Pokémon Horizons' Terastal Debut- The Most Conflicted I've Ever Felt about HZ.

Hello everyone- with this storyline entering the EN dub (a full review will follow once all its episodes are online); I thought it would be aa good idea to address this arc. Though it did do a lot to improve on the issues I had with the previous storylines; there are other areas that could still use improvement. Here are my thoughts on Pokémon Horizons’ Terastal Debut; and why it’s the most conflicted I’ve ever felt about this anime so far.

Let’s start with what works and what’s improved, as usual. The animation is still the strongest aspect; and though others have denied this, the “Tera Leak” suggests that a pivot did happen from their plans to an extent. 

I actually was in favor of using this storyline as a soft reset that not only brought in more aspects from the games; but it also seemed designed to take a sledgehammer to each issue I had with the new leads. Dot viewing social interaction as a waste of time? Iono being paired for one of her challenges had no choice but to crack that barrier open like an egg. Roy acting impulsive and rushing headfirst into scenarios without a plan? Ryme is able to easily read this line of attack and causes him to reevaluate why he’s on his adventure. Liko being hesitant to engage with others, especially in battle? Both mentors and enemies are not exercising restraint with her, which becomes a catalyst for the rest of the story thus far. I also appreciate the inclusion of Nemona; and Penny.

That’s not to say that I still don’t have issues with the story. Call me crazy, but I’m not among those who thinks HZ “fixed” the issues, real or perceived with the previous seasons (JN in particular). I’m among those who maintain they were exacerbated; or at least, manifested in different ways. The short reason is this- a child viewer likely won't care for boring dealings at Friede’s former workplace; and a viewer my age likely won’t be amused by scenes involving a Varoom absconding with a Nidorina costume. The longer reason starts with this- even kids can tell when a story isn’t like its source material; and there are older viewers like me who are not above overlooking Horizons’ flaws.

I mean, it’s odd that this anime still insists on using fan-favorite aspects from the games in such a perfunctory way (Arven not having any lines, the box legendaries of SV being conspicuous by their absence so far) and changing others in ways that didn’t need to be (Grusha being among the most divisive). I will touch on this further in a full review as well as when Rayquaza Rising concludes; but in lots of ways, this anime is doing a bigger disservice to Generation IX than its predecessor did to Generation VIII. I can’t say I’m entirely surprised about plans to wrap it up and go back to basics for the next anime. I will address that idea at a later date in the year; but for now, I think it’s unlikely that HZ will get a movie and more likely that the anime as a whole will get a reboot (like James Gunn is doing with Superman and the DCU).

You might also be wondering why I’m not mentioning ratings in regards to this storyline. It turns out that they actually stopped reporting the numbers nearly a year ago. I know there’s the whole transition to digital streaming; but the HZ anime hasn’t cracked the top 10 list on Netflix in ages. There’s only so much blame to affix to their staggered release schedule, as I did theorize (correctly) that people would direct their attention elsewhere if things continued this way. Other reimagined stories on Netflix alone that have gotten the audience HZ was targeting include originals such as Sonic Prime and Jurassic World: Chaos Theory as well as getting recent hits such as Tales of the TMNT and Star Trek Prodigy.

One last thing to mention is this- despite the creative license taken; this storyline is honestly the adaptation of Pokémon Scarlet and Violet that HZ should have been from the start. That has honestly been the bigger adjustment than the changes in “anchor” characters and story structure. The success of Sonic the Hedgehog 3 has proven that giving people what they want does have its advantages.

Overall, the “Terastal Debut” storyline demonstrates my overall feelings towards Pokémon Horizons- there are elements that really work; but many others that keep it from reaching its full potential. I am not certain whether the next anime will bring back “you know who” or just adapt the games directly (either of which I would support); but I personally don’t see the HZ model being duplicated for future iterations come Generation X. That is all for now, and I’m back to my 33rd birthday week.

The Boy and the Heron (2023) Review- How Do You Live?

Welcome to my full look at The Boy and the Heron. This movie has joined the list of my all-time favorite films, and makes the ideal swan song to Hayao Miyazaki as a director. Let’s open it up and find out why.

Japanese release poster for the film.

The story follows a young man named Mahito Maki, and takes place in Japan in the 1940s. He and his father narrowly escape a hospital fire in the opening scene, which claims the life of his biological mother. This alone would be heavy, but his father also has to relocate to the countryside for his new job and to be closer to his new wife.

Even taking cultural and historical context into account (the “it can’t be helped” mindset is very much in play here); the story makes clear that both Mahito and his father are impacted by the loss of the one they love, albeit in very different ways. There is no one-size-fits-all approach to grief, and the movie knows that.

One quality I especially appreciate about this film is how it’s one of the few that shows the more subtle and numbing effects of grief. The scene where Mahito hits himself on the head with a rock just to feel something again is especially effective. Though the wound will heal and the hair will regrow; the scar will remain.

The original title of the film, “How Do You Live,” comes from an in-story journal left to Mahito by his mother. It’s a question the movie explores to answer, symbolized by at least half the pages in the journal being left open.

The inciting incident happens not long after that- Mahito’s stepmother, whose name is Natsuko is kidnapped and taken to a space between spaces. He must then form a reluctant alliance with a crotchety heron that he had a scrap with earlier in the story. Natsuko also resembles his birth mother by Mahito’s own admission; and she’s pregnant!

That is one key motivator for this character and story- it doesn’t always have to be about saving an entire kingdom or world, it can just be about saving one person, someone you love. Mahito fits that perfectly- He already lost one maternal figure; he’s not going to lose another.

As I have pointed out before, this film is also the reverse of Spirited Away- while both have a fantastic journey also serving as a personal one; the circumstances vary significantly. While Chihiro’s adventure is one she undergoes from a fork in the road and a magic spell; Mahito willingly takes the burden for both the sake of himself and for his father, Shoichi. 

The spectral messages he gets are eerie on multiple levels, especially since it’s stated they never found the body at the start.

So, even with the stories he was told, Mahito ventures into the tower that was once the old estate. He not only isn’t fooled by the decoy, he nails the heron through the beak with an arrow made from his own number 7 flight feather.

After that, the heron grudgingly agrees to be Mahito’s guide, and their first stop is on a lush hillside by the sea. At its top, a golden gate marked with the words, “All those who seek my knowledge shall die.”

As a pod of pelicans narrowly envelops Mahito, but this gets the gate open and allows another to enter in a ring of fire and smoke. He then helps her get her ship back on the water; and the two even have a similar scar. I especially like how she doesn’t object when Mahito tells her he’s from “up there.”

The scene with them cleaning the fish for the “warawara” is also great, as we’re just about halfway through. Turns out the fisher is Kiriko when she was younger; with the same robe even. The carved dolls in her place also resemble the elderly caretakers he’s staying with too, so I agree not to knock them over.

As Mahito relieves himself out back, he sees the moon peering through the clouds at night, and the “Wara wara” floating into the sky. The way they ascend to another plane of life is among the many visual wonders this film has left to show.

The pelicans return, and then a mysterious spirit appears in a firework flash! It’s Lady Himi, and her spell helps drive the pelicans away. That night, Mahito encounters the heron again; along with a dying pelican. After helping dig a well the next morning, the two have tea together; and the resulting image joins the many iconic shots we’ve been given from Ghibli over their near 40-year history.

After that, the two continue searching for Natsuko together. The movie, like many of their works; also has effective stretches without dialogue. Kiriko gives Mahito a figurine of her older self; and he then sets off. 

Back at the estate, Shoichi is swamped with work; and the absence of both his wife and son is weighing heavily on him. It also turns out the tower of the old estate showed up before the Meiji Restoration under mysterious circumstances. It’s also connected to Natsuko’s grand uncle, amazingly enough. Hisako even went in one day and didn’t come out for a year; which we will come back to. With this, Shoichi wants to see for himself. Fruit doesn’t fall far from the tree, does it? 

Back with Mahito and the heron, the latter has to convince him to plug the hole he made in his beak; so he can change form again. So, he whittles a plug out of the end of his walking stick.

Then, they see the blacksmith’s house; and he’s a giant parakeet! It won’t be the last bird we encounter; and the symbolism fits remarkably well. Himi reappears in a veil of flames; and agree to take Mahito to Natsuko. He even turns down a chance to go back early to find her, and she’s about to have the child!

Making his way into the delivery room, despite her objections; Mahito is determined to bring Natsuko home! Fighting his way through streams of paper, Himi makes a plea to let them return home!

After that, the parakeets take Mahito to see the master tower builder; who is his great grand uncle! He presents him the chance to be his successor, otherwise, there’s only one day left in his world. 

Then, Mahito is helped out of his bonds by the heron before he’s cooked and eaten by the parakeets! Turns out their king is planning to present Himi as an offering to the grand uncle, so that escalated quickly. With the heron’s help, Mahito is able to reach them, reshape their worlds and bring Natsuko home just in time!

Mahito, upon being embraced; comes to the realization that Himi is a reincarnation of Hisako all along! That’s why they never found her at the start!

It’s in this other realm that he realizes what he was told meant- his mother is alive; and so are the hopes and dreams of her family. With this, Mahito’s journey is complete.

We close on Mahito returning to the mainland with his new family, including his newborn sister. Her name is after his birth mother Hisako, and I have always liked that form of rebirth. I also note this marks my 750th post here- not bad for someone who's semi-retired this blog to a "whenever I feel" schedule.

If this is truly the last movie we’re getting from him; it is the ideal one to go out on. It was widely acclaimed by the press and nearly everyone who saw it; culminating in a very deserved Best Animated Feature win.

It also proved to be a major commercial success, grossing over $172 million worldwide on a $32 million budget. It even made a respectable $46 million in the US; easily marking the director’s most successful work here.

I cannot say enough how much I love this movie; and if you have not seen it, I sincerely recommend doing so. Thank you for letting me share this with you all, and I will see you all another day.

Pokémon TV returns on YouTube, Aardman Collaboration Coming in 2027.

Hey everyone- I know that I have bigger things cooking; so here’s a little taste while you’re waiting for that.

As of December 6, Pokémon TV has returned as an official YouTube channel uploading full episodes of the legacy seasons; starting from the Indigo League. This is honestly the approach I was hoping they would take; as multiple other shows have put up their archives online this way (including Transformers, Power Rangers and various Sonic the Hedgehog shows). It would be safe to presume that more material will be added on a regular basis.

On that subject, it’s been revealed on their official feeds that a collaboration with celebrated stop-motion studio Aardman (Wallace and Gromit, Chicken Run, The Pirates: Band of Misfits and many others) is set to release in 2027. As a longtime fan of their work, I am eager to see what the partnership brings.

That will be all for now, and I wish you all good tidings. Going to put focus on my next major pieces in between going to opening day for Sonic 3. Season’s greetings.

The Lord of the Rings: The War of the Rohirrim (2024) Thoughts

Hey everyone-  this weekend, I saw The Lord of the Rings: The War of the Rohirrim; an anime adaption of the Middle Earth saga from director Kenji Kamiyama. Though it may not reach the heights it aims for, it is still a film that I can address here; so let's get started.

Courtesy- Wingnut Films/New Line Cinema/WBD

The movie takes place during the Second Age; nearly 200 years before the events of The Fellowship of the Ring. As former childhood lovers become opposing leaders of warring factions, a decisive founding battle for the fate of Middle Earth is set to begin.

Kamiyama has worked on a number of projects I've enjoyed, which include Ghost in the Shell: Stand Alone Complex, Blade Runner Black Lotus (which I've been meaning to take a look at); and "The Ninth Jedi" segment of Star Wars Visions. The animation of the film, while no Ghibli or Ufotable level of quality, does a great job of capturing the overall look and feel of the Peter Jackson films on a smaller scale. That said, I do admit some of the CG backgrounds do make me wonder if I misplaced my Playstation controller at times.

Of course, one thing that bears mentioning is the production of the film. While Kamiyama and his team clearly had enthusiasm for the project; the business side is where things get interesting. While MGM and Amazon currently hold the rights to the books, New Line and WBD still hold a stake in the Peter Jackson films made in years past. One key reason why this film was made is to maintain that stake, something known as the ashcan copy in industry terms. It wouldn't even be the first time this happened with a Tolkien adaptation- just over a decade before the Rankin/Bass animated version of The Hobbit (which featured numerous future alumni from Studio Ghibli in the crew), there was an animated pitch from Bill Snyder that ran all of 12 minutes of storyboards. You see this all the time in the comic adaptation sphere, with the most well-known being the Roger Corman-produced version of the Fantastic Four. That never saw official release (with copies often circulating online), and was made solely to fulfill a contract.

Still, while there are familiar aspects you will recognize (most notably a posthumous appearance from Christopher Lee as Saruman from archive recordings); it does work as an expanded universe story. It's not the biggest movie I've covered or will cover here; but I have no regrets over spending time to watch it. It's no Boy and the Heron, but I give it a 4 out of 5. That's all for now, take care.

Gundam and Voltron: The Curious Case of the Languishing Live-Action Adaptations.

This was certainly not the year I envisioned, and I will have no choice but to deal with what lies ahead as it comes. So, I thought it would be interesting to revisit topics I have touched on before; with live-action anime adaptations that have gone through decades of development Hell. Here's a double bill for you all- Gundam and Voltron: the curious case of the languishing live-action adaptations.

Let's start with Gundam first- over the last couple decades; there have been numerous failed attempts to reboot the franchise in live-action after the poorly-received G-Savior (might even consider reviewing it in the future). I still maintain seeing the RX-78-2 in Ready Player One actually made me less excited about the idea. Still, it bears mentioning as 2018 was the year the most recent attempt started development with Netflix and Jordan Vogt-Roberts ("Kong: Skull Island") attached as director. I even expressed concern about what could happen, if anything at all.

Six years passed, and even with the success of the live-action One Piece (more interested in the second season of that); their version of the project ultimately did not come to fruition. Jordan ultimately moved on to other projects, and the project then was given to Jim Mickle of the highly-acclaimed series "Sweet Tooth." The news was first broken by Deadline last month. Though I admit I consider "Sweet Tooth" to be quite good, it remains to be seen whether or not anything comes of this version. As I have previously stated, some form of live-action adaptation has been in development Hell longer than I've been alive.

On that subject, let's talk about Voltron. Yes, even with the discourse around the last show's highly-controversial finale and its delisting from Netflix (which the creators have maintained is not because of the reboot); the brand as a whole still commands sizable influence among humongous mecha franchises. Granted; it might not be as prolific as fellow IPs, but it does have multiple generations of fans. 

That said, not even the casting of talented performers that includes Henry Cavill ("Man of Steel," "Mission Impossible: Fallout"), Sterling K. Brown and singer/actress Rita Ora is selling me. This most recent pitch is just one of many that has been floated in my lifetime alone (with scripts dating back through the franchise's early days), with Rawston Marshall Thurber only being the most recent director attached. Even as someone who openly admits to not being a huge fan of his work; him at the helm is honestly the least of the concerns I have.

Though the director describes it as a "new generation," his inability/unwillingness to confirm which characters are being used is a major deterrent for myself and others. Even the short-lived "Third Dimension" CG show had the core cast in it. (Side note- that was actually my first exposure to the franchise that I have an admitted soft spot for. Not as good as Reboot or Beast Wars, but you make do in a house that didn't have cable at the time.)

Whether or not anything will come of these latest pitches remains to be seen. However, I only have one modest request: please stop announcing adaptations before you've actually started making them. One adaptation I addressed here had six years of nothing before starting over again; the other has been claimed to be in development so many times the words have lost all meaning. At this point, the most surprising thing would be if they actually got cameras rolling... which is finally happening in Australia. Forget the robotic lions and vehicles, I think pigs are flying.

"Will you be hyped for these adaptations now, sir?" "Hm, no, I still prefer not."

Given how even superhero comic book adaptations are going through another rough patch (with Sony functionally confirming Kraven will mark the end of their SSU), I'm not as confident as I once was in anime and manga adaptations taking their place. For every One Piece or Detective Pikachu we've gotten (Alita Battle Angel and the 2008 Speed Racer have also garnered cult followings), we've had notorious bombs like Dragonball Evolution and the 2017 Ghost in the Shell. Though there have been many saying the movie will be the next Transformers or Power Rangers; I'm not convinced. In my experience, going right for a franchise has never ended well. The idea of simply making and releasing a movie and letting people make their own judgement is becoming increasingly rare. While they're promising a first-run theatrical release; lots of streamers this year have had mixed results in that field, including this film's new distributor.

Until the time comes that they actually release these cursed adaptations (honestly wouldn't put it past these suits to shelve them for a tax write-off), I will not be actively addressing them. That is all for now, take care.

Yo-Kai Watch 4 Localization Likely Dead (And Other Revelations from a Former Level-5 Designer)

Well, this is certainly equal parts disappointing and relieving. After roughly half a decade in limbo, we now have confirmation from a former designer who worked at the Level-5 Abby as revealed in an online interview. The long-dormant localization of Yo-Kai Watch 4 and all that accompanies it is likely as dead as the company branch that was working on it. While this alone is not entirely surprising, it turns out this isn't the only detail to just now be revealed after years (as they sometimes do). Here is why the international localization of Yo-Kai Watch 4 is likely dead; along with other revelations from a former Level-5 Designer.

Before I get started, I would like to thank the Massviews interview with the designer in question, Matthew Matoba. The video is here,  Matt's primary job was working on logos and graphic design; and the words said also seem to corroborate the details shared in the Glassdoor reviews of the Abby. I won't be retreading all the ground covered in the interview; but I will be sharing the key points I need, including the less flattering details about the company. I am well aware the developer still has fans, but even they're realizing lots of the same things I have. 

Right out of the gate, Matt reveals a number of interesting details. On top of corroborating that several projects were pitched to Nickelodeon (who ultimately declined them), it is a relief that he's managed to find work. In this economy, you take your wins where you can.

In what's one of the more troubling revelations, Level-5 was rather hesitant to credit Matthew despite his contributions being quite favorable. He also was never considered for a full-time position (with all the benefits that would entail), and had to interview for the same position each time (which is an alarmingly common occurrence I would appreciate being done away with).

We will touch on this more in a bit, but it's rather alarming that the Abby and Level-5 International weren't in active contact with each other. It's certainly never a good sign when multiple parties on a collaborative work aren't always talking to each other. When that happens, the results can be disastrous (see the massive failure of Concord, which we're still finding out details about as you see this).

On that subject, let's talk Hayakawa Yukari. Of the 20 or so people involved with the company, she was Akihiro Hino's liaison, who was the one most frequently talked to for matters... which ended up as a major problem as time progressed. In fact, she had a habit of giving others and Matt in particular the runaround on top of the aforementioned communication problems. Hayakawa habitually gave people conflicting information, if she gave any at all; and from what Matt said, it just gives off a very unprofessional vibe. That especially applies to the waning days of the Abby; where just one person was on hand until the lights shut off for the last time. I was hoping that fewer companies would be aping the tactics of latter-day Konami; but this seems to suggest the opposite happened. 

Even the localization process itself got less focused and more frenzied after the Yo-Kai Watch original trilogy. The simplest thing of choosing what to bring over got increasingly varied and much less focused; something that got increasingly clear as time went on. Still, Matt is proud of his work on design for YW3; even if it saw release when the Switch had largely overtaken the 3DS in the public consciousness. It took three years of work to happen, with the "Sukiyaki" port being the definitive release that features content from both the "Sushi" and "Tempura" releases (essentially our Yellow, Crystal or Platinum if you will). In fact, in the waning days of the Abby's business, they were giving it their all no matter what. Even with stiff competition from Kingdom Hearts III and the Resident Evil 2 remake; I still maintain they easily made the best game in the trilogy.

Regrettably, after YW3's disappointing sales; Matt also verifies the GI article at the time was accurate, and that Hayukawa quit the company before the Abby as a whole closed down. Though it was initially believed that Nintendo were the ones mishandling YKW outside Japan, it turns out that according to Matt; Level-5 made the self-publishing decision after disagreements about revenue shares and promotion. He also specifically cited the time Perlmutter threatened to fire RDJ from the MCU; which was the final straw for Feige, who successfully got Bob to side with him. (Side note: Ike's tenure at Marvel was controversial for a multitude of reasons; but for the sake of argument, I tend to focus on his volatility as a businessman.) Matt suggests it was a 30% revenue share, which is fairly standard in this business.

Now comes the big title that many have been waiting to hear about. Though there was indeed a plan to localize Yo-Kai Watch 4, Matt divulged that it was functionally canceled when the Abby closed. He said, "Yo-Kai Watch 3's failure was too severe, combined with Snack World's and a generally declining game state. Shortly after the announcement, we all knew it was canceled. Wasn't the intent to lie, ever. Regarding whether I think they'll bother in the future- sorry, I know they won't." Had a feeling after five years of silence, but now someone on the inside gave us the clearest de-confirmation we're likely to get.

Hearing the revelation that the YW4 localization functionally died with the Abby from a former employee  definitely brings mixed reactions. On one hand, it's certainly disappointing that a game that could have been a much more promising return to the West has been shelved in favor of a project that has more pitfalls of its own (we'll talk more another time). On the other, it's relieving that people can stop pining over the matter after years of silence and find other titles to fill the void.

Yet, there's still more details revealed by Matt. YW4 wasn't the only cancelation, but it was the most prominent. There were the aforementioned pitches Nick passed on (to be fair, they have a habit lately of not pushing stuff that isn't related to SpongeBob, TMNT, The Loud House and now Sonic), but beyond that; there were smaller pitches that never really made it.

The withdrawal of Level-5 from US markets in 2020 also scuppered porting the second Professor Layton trilogy to mobile phones. Matt was assigned logo design before that happened; and as he also said, "COVID ended plans for a lot." He even at one point compared his experience to an under-appreciated mother; which is a fair assessment based on other accounts from former employees.

Matt also laments the use of AI in design; including within the company he used to work for. I do not know what the long-term impact of such apps will be. In the short term, though; I am relieved to see the public response to both Toys "R" Us and Coca-Cola remaking their vintage ads in AI be a near-universal rejection. Good a time as any to wrap it up then.

It is admittedly disheartening to see a company once viewed as an antidote to the likes of EA, Ubisoft and Activision fall into many of the same ethically dubious practices of those companies. It's another story that definitely falls under the "sausage principle"- as in, many people like to eat it; but not as many like to know how it's made. It's not a total surprise the office was in the same area as Riot Games of League of Legends fame; who have had a litany of controversies of their own.

Honestly, it will be a miracle for Level-5 to regain the respect they once had; let alone the success. It will certainly not be the last time this comes up in regards to Holy Horror Mansion either. That will likely not be until spring 2025 at the earliest; I mainly wanted to address this while the information was still new, and so you all don’t just think I'm playing my Switch and watching Moana 2 (which is also true). That will be all for now, take care.

Review- "Detective Drizzile" (Pokémon Master Journeys)

Dedicated to the memory of Billy Kametz

1987-2022

I have been contemplating how to do this episode for a while; as well as to pay tribute to Billy Kametz after he succumbed to cancer at age 35. Now, that time is upon me- let's open up "Detective Drizzile."

We open on Cerise Labs in Vermilion City one night, where Drizzile is still adjusting to its Stage 1 form- no longer a basic Sobble, not yet the Stage 2 spy Inteleon. Elsewhere, trouble is brewing inside the lab. 

The EN opening theme, "Journey To Your Heart" may not be the bop the last season's dub theme was; but I think it works fine in capturing the spirit of adventure and fun they're going for.

The next morning at breakfast time, it's discovered that one of their databanks was stolen! The files contained the research they'd collected up to that point. Ash starts searching on the ground, with Goh telling him that "data doesn't just fall out." Tell that to WB Discovery and DC Comics.

Anyway, they set about backing up the files and encrypting them. However, as Ash and Goh try to determine their next move; there's still a plant inside the lab who anticipated this.

Goh then feeds Drizzile, and this edgy water lizard is prepping their own plan of action. Elsewhere, an individual is watching through a hidden camera; already working on cracking the encryption.

Sure enough; the lab has been hit again, but now they know for sure the culprit will try again. The lab prepares another backup; this time with the specific purpose of catching their data thief. As the night comes again, Drizzile has been training for this moment.

As Goh and the others search the lab, the culprit slips in to make a move on the newest backup. However, this time; they're ready for it as Drizzile stops the thief from taking the latest backup! Undeterred, the culprit attempts to escape to the roof of Cerise Labs!

It's a Kecleon that's been made, but it turns out that it was only an accomplice for the real thief! His name is Gizmo Bilt, who sounds kind of like the Teen Titans character and acts like Baxter Stockman from the original TMNT. An "all hands" is called as the thieves are confronted on the roof!

Gizmo's intent is to use the stolen data to start his own laboratory; though given his IT "L33T HAXXOR" skills and gear, he certainly could market his skills legitimately. More on that in a moment, as Kecleon and Drizzile clash on a lower floor!

Up against the wall in more ways than one, a bright glow fills the space as Drizzile evolves into Inteleon! Renewed with its signature move, Snipe Shot, he's ready to defend the lab and his friend.

After nailing Gizmo's jetpack, shooting him out of the sky; Cerise confronts Gizmo. He can also tell right away he still has the files, and after demanding their return; he agrees to give his autograph in exchange. Now if only the "Tera leak" had this easy a resolution.

We close on Goh bonding with his newly evolved Inteleon, vowing to keep improving and reaching new heights together.

Once again, what I intended for a much quicker turnaround ended up taking much longer than I expected. All the same, I'm once again glad it's finally done.

While he may not have had a long life; the roles he had definitely left an impact in that time. Outside this anime, he was also the voice of Josuke in Jojo's Bizarre Adventure: Diamond is Unbreakable, Nevareth in The Owl House and Durham in BEASTARS.  His roles as Ren and Inteleon are among many contributed to this anime alone; and why I am glad to finally have this done. That's among the many reasons why I enjoyed JN, and why I recommend "Detective Drizzile." That will be all for now, take care.