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Gekkan Shoujo Nozaki-kun is really good.


I’m not kidding. I’m jumping straight to the topic. Gekkan Shoujo Nozaki-kun is a highly enjoyable comedy that’s so far been able to make me wince, cringe, laugh, and grin in all the right places. It should be no surprise as the studio behind the show has been proving repeatedly they’re experts at their craft. Studio Dogakobo’s early track record is spotty. Koihime Musou and 11eyes weren’t exactly telling of what they’d later produce. But starting with Yuru Yuri, things sort of escalated quickly. From GJ-bu to Engaged to the Unidentified, Dogakobo pretty much nailed the essence of each show, delivering humor with precise timing that would make a Starcraft 2 professional proud.  (Maybe not.)

This show has never let me down in the awkward situations department. It manages to teeter between unbearable and hilarious so often, that perhaps that may also be it’s downside, as I’m sure there’s a good number of people who are tired of conventional tropes. Gekkan Shoujo Nozaki-kun has its share of familiarities. If you’ve come to this show after a bout of comedy shows, many of the punchlines aren’t absolute left-fielders. In cases like that I imagine there would only be a joke or two that may get you to grin.

The standard 3 episode test works well with this show. It sets the tempo, which at the moment seems to be the same since episode one. Every time it delves close to drama material, its swoops back towards comedy. It’s a regular, but well executed comedy show, that has Sakura Chiyo’s VA (Ozawa Ari) displaying comedic chops and straight-man jabs on par with Nakamura Yuuichi himself. Granted, Nakamura seems to be able to do this in a real world setting naturally. No clue if Ozawa could pelt it in the same manner.

In any case, I’m happy to hear female seiyuu in comedic roles are often asked to run the gamut of their vocal range, instead of remaining in the high registers. It can get grating after a while. Case in point: Saki Achiga-hen. Had the opportunity to rewatch it, and holy ball sacks, everyone’s voice is squeaky-squeaky all episode long.


Nakamura Yuuichi, The Consistent Anime Badass


Nakamura Yuuichi’s characters are consistently portrayed as some badass, although I’ve nothing against it. (He sort of is one, in real life.) Mahouka takes it to unbelievable levels that would make everyone in Kill la Kill want to hug Shiba Tatsuya in hopes of absorbing his powers through osmosis and romance. The only time I know Nakamura’s been some variant of a soft foppy plantain bastard, are the few scenes in Uta no Prince-Sama 1000% I randomly stumble upon on youtube. But that’s not him being a bastard, that was him being a trap. The themes contained therein however are not exactly my kind of thing. It’s probably being deceptive as usual however. The last show I veered away from in repulsion due to its artwork was Princess Princess, a pointy-chin anime filled with handsome young men dressed as girls. It ended up being a decent show. At least I didn’t need someone or some contraption to hold me down while watching it. Surprisingly, that wasn’t my first introduction to traps, despite being released way before OtoBoku, which was my first trap sighting.

Traps?! Engage tactical invasion! I mean.. evasion!