The official website for the Tasokare Hotel -Tsubomi- smartphone game announced on Wednesday that the game is ending service on November 30 at 12:00 p.m. JST.

Sales of in-game currency have halted. Players can request refunds until the game ends service. Following the end of service, players will still be able to open the app, but they will not be able to access game content.

Tasokare Hotel -Tsubomi- launched in March 2025. It is a sequel adventure game with a new protagonist and characters, new story, and revamped game system.

SEEC‘s Tasokare Hotel game launched for iOS and Android in 2017 and has over 1.1 million downloads worldwide. A remake with new elements and features titled Tasokare Hotel Re:newal launched for iOS and Android in Japan in December 2022, and the remake game’s Steam version launched in Japan in January 2024.

The mobile game inspired a television anime on Tokyo MX in January 2025. The anime streamed on Prime Video, It’s Anime YouTube channel, Tubi, Plex App, Anime Onegai, TVING, bilibili, and Anime Key in over 100 countries and territories.

It’s Anime! describes the anime adaptation’s story:

“TASOKARE HOTEL” is a hotel that is engulfed in twilight all day long, with no distinction between day and night.

It exists as a place between life and death, where souls unable to decide whether to move on to the afterlife or return to the present world can rest their wings.

The protagonist, Neko Tsukahara, wanders into “TASOKARE HOTEL” without remembering who she is or why she’s there.

Guided by the hotel staff, she is led to her room.

“There should be items related to the customer’s memories in the room. These might serve as clues to help the customer regain their memories.”

While searching for a way to return to the present world and remembering who she is, she encounters a certain incident…

The game’s original author Benoma Ray and concept creator SEEC stated that the anime version incorporates “developments that add unique charm only possible in this medium,” and that they have “crafted a work that will bring new surprises and emotions even to fans of the original [game].”

The original game also inspired both a stage play and a webtoon.

Sources: Tasokare Hotel -Tsubomi- game’s website, 4Gamer (簗島)

2nd season debuted on Thursday

Netflix began streaming on Thursday an English-dubbed version of the second promotional video for the second season of the television anime of Kōcha Agasawa‘s The Ramparts of Ice (Koori no Jyōheki or Ice Castle Wall) manga. The video features the four-piece band THE BEAT GARDEN‘s opening theme song “Escort.”

Superfly perform the ending theme song “Hanakage.”

The second season premiered on Thursday. The new season again airs on Thursdays at 11:56 p.m. (10:56 a.m. EDT) on TBS and 27 affiliated channels. It also streams on Netflix, as well as other services in Japan.

The manga centers on Koyuki Hikawa, an aloof high school student who has a hard time getting close to others, and who builds a wall between herself and other people. Although she spends her time alone at school, for some reason Minato Amemiya keeps getting closer to her. The frustrating story of youth follows the lives of four somewhat complicated individuals: Koyuki and Minato, plus the popular girl Miki and the laid-back boy Yōta.

The cast includes:

Mankyū (Pui Pui Molcar the Movie: MOLMAX, Sumikkogurashi – Good to be in the corner, The IDOLM@STER Shiny Colors) is directing the anime at Studio KAI. Yasuhiro Nakanishi (Kaguya-sama: Love is War, Toilet-Bound Hanako-kun, Mecha-Ude: Mechanical Arms) is in charge of the series scripts. Miki Ogino (Osana Najimi no Carbou) is designing the characters. Kanade Sakuma and Natsumi Tabuchi are composing the music.

The first season premiered on TBS and 27 affiliated channels on April 2 at 11:56 p.m. in Japan. The season then debuted globally on Netflix on April 2, and it is also streaming on other services in Japan.

Agasawa (You and I Are Polar Opposites) originally serialized the manga as a webtoon on the LINE Manga app from January 2020 to April 2022. Shueisha published the manga’s 14th and final compiled volume (reorganized for volume format) in February 2025.

The manga ranked at #15 for male readers in the 2024 edition of Takarajimasha‘s Kono Manga ga Sugoi! (This Manga Is Amazing!) guidebook in December 2023, and also was nominated for the 69th Shogakukan Manga Awards in 2023. The manga placed second in May 2024 in the “Vertical Scroll Comic” section of the second Rakuten Kobo E-book Awards. Additionally, the manga ranked #2 on AnimeJapan’s sixth “Most Wanted Anime Adaptation” poll in 2023.

Source: Netflix‘s YouTube channel

In a never-ending sea of isekai titles where our protagonists are reborn into wealth as a child or adolescent and are overpowered, Hell Mode should, theoretically, be a breath of fresh air: Our protagonist—formerly a hardcore gamer named Kenichi Yamada, now named Allen—is reincarnated as a newborn baby into absolute poverty, with summoner abilities that are unique but demand a truly staggering amount of grinding for him to learn, let alone level up. This is because Allen (or, depending on how you see it, Kenichi) has been reborn into the world of a game that he’s playing on the hardest possible difficulty with the hardest possible settings—the game’s Hell Mode. Indeed, our protagonist sought out a grind-heavy trudge, and for better or for worse, he found it.

While not as much of a slog as its light novel source material, few introductions in anime are as slow and tedious as Hell Mode‘s—which follows Allen’s life as an adult-brained, newborn baby trying to grind levels by doing simple tasks like throwing rocks, at least at the beginning. Because nothing says thrilling like watching someone throw rocks at trees while they think about their stats. He does soon move beyond the realm of rock throwing, to be fair, but never beyond obsessively thinking about his stats. And since there’s nothing in the realm of story this season, you’re definitely going to notice how much Allen thinks about his stats, because there’s not much of anything else going on. Ironically, this gives this anime a slowness that it was obviously trying to avoid, considering how breakneck fast things are happening in this anime compared to the light novel.

I seriously can’t emphasize enough that flawed as this anime is, it’s still an infinitely easier way to consume Hell Mode‘s anime than its source material, which gives way too much real estate on each page to the granular details of Allen’s stats. The pacing is infinitely faster by comparison, and you don’t have to wade through Allen going through stat screen after stat screen after stat screen. Still, that doesn’t mean the pacing is great in Hell Mode, nor is it without its overly detailed explanations of Allen’s stats. Hell Mode very obviously revels in the fine details—the hyper-specific hows and whys—of Allen’s leveling up process. It’s numbers all the way down, and for those of us non-accountants, it does feel like, well, Hell Mode having to sift through it all to get to anything else. Or at least, it would be if there was anything else to get to.

When you take all the numberslop of it all out of the equation, there’s not really anything left in this season of Hell Mode since that’s all this season revolves around. Allen promotes himself from throwing rocks at trees to getting his summons to fight monsters that, up until the very end, never rise above mid-tiers. To emphasize: Allen isn’t personally fighting them; he’s having his summons do the work for him. And these fights lack the spectacle, hype-factor, or cool choreography you might crave in an anime fight, because they often boil down to glorified animal attacks.

There’s something to be said for how in the background there’s a little bit of political intrigue and worldbuilding, but nothing that ever comes to fruition in a way that’s meaningful or memorable in this season. The characters, similarly, have nothing going for them. Allen, especially, is so obnoxious as a protagonist, because he’s only concerned with his stats. He comes to care for his new family, but it always feels firmly secondary to his stats obsession, and it raises a lot of questions about his previous life that never get discussed, so it’s easy to shrug this off.

Unfortunately, the only other memorable thing about Hell Mode—for better or for worse—is how it’s home to some of the all-time worst CG I’ve ever seen in an anime. It’s astonishing how dated it looks. Broadly speaking, CG in anime gets a bad rap and usually at least looks serviceable—but there’s no defending the CG in Hell Mode. The 2D animation isn’t fantastic, but I’ve certainly seen worse. It’s nothing exceptional, but it’s fine. But the CG is extremely jarring, blocky, moves poorly, doesn’t always look like it’s on the same plane as everyone and everything else, and there’s really no better word for it: It’s ugly. Plain and simple, it’s hideous. And all the summons, all the monsters—those are all in CG. Meaning, yes, you’ll be seeing a lot of it.

Finally, as far as sub versus dub goes for this anime, this is definitely a sub watch. Less because the Japanese voice actors do such a great job (although it’s worth saying plainly that they all do a fine job—nothing exceptional, but fine nonetheless), and more because the dub just lacks the oomph you’d want from known, powerhouse talent like Luci Christian (Allen) and Natalie Rial (Krena).

Hell Mode is a show that, in theory, sounds like it should be so much cooler, and so much more clever, than it actually is. This would-be adventure series about a hardcore gamer trying to optimize a speedrun to the top of the food chain is bogged down by a lack of any story, no interesting characters, boring fights, and way more stats and numbers than it needs. But weirdly specific as it is, if you wanted to ever wanted to combine the thrill of rock throwing, with the excitement of stat screens, and the joy of terrible CG, you might have finally found the show for you.