Anime

Episode 5 – Go For It, Nakamura-kun!!

Published

4 months ago

April 26, 2026

Wow, this episode sure gave me a lot of whiplash. On the one hand, I think this episode might’ve had the best build up and pay off to a joke in the entire show so far. I was genuinely wondering what was going on during the first half of this episode revolving around Takeuchi getting touchy with Hirose. I think the humor was supposed to be derived from Nakamura getting progressively more petty and frustrated with seeing the exact type of friendship he wanted to have with Hirose. Granted, a lot of what Takeuchi was pushing was explicitly not casual friendship stuff like holding hands and sitting on each other’s laps. Hirose was also regularly making it clear that he wasn’t totally on board with some of the things that were going on. But he went along with it anyway.

I thought the joke was going to be something along the lines of bodybuilding or something, but having the punchline to the joke explicitly be gay-baiting was actually kind of brilliant. I don’t understand what leaps in logic you have to go through to think that being overly physically affectionate with your friend of the same sex is a great way of engaging with someone of the opposite sex, but I guess it worked out in the end, right? I loved Hamaoka’s response saying that she will go out with Takeuchi as long as he keeps flirting with his male friends so she can continue her boys’ love fantasies with her friends. I hope I see more of this couple in future episodes, because this strange yet unique dynamic could warrant a show all on its own.

Where the episode begins to lose me is in the second half when the teacher, Mr. Otogiri starts to get involved. Now, I am very well aware of the fact that there were a lot of statements made by the original mangaka of the series both prior to and during this anime airing. Originally I was coming down a lot harsher on the second half of this episode because at the very least, I was confused with regards to how I was supposed to interpret a lot of the actions between Otogiri and Hirose. Hirose does seem to hold a level of respect for Otagiri as a cool role model. I don’t have that strong of a grasp on Hirose’s character much because the most I’ve seen him is through the lens of Nakamura, who definitely glorifies him more than he is willing to admit. But Hirose definitely seems to act a little bit differently around Otagiri compared to how I’ve seen him interact with the other students. The show almost seems to skirt this line between it being just student admiration and it being some kind of crush. Students get crushes on their teacher all the time, so that on its face isn’t really bad, but what could be bad is how specifically the show handles that student-teacher dynamic.

Syundei, the original mangaka, has made it clear that they do not endorse any behavior that could be potentially problematic in these works of fiction. In fact, my interpretation of Syundei ‘s statements seem to be that they might express a little bit of regret over portraying certain dynamics in their stories so casually, like significant age gaps in adult/minor relationships. Again, I have not read all of their other works so I can only judge the anime as it is being presented to me right now, but I do think it is commendable that a writer is willing to reflect on what type of stories they are telling and is at least open-minded as to why some people might not be such a fan of those types of story beats. Does this mean that I don’t think those ideas should be used at all? No, I am personally of the opinion that you should be able to tell a story about pretty much anything, but there does need to be a certain level of care in these stories. After all, you don’t want to accidentally give the wrong impression on how certain situations should be handled or accidentally glorify something that could have real world consequences on the very people who are consuming your media.

My problem with the second half of the episode, though, and how this specific situation was handled is that it’s very clunky at best and arguably doesn’t really fix the issue at worst. The main sticking point of this episode is that Hirose straight up asks Otogiri for his contact information. The comedy is supposed to be in how Hirose is progressively trying to get closer to Otogiri, and Nakamura is losing his mind witnessing all of this in a way similar to how he was in the first half of the episode. The funny thing is that Otogiri explicitly makes it clear that it would be going too far for them to exchange personal information. But then, literally ten seconds later, they exchange contact information and it’s not really addressed again. In fact, Nakamura is going on a ranting monologue about how inappropriate the relationship is. So…what exactly was fixed about this scene?

Just because you draw attention to a problematic situation doesn’t really make it better that you just do the thing anyway. If anything, I would almost argue that makes it worse because you’re explicitly drawing attention to it. Plus, if the idea is for the anime to scale back or tone down a lot of the questionable content of the original manga, and why is the scene even in the episode at all? The only thing I can think of is that it’ll potentially be an important plot point later on? But I feel like you could’ve written around that, since it is not uncommon for a teacher to have a student’s contact information since that could be filed away. It’ll be especially weird if this plot point just never gets brought up again, because it could have easily been cut from the episode and it wouldn’t really change a thing.

I’m not really laughing at Nakamura’s over the top reactions, even when the voice actors are putting their soul into it because he’s right, this isn’t really appropriate. It’s just sort of happening and I’m left sitting there feeling really uncomfortable. What is all of this supposed to lead to? If anything, I am curious about that. I’m curious if Nakamura’s actually going to draw attention to it or if this is going to come up again at all. This episode definitely was one that I didn’t think I’d end up writing so much about, but considering all of the thought that went into portraying this stuff, I feel like it was only fair that I gave it as thorough of a breakdown as I could.

Rating:

Bolts also streams regularly on Twitch as the indie VtuberBolts The Mechanic where they talk about and play retro media!

Go For It, Nakamura-kun!! is currently streaming on
Crunchyroll.

The views and opinions expressed in this article are solely those of the author(s) and do not necessarily represent the views of Anime News Network, its employees, owners, or sponsors.

Anime

Chiyo from The Elder Sister-Like One has been turned into a 1/6-scale figure! Pre-orders begin on Friday, July 17th!

Published

37 minutes ago

August 10, 2026

qasimgillani

Aug 10th 2026

The Elder Sister-like One is an original manga series created by manga artist and illustrator Pochi Iida. It began commercial serialization in Dengeki G’s Comic in 2016 and has since become a popular series, and projects such as voice dramas have been launched to celebrate its 10th anniversary in 2025.

Theis Chiya 1/6 Scale Figure is a recreation based on an original illustration drawn by Pochi Iida for Comic Market. She is sculpted with a bewitching expression as she shoots an upward glance that seems to beckon its viewer. Her stunning proportions have been recreated with intricate details expressing soft, realistic skin textures. Attention especially went into the contrast between the tentacles and beautiful black hair wrapping around her legs and her translucent skin.

Furthermore, this is the first The Elder Sister-like One figure with detachable parts. By swapping out certain parts, you can recreate her in an even sexier state.

Product Name: The Elder Sister-like One Chiyo 1/6 Scale Figure
Sculptor: miya

Cooperation: Thousand inc.

Paintwork: Yousuke Sudo

Planning and Production：KDcolle (KADOKAWA Collection)

Released by KADOKAWA

Product Page
amiami.com

https://www.amiami.com/eng/detail/?gcode=FIGURE-205321

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Anime

Loading into Cyberpunk: The Ghost in the Shell Director Mokochan, Character Designer Shūhei Handa – All the News and Reviews from Anime Expo 2026

Published

2 hours ago

August 10, 2026

qasimgillani

01-tgits-kv-3rd — © 2026 Shirow Masamune/KODANSHA/THE GHOST IN THE SHELL COMMITTEE

Ghost in the Shell may be one of the most revisited worlds in the anime medium. Across decades, fans have followed Major Motoko Kusanagi across multiple continuities, each imbued with a vision of a startling technological future.

Following in the footsteps of esteemed creators is Mokochan. The director is making his full-fledged debut in Science SARU‘s The Ghost in the Shell after previously working with studio founder Masaaki Yuasa on the Golden Globe-nominated film, INU-OH. Joining Mokochan on the project is character designer and animation director Shūhei Handa, a Trigger studio collaborator whose punchy, cartoony style appeared in episodes of Kill la Kill and Scott Pilgrim Takes Off.

At Anime Expo, we talked about Ghost in the Shell‘s legacy, and how despite all of its technological advances, the series’ creation is still powered by humans.

So my first question is for Mokochan; you’re now among well-respected creators such as Mamoru Oshii-san and Kenji Kamiyama-san. Mokochan, how does it feel taking the reins of such an important anime franchise?

MOKOCHAN: I got a lot of pressure while producing this new franchise, but I want to make it into an amazing work of art, including supervising all of the animation. I check those details very seriously.

The different iterations and continuities of Ghost in the Shell all offer alternate views of our future world. What makes The Ghost in the Shell unique compared to the other versions?

MOKOCHAN: Because this new series is completely based on the original manga, we didn’t modernize it. That was not our intention. And the original manga was created in 1989. In that era, we didn’t even have mobile phones. Also, monitors weren’t like the LED style; they were all CRT. So we tried to capture the same feel and make everything match the concept in the original manga. It’s not updated. It’s more focused on the retro future.

What parts of Masamune Shirow‘s original story feel the most relevant to the time we’re living in right now?

HANDA: AI technology. That’s what I think. Because we’ve been hearing a lot of things about AI recently. AI is kind of becoming the mainstream right now. That’s why I think it’s the most relevant component of the series.

the-ghost-in-the-shell-4.1.png — © 2026 Shirow Masamune/KODANSHA/THE GHOST IN THE SHELL COMMITTEE

This might be a little bit off topic. I was in Japan in March, and I went and saw the Sailor Moon stage play that they had at a hotel there. And even the topic of that new stage play was about AI. AI really does seem to kind of be everywhere right now.

HANDA: It’s a sensitive topic.

Yes. Do either of you have a feeling whether AI in The Ghost in the Shell is shown in more of a positive sense or a negative sense, or both?

MOKOCHAN: It’s neither.

HANDA: It’s not positive or negative.

© 2026 Shirow Masamune/KODANSHA/THE GHOST IN THE SHELL COMMITTEE

It just depends on how it’s used. Are there other cyberpunk or science fiction stories that had a strong influence on you as a storyteller?

MOKOCHAN: There are a lot. So it’s really hard to just say, “just choose one of them.” Because I reference a lot of work and projects, I don’t want people to think, “They’re just focusing on some of the examples.” So it’s better not to mention any of them. There are almost 100 [influences].

Okay. So viewers should just watch and see what they might notice.

MOKOCHAN: Yes. So fans can definitely look for them. If they realize some of the references mentioned in the series, it’s fine for them to find those details. But there are just so many, so it’s kind of difficult to mention all of them.

And I don’t want to limit the vision to just a few, because that’s not accurate.

Major Motoko Kusanagi remains an all-time favorite anime character. What do you think is her long-lasting appeal?

MOKOCHAN: Major Kusanagi is kind of mysterious and very cool, but actually she is very human. So for the fans, when they watch the series, it’s kind of very easy for them to put themselves into this character. For example, even a normal human has a lot of concerns about humankind and the lives they’re living in this world. So it’s just normal. Just a concept of a normal human being. And Kusanagi also has that concept in her character.

I see. Handa-san, you were brought onto the project for the character designs. Can you discuss working on the new character designs? Was the approach to closely adapt Shirow-sensei’s original character designs?

HANDA: So when I joined the project, they’d already decided to make this new series based on the original manga. So I tried to follow the original manga while keeping the authentic parts of its art style. For Aramaki and Tokusa, the eye design is just very simple black dots. I didn’t try to emphasize the character or make them the main character. I didn’t adjust it. I just kept the character role as is.

Mokochan-san, prior to The Ghost in the Shell, you worked on other projects for Science SARU including DAN DA DAN, INU-OH, and Scott Pilgrim Takes Off. Can you give examples of techniques that you honed during your previous projects and how they helped you on The Ghost in the Shell?

MOKOCHAN: When I worked on this project with Science SARU, I actually worked under Yuasa as his assistant to learn how to make animation, and the technique he learned from his master was to use animation to do the storytelling. And the director of DAN DA DAN [Fūga Yamashiro] is also my co-worker, so he also specialized in storytelling in an animated style. I think that definitely helped.

I got to meet Yamashiro-san at AX not last year, but I think the year before, and he showed his storyboards to me, and it was so impressive. He also seems to really love Ultraman.

Given its focus on technology, I wanted to ask which tools you used during the production process that had an impact on The Ghost in the Shell? Either the look, the coloring, or anything like that.

MOKOCHAN: For The Ghost in the Shell, it’s the human body. The main concept in the original manga is to showcase what a human being is, so we would like to follow the same concept when making this new series. We need to make the body move, and that’s why I focus so much on the hand-drawn art style. So the human body was really helpful during the process.

So even though it’s anime that features advanced technology, you could say that it’s powered by humans.

BOTH: Exactly.

the-ghost-in-the-shell-4.6.png — © 2026 Shirow Masamune/KODANSHA/THE GHOST IN THE SHELL COMMITTEE

If offered the opportunity to get your own cyber brain implant, would you do it?

HANDA: Yes. Immediately.

MOKOCHAN: For me, it depends on the price.

HANDA: Only the cyber brain? I’d buy the eyes and also an arm—a mecha arm.

Yeah. Then your muscles wouldn’t get sore anymore.

HANDA: To draw animation, I want a mecha arm.

Anime

‘Mushoku Tensei III’ Reveals Additional Cast, “Chaos Breaker” Promo

Published

2 hours ago

August 10, 2026

qasimgillani

The official website for the television anime adaptation of Rifujin na Magonote‘s Mushoku Tensei: Isekai Ittara Honki Dasu (Mushoku Tensei: Jobless Reincarnation) light novel revealed additional cast and the “Chaos Breaker” promotional video for the third season on Monday. The anime premiered on July 6 at 12.00 a.m. on Tokyo MX and BS11, followed by KBS Kyoto, and Sun TV.

Cast

Perugius Dola: Rikiya Koyama (Fate/Zero)

Sylvaril: Ayumi Tsunematsu (Awajima Hyakkei)

Atoferatofe Rybak: Nanako Mori (Kidou Senshi Gundam SEED Freedom)

Ryousuke Shibuya (Saikyou Onmyouji no Isekai Tenseiki) is directing and handling the series composition for the third season at Studio Bind, with Naoto Taniuchi (Ruri no Houseki script) also handling the series composition. Sanae Shimada (Photokano) and Ryouta Furukawa (Kaijuu 8-gou animation director) are designing the characters. Yoshiaki Fujisawa (No Game No Life: Zero) is composing the music.

Produced by Studio Bind, the 23-episode first season aired in split cours in Winter 2021 and Fall 2021. The 24-episode second season premiered in two parts, with the first part in Summer 2023 and the second part in Spring 2024. Funimation and Crunchyroll simulcast the anime series with English subtitles, respectively.

Rifujin na Magonote penned the adventure fantasy novel on the Shousetsuka ni Narou website between November 2012 and April 2015. Kadokawa began printing the novel with illustrations by Sirotaka under its MF Books label in January 2014 and released the 26th and final volume in November 2022.

Yuka Fujikawa began serializing a manga adaptation in Comic Flapper magazine in May 2014. Kadokawa published the 24th volume on February 24, with the 25th volume scheduled for a September 18 release.

Seven Seas Entertainment licensed both the light novel and manga in English and published the 26th and final light novel volume in March 2024. The 23th manga volume went on sale on July 21, while the 24th volume will be released in March 2027.

PV (Chaos Breaker ver.)