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Episode 7 – Agents of the Four Seasons: Dance of Spring

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I’ve been begging Agents of the Four Seasons to get a move on with its story for weeks. I guess dropping a ballistic missile right on top of the characters’ heads is one way to go about doing that. Lest anyone get their hopes up too much, though, this is still Agents of the Four Seasons we’re talking about, here. Outside of that very literally explosive finale, the majority of “Dusk” has the Agents and their Guards doing the same thing they’ve been doing for most of the last seven weeks: talking about trauma, recapping what’s already happened, and dropping vague hints of exposition about the Insurgents.

First, I do have some positive marks to award for the episode. At first, I was ridiculously annoyed by the cutesy-poo tyke that is the Agent of Autumn, Nadeshiko, and her obsessive, almost creepy Guard, Rindo. Imagine my surprise, then, when Rindo immediately turned off his knight-in-shining-armor routine the minute he left Autumn to her own devices, and we discover that he’s a fairly down-to-Earth, no-nonsense bodyguard. Rindo’s friendship with the chatty technician who works at the decked-out compound where Nadeshiko is being kept is quite charming, too. It’s a shame that these likeable new characters don’t really get to do much other than pontificate about Sakura and Hinagiku’s trauma even more, because that well has truly been drained and paved over with cement at this point. Still, given that the Autumn Compound is what ends up getting exploded by that missile at the end of the episode, I guess I’m more invested in this wedge of the plot than whatever is going on with Rōsei and Itechō.

Speaking of “Rōsei and Itechō” and “not doing much of anything,” you’ll never guess what our favorite Agent and Guardian of Winter are up to this week. That’s right: They continue to sit around and chat about plot stuff that still hasn’t actually become relevant to the overall story. It doesn’t help that these two stoic loaves of bread are the least interesting members of the entire cast by a good margin, but I sure would love it if we could get some more scenes like the one where Rōsei used his ice powers to save that family who crashed their car. That was, you know, something that happened. It turns out that actually watching this guy protect people with his power is way more interesting than watching him mope about wanting to protect people with his power.

Really, even the spare breadcrumbs of lore that we do get are more frustrating than anything, at this point. When Itechō brings up that he’s worried about how strange the Insurgents are acting, I had to pause the episode and furiously add to my notes, “What does that even mean!?” Like blowing up eight-year-olds with weapons of mass destruction is definitely some kind of escalation, but we’re almost three-quarters of the way through this season, and we don’t even know what the creepy kidnapping Insurgent Lady and her goons are trying to accomplish. What do the Insurgents normally get up to, Itechō? What are their typical nefarious schemes of global destruction? Please, tell us. We’ve all been waiting very patiently.

Oh, Hinagiku and Sakura spend the whole episode at the gift shop. It’s positively riveting storytelling, I’ll tell you what. I was thinking about tacking on an extra half-star to reward Agents of the Four Seasons for bringing an ICBM into the equation, but the more I think about the pacing of the episode and the reveal of that plot device, the more irritated I become. It’s the cheapest kind of emotional manipulation to introduce a sickly-sweet child character who exists only to be blown up by terrorists, and I can’t even be sure that Agents of the Four Seasons is going to do anything meaningful with all that nonsense. For all I know, next week might be entirely dedicated to Hinagiku and Sakura spending another half-hour dealing with traumatic flashbacks and suspiciously platonic love confessions in that damned gift shop.

Episode Rating:




Agents of the Four Seasons: Dance of Spring is currently streaming on
Crunchyroll.

James is a writer with many thoughts and feelings about anime and other pop-culture, which can also be found on BlueSky, his blog, and his podcast.


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.

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OceanVeil Streams Even the Student Council Has its Holes! Anime on October 3 – News

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Anime debuts in Japan on Saturday



Aniplex USA started streaming the English-subtitled main trailer for the television anime of Muchimaro‘s Even the Student Council Has Its Holes! (Seitokai ni mo Ana wa Aru!) four-panel manga on Tuesday, and revealed that the anime will stream on OceanVeil on Saturday.


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Image via Even the Student Council Has its Holes! anime’s X/Twitter account

The anime will debut on Saturday and will air on Tokyo MX, BS11, Gunma TV, and Tochigi TV. d Anime Store and AnimeFesta will stream the anime both in its “on air” version and its “unrestricted” version in Japan starting on Saturday.

The series stars:

Naoyuki Tatsuwa (Ōmuro-ke, Gourmet Girl Graffiti, Nisekoi – False Love, Promise of Wizard) is directing the anime at Passione, Ryo Imamura (ONIMAI: I’m Now Your Sister!) is designing the characters and is the chief animation director, and Masahiro Yokotani (Makeine: Too Many Losing Heroines!, Re:ZERO -Starting Life in Another World-, Beelzebub, The Devil Is a Part-Timer!) is overseeing and writing the series scripts.

Other staff members include:

Sangatsu no Phantasia performs the opening theme song “Kaze no Naka wa Hashirukkya Inai,” and Akari Nanawo performs the ending theme song “Pi.”

Seven Seas publishes the manga in English and describes the story:

In a student council filled with weirdos, one new member is about to have a hell of a school year! Mizunoe Ume just wanted to avoid repeating a grade when he joined the student council. After all, it seemed like an easy fix to his current academic problems. But then, he met his fellow council members. Each of them is eccentric in their own way—one’s an airhead, another’s scary, one’s secretly a pervert, but all in all, they’re just really weird! Yet somehow, they’re also oddly cute and endearing. Which means Mizunoe is stuck with them and all the chaos they bring to the table. Get ready for a slice-of-life manga that’s irresistibly charming, quirky, and a little bit naughty!

Muchimaro launched the manga in Kodansha‘s Weekly Shōnen Magazine in 2022. Kodansha shipped the 13th compiled book volume on August 17. Seven Seas shipped the first volume on September 8, and will ship the second volume on December 8. K MANGA also publishes the series in English digitally.

The manga received an animated ad in July 2024. The manga won in the print category of the ninth Next Manga Awards (Tsugi ni Kuru Manga Taishō) in 2023.

Source: Aniplex USA‘s YouTube channel


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When Webtoons Step Out of the Screen: A Visit to K-Comics Origin Los Angeles

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Photography by Wonhee Cho

The Korean Culture Center Los Angeles, in partnership with the Korea Creative Content Agency (KOCCA), is hosting the 2026 K-Comics Origin Los Angeles – Korean Webtoon Experience Exhibition from September 11 through October 17. The exhibition explores the 100-year history of Korean comics, the evolution of webtoons as a distinct format, and their growing role as a source of IP for Korean content.

The exhibition focuses on three internationally popular Korean webtoons: All of Us Are Dead, Omniscient Reader’s Viewpoint, and Solo Leveling. Visitors can encounter characters and scenes from the works in person and explore their worlds through interactive kiosks. The exhibition also showcases examples of webtoon IP being adapted into dramas, animation, and games, offering a look at how a single story can expand across different media and genres.

A Visit to the Exhibition

Webtoons are rarely presented as a formal exhibition rather than a pop-up event. With three of the most widely recognized Korean webtoon properties featured, including works adapted into multiple forms of media, I visited the exhibition with fairly high expectations.

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Photography by Wonhee Cho

Visitors first encounter a staircase leading to the second-floor exhibition space, with the Korean titles of the featured works already visible along the way. At the top is a brief introduction to the history of Korean comics, fitting the exhibition’s K-Comics Origin title, followed by displays dedicated to the three featured works.

As an experience-focused exhibition, the displays are broadly divided into two sections. One recreates locations and scenes from the webtoons as photo spots and interactive spaces, while the other takes an archival approach to showing how the original webtoons have expanded into other forms of media.

Examples include the classroom blackboard from All of Us Are Dead, the Oksu Station setting from Omniscient Reader’s Viewpoint, and life-size character displays from Solo Leveling.

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Photography by Wonhee Cho

There are also several interactive exhibits. Visitors can play a Solo Leveling game and speak Korean lines into a microphone to trigger corresponding video clips. One of the most memorable displays for me was a machine that allowed visitors to draw Solo Leveling character photo cards. As a fan of Sung Jinwoo, I tried several times until I got the character I wanted.

Although the exhibition space isn’t particularly large, it makes good use of what it has. The emphasis on participation rather than simply viewing the displays makes the experience more engaging. Given that admission is free, the exhibition also offers a lot for visitors to experience.

I saw visitors taking photos at the Omniscient Reader’s Viewpoint photo spot, and they appeared to be enjoying themselves. In that sense, the exhibition succeeds in both introducing the global reach of Korean webtoons and giving fans a chance to interact with the properties they already love.

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Photography by Wonhee Cho

There are, however, a few areas where I wanted more.

Given the title K-Comics Origin, I would have liked to see a broader selection of webtoons alongside the three major properties. As a longtime webtoon reader and one of the few journalists in North America who regularly cover the Korean webtoon industry, I was also hoping to see more displays focused specifically on what makes webtoons unique as a medium.

Instead, much of the exhibition explains webtoons’ influence through their adaptations into animation, games, and live-action series. These properties have been successfully adapted across multiple forms of media for a reason: the strength of the original webtoons themselves.

Still, the exhibition could have been even stronger with displays exploring the production process of webtoons or other elements that highlight the medium’s appeal.

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Photography by Wonhee Cho

Exhibition Information

The Korean Culture Center Los Angeles and KOCCA’s 2026 K-Comics Origin Los Angeles – Korean Webtoon Experience Exhibition runs from September 11 through October 17 at the Korean Culture Center’s second-floor Art Gallery.
Admission is free. The exhibition is open from 9:00 a.m. to 5:00 p.m. on weekdays and from 9:00 a.m. to 1:00 p.m. on Saturdays.

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A/V Post-Production Company Salami Studios Closes – News

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Salami Studios worked on recording for Cyberpunk 2077: Edgerunners 2 anime


Salami Studios
Image via Salami Studios

Audio/video post-production company Salami Studios announced on Monday that it is closing.

Salami Studios worked on multiple anime and animated series over the course of its 30+ years. The recording studio most recently did work on the Cyberpunk 2077: Edgerunners and the upcoming Cyberpunk 2077: Edgerunners 2 anime. The company also did ADR production for the Kekkaishi, Monster, The Prince of Tennis, Star Wars: Visions, Buso Renkin, and Honey and Clover anime. The studio also handled audio post production and dialogue recording for the Castlevania: Nocturne animated series. It worked on audio for other animated series such as King of the Hill, Jackie Chan Adventures, He-Man and the Masters of the Universe, SpongeBob SquarePants, Avatar: The Last Airbender, The Boondocks, and Monsuno.

Cyberpunk: Edgerunners, the anime series by Studio Trigger based on CD PROJEKT RED‘s Cyberpunk 2077 game, debuted on Netflix in September 2022. The Cyberpunk: Edgerunners 2 anime will debut on October 20 on Netflix. The first episode had a premiere screening at Anime Expo on July 3.

Source: Salami Studios‘ Instagram page


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