dimensional nature. Not too much I can say about Hina^^, but the other main characters don't fare all that well; given that Izanami and Kokuhou are supposedly Youta's best friends, it never feels like he gets a lot of time with them. Things get sillier when we look at the rest of the ensemble, which feel even more inconsequential. The biggest offender is Miss Tengan, who adds absolutely nothing to the story. All she does is act grumpy and show up for the most asinine of reasons. Sora's entire, like, personality is totally based off, like, how a boomer author thinks pre-teens talk IRL. Oh, and there was this loan shark dude who started off as a bad guy, had his entire character arc take place off-screen, and showed up uninvited and reformed a handful of episodes later. Having the core characters underwritten isn't a huge gripe for me, but seems mildly puzzling given that Maeda is supposedly an expert at tugging the heartstrings. This problem, coupled with the overbearing number of side extras, means that the script has no choice but to give important characters rushed flashbacks that introduce their backstories. Speaking of the script, it follows the aforementioned trend of not really giving a shit. Due to the nature of the first half, there's little in the way of objectives or goals that Youta and the gang need to work towards. Maeda's idiosyncrasies as a writer also means he takes any and every opportunity to elicit an emotional response, at times to the detriment to the story. But eh, subtlety is kinda thrown out the window sometimes. If there's an extreme road to take, you can count on Maeda to stack his chips and go all-in. Suspension of disbelief doesn't really matter, "don't worry about it." These issues are further exacerbated in KS' second half. The guise of a "turn-your-brain-off" comedy comes apart quicker than one of Youta's silly impersonations, leading me baffled at several of the show's writing choices. As it turns out, the reason why Maeda overstuff KS with cast members is for a big attempt at emotional payoff in its penultimate episode, reinforcing the message of finding strength through good memories. But while thematically sound on-paper, it landed pretty weak within the show, because the characters that shared those moments with Youta didn't create much connection with the audience. Poor pacing made me feel that the show was still spinning on its heels, even in the most vital of moments. The script doesn't go full-"Charlotte", and the final episode manages to stick a somewhat satisfying landing. However, it does find ways to go off the rails in other areas. Hina's powers are far from the dumbest plot contrivances in the show, which Maeda crams in arbitrary conflict and bizarre choices that only serve to further pad the runtime^^^. A couple problems that could be solved with a simple conversation instead are dragged out across 15 minutes, and other obstacles are thrown in a messy way to generate artificial issues that are less tense than confusing. These strange issues distract from what would otherwise be powerful moments on their own right. Earlier this year a Tweet circulated, claiming that Maeda had penned the "most heart-breaking anime of all time." Props to him for the attempt, but his questionable writing makes me wonder if those emotional beats ever reached their fullest potential. With all this being said, I've decided that the biggest weakness of KS is a lack of direction. Outside of its central theme, audiences don't have much to latch onto other than a mystery box hanging over their heads. Unfortunately the box is opened far too late into the story and forces Maeda into a corner, resulting in poor writing choices that ensures that the entirety of KS is lesser than the sum of its parts. Tl;Dr: "Kamisama" is unquestionably at its best when spending its carefree time in the summer. A neat theme about cherishing memories is accompanied with entertaining laughs. While seeing a wasted premise felt somewhat disappointing, this unexpected approach made me curious to see how KS would balance its more emotional elements later on. However, the script by Jun Maeda appears ill-equipped to deal with the storytelling potential teased since Episode 1, favoring to leave aside a majority of its hefty pacing responsibilities to the very end. This "mystery-box" storytelling necessitates weird plot contrivances and limits the places our story could go. Our already-messy script then undergoes more padding, which leaves more questions than answers and distracts from the emotional moments. There's no clear goal throughout the series, and it's a trick that worked… until it didn't. 5/10~ *** STRAY RAMBLINGS (SPOILERS): - ^Ep 5 is quite easily my favorite episode of the series. The comedy was less balls-to-the-wall, no absurd disguises or whatever, so I really appreciated the relatively lowkey break from all the shenanigans. Which was fitting, given the more serious subject matter. Definitely took some cues from "Kakushigoto" and the infamous "Violet Evergarden" Episode 10. Not that I'm complaining, of course, those were great stories. It proved to be one of the few times KS was capable of balancing its gags with the emotional beats. - ^^If you've made it this far, I've take it you've made it to at least Ep 9. Last warning. With that out of the way, let's talk Hina. My feelings on her are kinda mixed, and I'm not sure if all I have to say is very constructive, given the subject matter. Please forgive my ignorance if I hit a wrong nerve. First, we're gonna have to address her romantic attraction to Youta. To me, it looked like a clear example of how Maeda was cramming in plot points for the purpose of hitting us in the feels. It was a decision that made zero sense to me and had no buildup before it was brought up. Although, I'm not sure how much of my conclusions are impacted by my biases, given her… less than attractive stature. I've seen enough of the Uzaki-chan debate to be scarred from coming near a similar discussion, so hopefully acknowledging my potential biases will be enough to state my case. The other aspect I wanted to touch on was the portrayal of Hina from Episode 10 and onwards. Logo's Syndrome seems to be a fictional condition, borrowing symptoms from muscle atrophy and mental handicaps. While I'm probably not fit to judge how true-to-life the performance was, I do find the hypothesis posited by Hina's caretaker rather interesting. Memories do make up a big part of our identity, so seeing that realisation dawn on Youta in Ep 11 was pretty impactful. - ^^^Wow, what a needlessly convoluted script. Please allow me to nitpick away… It started off strong by throwing away the Doomsday clock and skipping ahead past New Years' and Finals. While the pacing felt unpredictable, the joke setup did not, as Suzuki played around as a Hina stand-in for the first half. Suzuki screams less "genius" and more "BVS Lex Luthor," but minus Jesse Eisenberg's chaotic energy. His ploy to force memories onto Youta for no reason other than to callback to prior episodes in a sentimental manner makes zero sense. I get it, the show has this big nihilist theme about futility and predestination or whatnot, but passively accepting a sad outcome doesn't excuse the characters for dragging out this pseudo-intellectual plan for anywhere up to 5 MONTHS. If you wanted to pretend to have friends, there was no need to pull out a 20-step 400-IQ chess move that nearly backfired because your mark was being emo and stupid. The messiness doesn't end there. Apparently all those escapades as a mahjong pro and a ramen critic were mere training for Youta's big mission... getting into a remote hospital. How is it that he's able to just wear a key card and waltz his way into disguises wherever he goes? If you're not gonna make him put in effort to conceal his identity, why make it happen in the first place? Apparently HIna's rehabilitating after her brain surgery, which left her with a light scalp of hair and a sudden fear of men. Why the surprise phobia, you ask? Because the plot allowed Youta to take Hina in as a legal guardian of sorts... but only if Hina gives consent. This too left me hella baffled. If a patient is not in a mental state capable of making decisions, it's up to the guardian to exercise control over the situation (this extends to extremes such as euthanasia.) So if this boy who looks way too young for his age is arbitrarily given provisional guardian rights... what was the point in shoehorning in this conflict to begin with? Maeda could have easily just left those provisional rights out of the question and the scene would be nearly unchanged. - Ep 9 had easily the WORST hacking sequence of all time. Fish? Really? - BEST GIRL: Hmm, as I mentioned earlier, none of the characters stood out to me. Now, let me have a look at the candidates… wait, you're telling me Sora's a film buff? MAD. Gee, now I feel terrible for dissing her in the main review, but I thought it was a funny bit. Anyways, hats off to her! *** And that's all I have to say about Maeda's latest work. Apologies if I seemed a little too hard on the guy, his reputation really precedes him for all the right and wrong reasons. Although given how entertaining some of this show was, I may finally be inclined to give his older works a second try. If you happen to like my verbose rants, feel free to check out my other reviews for seasons past and present, peace~

One of the most curious questions about mankind is how did we come to exist. Is it from natural evolution or is there a higher being such as God that created us? The Day I Became a God gives off a strange vibe but not only its title but also premise. What is this show that P.A. Works and Aniplex have bene working on after all these years? It shouldn’t be a big surprise that director Yoshiyuki Asai returns to direct this anime original. Coming into this show, I am reminded of another anime that premiered nearly 5 years ago. Remember Charlotte? If not, that’s finebecause this anime isn’t connected to that show at all. Still, that does raise some concerns as the director made some rather questionable decisions. The big question to ask yourself is what does The Day I Became a God offer for us. To start off, this is indeed an original anime and is Key’s third project since Angel Beats and Charlotte. Watching the first episode triggered a familiar feeling with other Key’s works. It didn’t too long to meet the Key-style protagonist, Yota Narukami, and main heroine, Hina Sato. It’s like fate destined them to meet with Hina proclaiming herself to be a goddess. Claiming to “Odin”, she immediately shows off her God-like complex in a rather peculiar, yet comical way. Make no mistake, Hina is more of an airhead than some malevolent entity. Regardless whether you believe in her words, Hina’s hyperactive energy attracts all the attention in the show. Her personality equates to almost child-like behavior and it’s up to Yota to guide her. In essence, Hina learns what it’s like to be a normal person and enjoy normal activities such as eating with friends, playing video games, or visiting new places. The duo’s character bond is peculiar but it’s shown to be one developed with trust despite some of their daily mishaps. Hina also wants to help Yota in some ways such as trying to help him with his feelings towards Kyouko Izanami. It’s the budding childhood romance you’d probably expect from Key’s anime. However, this isn’t a Romeo and Juliet fairy tale. In later episodes, we learn the truth about Hina. I’m not going to spoil the events but let’s just say that Hina is suffering from a condition that is far from normal. Watching her personality change is a strange sensation as the latter half of the show feels rather different compared to the first few episodes. Obviously, the director and staff planned this from the start and everyone’s reactions will be different. To me, the plot needed more than what it showed. The first half pushed the story in such comical direction that this show itself should’ve included comedy as part of its genres. Drama hits later into the story with the startling revelations. Yota’s desire to save Hina transcends his personality from a butt monkey into a more of a hero, one who promises to help his friend no matter what. To be honest, I wish there could be a lot more to say about the supporting cast. When I looked over and tried to remember their roles, most of them really didn’t make impact. Even Kyouko and Hiroto didn’t have a role that sold me on the show’s story. I mean, we do have the typical best friend (Ashura Kokuhou) or younger sister, Sora Narukami for the male protagonist. However, the majority of the characters are overshadowed by Youta and Hina. Think about it, did any of them really made you go back to the story and saw them in a different light? The worst written characters are the adults in the series such as the CEO or Yota’s parents. They don’t typify the example of an important character. Only Kyouko with her background story and Hirito’s character role had some significance to the overall show’s direction. But even then, it felt so lacking and forgettable. I hate to say it but with even that colorful key visual, the characterization in this series just don’t impress. Yes, before you ask, this anime is created by Jun Maedea, you know the same guy who also holds noticeable projects under his belt such as Clannad and Little Busters! His themes of family and friend bond is a recurring element in this anime. The character designs also reflect in his style with the cast giving off a visual novel-style look, especially for the female roster. Now, it’s obvious some people will say it’s generic but for what’s worth, the anime does have an appeal with its colorful attraction. From the over eccentric character reactions to some of the emotional moments, it’s definitely lives the standards of modern production quality. The theme songs also contains a colorful balance between the cherry upbeats and the melancholic tunes. And if you ask me, Hina’s voice can get stuck into your head sometimes with that hyper energetic God-complex I guess it’s a recurring trend now. Every 5 years, it seems Key wants to show off their latest projects and here we are. Will we get another 1-cour original show in 2025? I guess that bridge will be crossed when we get to it. For now, this anime convinced me to keep your expectations in check and be aware that anime originals have its risk. The risk here? Too much Goddess and not enough goodness.

Maeda Jun is back with another original work to break our hearts yet again. You know, over the course of the final quarter of Kamisama ni natta hi, I genuinely asked myself multiple times a day, “what the hell happened to Maeda Jun in his childhood to give him this much pain to express in every series he writes?” While I still don’t have the answer to that, it’s apparent this man has something that enables him to be able to break our hearts like this. Disclaimer, this show is heartbreaking. Not in the sudden hit by a car type of pain that we felt in AngelBeats and Charlotte, but more slow burning, death by a thousand cuts type pain. Without spoiling much, this show goes from very happy slice of life moments to prolonged despair, sadness and watching characters we just saw being upbeat a few weeks ago, suffering over a 2-3 week period at the end. Its final arc was honestly hard to watch for me. But, that is truly a testament to how well written it is given that we developed such strong emotional bonds to these characters. The writing is really good in this show and I honestly felt very connected to every single member of the cast. I think the story and its twists while predictable, are still enjoyable and make sense logically. I think the build up to those twists is really well done and the character development is handled nicely as well. In that regard, it’s a much better experience than Maeda’s last work, Charlotte, which really went off the rails at the end. I think this stays pretty consistent throughout. Art and animations is as solid as you’ve come to expect from Key projects. In fact, I’d definitely say this is the best looking one of the bunch. As usual, we’ve got a really emotional OST this time around as well, nothing surprising there. It really makes several scenes in the show potentially iconic. Well written story, likeable characters, emotional connection to the cast, great OST, nice art and animation, etc. It’s hard to think of anything that could be better for me in this show. I’m always a glass half full type of person and looking at the positives here, I can’t recommend this enough if you’re a fan of Maeda’s work. Kamisama ni natta hi gets 10 out of 10.

"The world will end (and surpass) in 30 days...in a common figure of empty, draining and manipulative-feeling rhetoric and hyperbolic sense." What happened to you Jun Maeda, the "god" that could do no wrong (well, Strike 1 for Charlotte)? Jun Maeda: The Day I Became a "emotionally-pulling heartstrings" God. If you recognize this name even in an inkling of coincidence, he's the one who has produced instant classics of Kanon, Air, Clannad and few others. Amongst them all, the prolific ones are the 5-year-gap collaborations with himself, Na-Ga, Aniplex and P.A. Works, with the massively popular Angel Beats! in 2010, and the somewhat controversial love-hate relationshipof Charlotte in 2015. Now, in 2020, after suffering from Dilated Cardiomyopathy (DCM) and recovering from a heart transplant in 2016, this human "god" is back with his 3rd collab project: implanting recurring themes of magical realism in a reality-fantasy dichotomy setting, and adding the "god" complex to present us this show: Kamisama ni Natta Hi, directed by none other than Charlotte director Yoshiyuki Asai (and wary people will have already speculated massive red flags at the ready). If you know anything about how Jun Maeda's works go, always expect the shows to go ham at an unorthodox approach of similar and instaneously recognizable themes, and Kamisama is no different: whiplash-inducing tonal shifts between joyful times of (say) playing baseball or sad, depressing family bonds (with a piano), you name it, this show has similar references to fall back to the usual style of storytelling...albeit in a linear fashion of activities, comedic reliefs of jokes and gags to evoke the sense of oxymorons to seemingly unrelated series of events pertaining to the main plot. It's like this show is trying to be a Steins;Gate time mechanism-thingie but just couldn't pull it off, much less gracefully. This was the result of Charlotte's divisive ending episode that took everyone by surprise (at the time of its airing), but THANK GOD both the creator himself and Yoshiyuki Asai somehow learnt his lessons for this show...or was it? The plot of this show, let it be known: everything about it is just as what you recollect of Charlotte, just pictured in a diverse setting of "The World's End": a group of characters just whisking their ordinary everyday lives, until this Odin "god" of a character shows up out of left field and exclaims that "You only have 30 days to live. And I possess the evidence to endorse my claim: my omniscience!" Imagine if someone told you that in real life, you'd be scrambling to have a plan to live out your last days, but this character cast just took that proclamation, throw it out of the window and said: "OK, we'll merely embark on our daily lives even if you tell us so, because that ain't gonna happen to us." And O My God, it doesn't take a stubborn mind to know that this will not be the case, and they REALLY "scramble" to do mundane stuff that could cost days or even up to a week max, because EVERYTHING IS RELEVANT and we wanna "celebrate" the passing of the world before the time of oblivion comes, happy or sad. Would you know it; everything is just an endless spiral of paradoxes pertaining to the lack of congruence and inconsistency of the former. Even if they managed to ace the landing, it's only a by-product of what potential this show could've had, it just had a very rocky story from start to finish. For the love of God, we all know how much Jun Maeda has delivered his high impact rate upon the anime community since 2006 with the remastered Kanon series, and spawning his Key VN anime adaptations since then. The idea really worked well in the late 2000s and even onto the early 2010s, culminating with Angel Beats!, which was at the time, unlike anything ever seen in anime form before. The passion of the entire character cast and embracing each other like a team of comrades down to the final episode, it was magnifique bliss to see that each and everyone has a meaning and sole reason to live among the MCs, and everything was there for a reason. Charlotte on the other hand, was the start of Jun Maeda's downward spiral "black sheep" scriptwriting abilities, and stacked with Yoshiyuki Asai's lack of directorial experience (of which this was his debut directorial show), it was a recipe for disaster awaiting to eventually happen. And if Kamisama's anything of noteworthy, it's just a direct carbon copy of Charlotte, just only handled "decently" than the last. You want to know what's been kept from Charlotte? OH YES, the one-dimensional, shallow, personality-devoid character archetypes are back. Right from the beginning, take everything about the characters in that show, and Ctrl-C-V into here: - Youta Narukami is Yuu Otosaka, not like both characters are any better counterparts of their own show, and are more at times, an annoyance in and of themselves. A worse circumstance of the typical nervous self-absorbed tunnel-visioned wreck. - Hina Sato is Nao Tomori, same personality, same features, same everything. The girl who has a personality akin to a raging female dog and the self-righteous kind...YEAH. - Ashura Kokuhou is Joujirou Takajou, the sports-obsessed guy who always likes to show off and be a broski. - Kyouko Izanami is Yusa Nishimori, the same one-faced innocent and popular girl whom is the ire of the MC's romantic "advances", and is just for show. There's no significance of the romantic sub-plot anyways. - Sora Narukami is Ayumi Otosaka, the caring Imouto of the MC and while both characters are different pertaining to their roles in their show, it's just the innocent and stubborn personality that is a constant cop-out. - Kako Tengan is a lawyer, and one in name only. She's a brute mahjong supporter instead, and is also just another character for show. - Hiroto Suzuki is Takehito Kumagami, the background "helper" in discerning plot twists in their respective shows, and are simultaneously plot devices as well. Also, adult abuse is prevalent in the former's life. Others are batshit, nothing noteworthy to be said: plot-for-plot, when you show up, you do your role as told on the script. Trust me, once they're gone from their scenes, I can't remember one doggone shit about which character(s) surfaces from time to time, and always having to pander the character list to identify who's who. So, so bad. The formulaic model of Jun Maeda's saving grace will always be both in the art/animation and music, because that is the only thing that he does best now. First off, how can you criticize shows made by P.A. Works on the spectrums of magical realism levels of fantasy? Just look at Iroduku and Maquia, and tell me if those shows aren't high-calibre stunning productions of the studio in recent times. Kamisama is no different here with great visuals and vivid backgrounds that are more alike to Iroduku (in that regard). The same results continue with the music that he purposefully composed with Nagi Yanagi for this show's OST, and all the songs from the opening, ending to insert songs feels delicately made and warm-feeling to the hear with cozy feelings of nostalgia. The Godfather of Manga, Osamu Tezuka, once said: "A good story can save poor animation, whereas good animation cannot save a poor story." and this is VERY true, even to this day. Sadly, the Jun Maeda of today is unsustainable, even if he came back from his heart transplant to concoct this story based on his real-life circumstances. We might as well call him: Jun Maeda: The Day I (finally failed) Becoming an "emotional tonal shift" God. The worst of the 3 collab projects, by a very long shot. We've expected better, Jun Maeda, but this is just plain distasteful.

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