Back to tsukkishima123's Profile tsukkishima123's Profile

The story is quite suspicious, since the story kinda has incest, since the characters hope the mythical siblings are dating. And it seems like the main character is a coward since she started out wanting to win the fight, but then doubled down to surrender. a second later. And it's quite unrealistic for a girl to pretend to be a boy for months without anyone figuring it out. It's like, g cis girl won't like trying to be a boy, and she won't pass unless she tries as much as a trans boy tries. But that's not what's happening in this series.

It has too much fanservice in this series since the angles show girls in skirts while the wind or movements allow the audience to look at their underwear. Which is quite bad, since it's trying to make women or girls look like objects instead of real people.

And a lot of the characters are quite flat too, since they are underdeveloped and just quite cliché,

Not everyone would like this series. Some will and some won't, since this is a shonen harem series. So it's quite hard to find someone who has a taste for this. I don't like it.

What even is this, bro?

Story 1/10
There isn't even a story since it's mostly just the author trying to bend the logic to move the plot faster. It feels like the author is trying to speedrun things so the characters can go from "I hate you" to "We're stuck now" to "I love you" within the length of one volume. That's why a lot of BL one-shots fail. And for this book, it's a cheap excuse to draw men naked and having sex with each other.

Character 1/10
There's almost no character development since the characters are archetypes, and there's barely any about the characters shown. It seems ... like they're just vessels to push the story forward.

Art 1/10
Ok, ok. Naked men are naked men. Drawing is drawing. It has too many close-up shots of their groin area when making out. Which is just "WTF?!". I know this is an explicit BL one-shot, but still. We don't have to see the characters making out in 4K for so many pages.

Overall 1/10.
You get the gist.

The concept of this story is fine, but it's poorly executed since it's too rushed for a 2 volume story. And the characters are also Gary Stus and Mary Sues since they aren't memorable at all. Some characters are very brief and are only plot devices that never got shown again. And the goal of trying to save 1000 people is not accomplishable in 2 volumes of story. The art of the story is ok though, but it's the cliché shojo art style mixed with a little bit of shonen art style. And it's basically a fantacy story that's marketed as "for girls" but is ... kinda "beat around the bush from the good stuff". Since it's not really a cool story and it feels like the publisher is feeding girls crappy stories.

Plot: 2/10
Art: 3/10
Character: 1/10
Structure: 1/10
My enjoyment of this story: 1/10
Overall score: 1/10

The whole story is just weird. It needs a lot of suspense in disbelief to make the story go smoothly, which is bad. And the second volume is full of fillers and odd flashbacks. And they even spelled majo as majyo, which is a romaji spelling mistake. And there's barely any stakes at all. There's no "psychological" or "thriller" in this so-called "psychological thriller". I call this "slice of life fantasy" at best. The characters are also Gary Stus and Mary Sues since they lack personality and goals. And there seems to be character bloat in the story, since there are way too many characters ... in this story that's only 2 volumes. Some characters aren't even listed on the MyAnimeList page.

This collection consists of a series of short stories about different couples falling in love, but the narrative is so non-linear that I initially didn’t even realize it contained separate tales. It can be challenging to identify the characters, as some appear in multiple stories while others are confined to just one. Overall, it feels like a collection of underdeveloped boys' love one-shots, lacking clear motivations or explanations for their feelings and actions. If you're looking for a straightforward story with character development, I would recommend skipping this one entirely. Seriously, don’t borrow or buy it—just let it go.

It is also quite predictable since it's ... a cheap thing to show gay sex. And the art style doesn't fit the story since everyone looks like they had the same template. And it's also hard to know who is who and get invested in the characters.

The story contains numerous inconsistencies. If Elle genuinely dislikes martial arts, her reasons should be more profound than simply having to clean the gym. Disliking cleaning doesn't equate to hating combat sports. Additionally, the characters lack depth; Elle, Kazuki, Ruo, and the others come off as one-dimensional, as I struggle to name three distinctive traits about them aside from their appearances and their relationships with others. Elle's sole aim of finding a boyfriend detracts from the martial arts theme in Punch, similar to how the romantic subplot overshadows the basketball narrative in Girl Got Game.


It's also ridiculous that Kazuki's dog, Choppy, resembles Elle so ... much. It's unrealistic, even for a Pekingese breed, to have such a human-like face. The author seems to have prioritized creating a resemblance over anatomical accuracy, compromising the dog's usual features, and it feels disrespectful to the breed. Moreover, it’s odd that some characters confuse Elle for a dog—do they really not know what a dog looks like? Gigi, the grandpa who is an ex-martial arts champion and the current gym coach, looks more like a baby or a tiny takoyaki than a fierce figure. He should appear stronger and more appropriate for his role, but he seems incompetent instead; it appears the author sacrificed his appearance for cuteness. There are also strange moments, like when Gigi wants Elle to feed him; it's unusual for a grown man to expect his teenage granddaughter to cook for him.


The subplot involving Kazuki's younger sister feels out of place since it was never mentioned in volume one. In volume 3, only a third of it covers Punch, while the remaining two-thirds consist of unrelated one-shot stories, making it feel like filler content, as if the publisher needed to fill pages for a complete volume. This is a waste of money. Lastly, the art style bothers me as the characters, especially Elle, frequently turn into chibis. I don’t dislike chibis, but the inconsistent shapeshifting between full-size and chibi formats is frustrating. The art should either remain full-sized throughout or completely adopt the chibi style. Moreover, the characters’ mouths are often depicted without details like tongues or teeth, which could express their emotions better—like showing only the bottom row of teeth when someone is low-energy or the full mouth during a scream.


Also, why is Gigi referred to as that? It doesn’t sound fitting for a kickboxing champion, and it seems disrespectful in Asian culture for Elle to address her grandpa by his first name. While I don’t discourage others from reading this series, it simply wasn’t to my liking.

I've found the premise confusing. A chicken battling a massive demon lacks context and logic.


**Critical Flaws:**
- **Origin Code:** No explanation for monsters.
- **Logical Gap:** No training or mutation, creating a size disparity.
- **Biological Flaw:** Chickens can’t talk in a non-anthropomorphic setting.
- **Behavioral Issue:** A rooster attacking a giant monster is irrational without justification.


By Chapter 3, the inconsistencies increase. The rooster defeats a monster but almost drowns, which makes no sense. Character behavior is puzzling; for instance, one child thinks a zoo rooster might be rare, showing a lack of common sense. This writing feels lazy, relying on uninformed characters for humor. A bird expert questions ... her sanity upon seeing a common rooster but accepts a 100-foot demon without doubt, which should be the opposite. Overall, the narrative lacks coherence and logical consistency. Finishing a poorly written book just because you started it is like eating a terrible meal simply because you paid for it.

The portrayal of Santa Claus has always been a beloved tradition, depicted as a cheerful old man in red, spreading joy through gifts to well-behaved children. However, the Sanda version presents a bizarre and convoluted story that strays far from this cherished image. While alternative narratives can be intriguing, the strange elements in this version raise serious questions that undermine its effectiveness.


For example, Sanda’s powers—such as generating skis from his feet and possessing fire immunity—diverge drastically from the classic depiction of Santa delivering presents with his sleigh. Why would Santa need skis at all? This absurd choice complicates the narrative more than it enriches ... it. Furthermore, the idea of Sanda appearing barefoot amidst dangerous items like knives and tasers raises immediate concerns about the logical coherence of the character. How can we embrace the spirit of Christmas when this version of Santa embodies recklessness instead of warmth and joy?


Moreover, the depiction of a 96-year-old principal who relies heavily on Botox to maintain a youthful façade feels particularly far-fetched. The ridiculousness of such a character detracts from the overall narrative. The principal’s inability to frown while engaging in conversation creates an implausible situation that no reader can take seriously. Why even bother speaking if the essence of human emotion is stripped away?


The justification for minors carrying weapons to school, based on the assertion that they make up less than 0.1% of the population, is not only alarming but also dangerous. This notion implies that children can wield violence without accountability, sending a troubling message about how we view youth and responsibility. Such themes worsen what should be a narrative celebrating innocence and joy.


Additionally, the inconsistencies surrounding Ono’s timeline raise concerns about the author’s attention to detail. If the narrative falters so early on, it begs the question of whether the overall story can be trusted. Readers deserve a coherent and refined piece of writing, especially from someone who claims years of development in crafting their tale.


Lastly, the story's setting, featuring overcrowded classrooms, contradicts the narrative's claim regarding the small percentage of minors. If we accept this statistic, how can the school be filled with a diverse student body? This oversight creates an artificial environment, undermining the story's authenticity and relatability.


In conclusion, while creativity is to be celebrated, the Sanda version of Santa Claus ultimately misses the mark. Its numerous inconsistencies and troubling themes suggest a need for critical reevaluation of how we portray beloved characters. Storytelling should honor cherished traditions while engaging readers meaningfully, and a return to thoughtful narrative construction is essential in achieving that goal. By prioritizing a coherent and respectful portrayal of our favorite tales, we can ensure they resonate with audiences both young and old.

The portrayal of Santa Claus has always been a beloved tradition, depicted as a cheerful old man in red, spreading joy through gifts to well-behaved children. However, the Sanda version presents a bizarre and convoluted story that strays far from this cherished image. While alternative narratives can be intriguing, the strange elements in this version raise serious questions that undermine its effectiveness.


For example, Sanda’s powers—such as generating skis from his feet and possessing fire immunity—diverge drastically from the classic depiction of Santa delivering presents with his sleigh. Why would Santa need skis at all? This absurd choice complicates the narrative more than it enriches ... it. Furthermore, the idea of Sanda appearing barefoot amidst dangerous items like knives and tasers raises immediate concerns about the logical coherence of the character. How can we embrace the spirit of Christmas when this version of Santa embodies recklessness instead of warmth and joy?


Moreover, the depiction of a 96-year-old principal who relies heavily on Botox to maintain a youthful façade feels particularly far-fetched. The ridiculousness of such a character detracts from the overall narrative. The principal’s inability to frown while engaging in conversation creates an implausible situation that no reader can take seriously. Why even bother speaking if the essence of human emotion is stripped away?


The justification for minors carrying weapons to school, based on the assertion that they make up less than 0.1% of the population, is not only alarming but also dangerous. This notion implies that children can wield violence without accountability, sending a troubling message about how we view youth and responsibility. Such themes worsen what should be a narrative celebrating innocence and joy.


Additionally, the inconsistencies surrounding Ono’s timeline raise concerns about the author’s attention to detail. If the narrative falters so early on, it begs the question of whether the overall story can be trusted. Readers deserve a coherent and refined piece of writing, especially from someone who claims years of development in crafting their tale.


Lastly, the story's setting, featuring overcrowded classrooms, contradicts the narrative's claim regarding the small percentage of minors. If we accept this statistic, how can the school be filled with a diverse student body? This oversight creates an artificial environment, undermining the story's authenticity and relatability.


In conclusion, while creativity is to be celebrated, the Sanda version of Santa Claus ultimately misses the mark. Its numerous inconsistencies and troubling themes suggest a need for critical reevaluation of how we portray beloved characters. Storytelling should honor cherished traditions while engaging readers meaningfully, and a return to thoughtful narrative construction is essential in achieving that goal. By prioritizing a coherent and respectful portrayal of our favorite tales, we can ensure they resonate with audiences both young and old.