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There’s a lot of food for thought on the plate: talking about parallels between JEE and anime; The contributions of the “big three” or even an overview of romance genre itself! And for dessert, a hilarious must-read for One Piece fans: If Zoro was a navigator! Did we cook?" +}, +{ + "link":"2026-01-1", + "title":"January 2026 Issue", + "desc":"Konnichiwa Minna, the Jan newsletter of MASK comes with a blend of analyses on various levels, be it anime industry, trope(s) concerning good vs evil, or a genre. Some of these are different takes on common questions, with some featuring detailed background information to make you more aware. You might be able add an antidepressant to your shelf or rather your phone, so pick your article, read the titles, enjoy!" } ] diff --git a/src/teams.json b/src/teams.json index 27ba7ffa..41698053 100644 --- a/src/teams.json +++ b/src/teams.json @@ -104,5 +104,31 @@ "name": "WebDev", "icon": "webdev" } + }, + "2025" : { + "a": { + "name": "AMV", + "icon": "amv" + }, + "d": { + "name": "Design & Arts", + "icon": "design" + }, + "n": { + "name": "Media & Newsletter", + "icon": "newsletter" + }, + "q": { + "name": "Quiz", + "icon": "quiz" + }, + "w": { + "name": "WebDev", + "icon": "webdev" + }, + "m": { + "name": "Music", + "icon": "music" + } } } diff --git a/templates/newsletters/2026-01-1/01#philosophy.njk b/templates/newsletters/2026-01-1/01#philosophy.njk new file mode 100644 index 00000000..509c344a --- /dev/null +++ b/templates/newsletters/2026-01-1/01#philosophy.njk @@ -0,0 +1,54 @@ +
+
+

The Philosophy of "Anti-Hero": When Truth is not Black and White

+
+ +
+
+

Introduction

+

“Perfection is overrated”.
Growing up, we always heard about the story of the hero. A hero shows up. He’s good. Really good. He has pure intentions and strong morals. He beats the villain by choosing the “right path,” and everything makes sense again. Take Superman or Goku from the early Dragon Ball Z era as examples: simple times, simple stories.

+

But let's be real, we have now grown older. The world does not seem that simple to us now. The era of black and white is gone, and everything has become gray. And from this gray area is born one of anime's most fascinating archetypes: the Anti-Hero.

+

Traditional heroes represent what I aspire to be. Anti-heroes represent what I really am. If my professor asks “why you are not attending my lecture”, then I don't say cause it's boring, but say “health problem”.

+

The Death of the "Perfect Protagonist"

+

There was a time when many problems were solved through a superpower called "Power of Friendship". Don't get me wrong, this also has a charm. But today's audience is cynical. We learned that the real world does not change through good intentions alone.

+

The reason the modern audience is drawn to Anti-Heroes is that we have come to realize the "Power of Friendship" has its limits. If I walk into the exam hall unprepared and try to pass my end-sems using the "bonds I share with my batchmates," then the only thing I will get is a back.

+

Perfect characters are non-relatable (sorry to hurt). It is difficult to relate to a character like Superman who never makes mistakes. We are humans, we are filled with insecurities, anger, and greed. We feel more “ours” when we see a character who makes mistakes and shows selfishness. Anti-heroes make humans feel that it is not necessary to be a "saint" to become a hero.

+

Character Analysis

+ Lelouch Lamperouge - Code Geass: +

Lelouch agrees to be remembered as history’s villain if it guarantees peace. His actions blur the boundary between heroism and oppression. His philosophy, the Zero Requiem, was based on the idea that "To defeat evil, I shall become a greater evil”.
He made himself the villain of the world so that when he died, the hatred would die with him.

+
image
+

Was it manipulative? Yes. Was it effective? Absolutely. Lelouch understood that if you are building a new house, then you have to destroy the older one first.

+ Light Yagami - Death Note: +

Light has been labeled by fans and critics alike as an anti-hero due to the moral ambiguity of his actions, while some reviewers consider him a villain protagonist.

+

Initially, Light was a Hero. He was cleaning villains because the law had failed. But the great power corrupts him gradually; his sense of "Justice" gets transformed into a "God complex".

+

Through the use of the Death Note, Light quickly begins to develop a cold and ruthless nature. He will use any means necessary to achieve his goals and ambitions. He started killing innocent people who were just opposing them (like Raye Penber). Light shows how thin the line between hero and villain has become. We stick to watching his downfall because his psychology is fascinating.

+
+ image + image +
+
Light V/S Kira
+

We don’t love Light because he’s a hero. We love him because watching his massive ego spiral out of control is the ultimate form of entertainment.

+ Eren Yeager - Attack on Titan: +

Eren wanted freedom, not genocide. But the world doesn’t offer him options. As his understanding grows, his choices become more limited. Eventually, he becomes what the world already sees him as. A monster.

+

We cannot justify his action, but must empathize.

+
image
+

Eren forces a question no one wants to answer:
If the world demands your death, do you have a duty to accept it—or a right to burn everything down fighting back?

+ Guts - Berserk: +

We can't consider Guts a traditional hero. He has not come out to save the world, but just went out to survive. His life is heavy with trauma and betrayal. He is ruthless. He does not hesitate to kill anyone who comes in his way.
The anti-hero element of Guts's movement is its "Humanity". Despite all this, he could not give up. He is laden with destiny. Guts represent the raw will to live, even when the world is ugly.

+

Why Do We Love Them?

+

Ultimately, we love anti-heroes because they force us to ask uncomfortable questions.

+
    +
  • Unpredictability: Traditional heroes are predictable. We know Batman won't kill Joker, and Naruto will eventually forgive the villain. But Anti-Heroes are unpredictable. And this unpredictability makes the story engaging.
  • +
  • Relatability: We are not perfect. We are filled with anger and insecurities. Denji from Chainsaw Man is a very relatable character. He just wants to live a normal life. His goal is just to touch some boobs (not me, I swear). Anti-heroes project our internal flaws and dark thoughts without guilt.
  • +
  • Justice: Is justice what is written in a law book? Or is justice what actually brings peace to the victims? Anti-heroes expose the flaws in society's moral structure. They force us to ask a difficult question: "Would I have done the same thing if I were in his position?"
  • +
  • Satisfaction: We know that not every problem can be solved in this corrupt society by being all goody. Antiheroes break the law to solve problems. We can't do it, but watching them do it gives us satisfaction. We can't beat up the demon who says that I didn't study, but still manages to get “dassi”, but we can watch Guts swinging his 400-pound sword at demons.
  • +
+

Conclusion

+

Anti-heroes don’t exist to tell us that being bad is good. They exist to show how heavy real choices are. How quickly morality collapses under pressure. And how often doing the “right thing” demand something ugly in return.

+

They remind us that villains aren’t always monsters—and heroes aren’t always angels. Masks lie. Outcomes don’t.

+

In a world obsessed with clean narratives, anti-heroes refuse comfort. They walk into darkness without pretending it’s noble.

+

Not to inspire. Not to excuse. But to reflect us—exactly as we are.

+
+
+
+
\ No newline at end of file diff --git a/templates/newsletters/2026-01-1/02#justice.njk b/templates/newsletters/2026-01-1/02#justice.njk new file mode 100644 index 00000000..e96a6f05 --- /dev/null +++ b/templates/newsletters/2026-01-1/02#justice.njk @@ -0,0 +1,30 @@ +
+
+

What is Justice?

+
+ +
+
+

Introduction

+

Throughout various media, justice has different meanings, but one thing is common among them that justice is referred to as the one that opposes ‘evil’. However, in some cases where there is no clear ‘evil’ defined, who is to be considered as justice? Is it the protagonist because the story revolves around it? Or there is no justice and the world is unfair? Let’s explore that topic with some famous examples-

+

Death Note

+

The protagonist of the story is Light Yagami, a mastermind genius with the power to eradicate any human being whose face and name are known to him. With the goal of punishing every criminal in the world using his gifted power, he considers himself a “God” of a new world that will be born after he achieves this goal. His intention does align with justice, but his methods do not. He killed criminals, no matter their crime or innocence, all equally under his alias “Kira”.

+

L, an equally intelligent detective, works on the case to find Kira and kill him for his genocide, is the main antagonist of the story. He agrees with Light’s intentions to some extent; however, he sides with the law due to its methods. L also believes that the power of Kira can be utilised in a better way, as Kira can kill innocents who are just allegedly guilty. He hunts Kira as no normal human should be allowed to kill other humans with so ease, and as he poses a threat against all of humanity by consuming them with fear.

+

‘Death Note’, despite being one of the beginner anime, questions ‘true justice’ to a certain level, but it doesn’t go too deep. It is safe to assume that even though Light’s intentions were good but his methods were not justified. The ‘justice’ here is considered much similar to reality, the law of the country; anything that opposes it has to face the consequences based on their actions.

+

Code Geass

+

Lelouch vi Britannia, the son of Charles zi Britannia, the king of the Holy Britannian Empire, which rules over one-third of the world. His goal, however, is to destroy the Empire and make a new world for her sister Nunally. Accompanied by the Geass, which can let anyone who makes eye contact with him obey his one command, he sets out on a journey to defeat Britannia, starting from Area 11. Lelouch kills numerous Britannian soldiers with the help of his military organisation, Order of the Black Knights, which he rules under his alias Zero. He meant to use the organisation to help him destroy Britannia, but announced themselves as fighters of justice. To make his lie believable, he allies with more countries, who oppose Britannia, and form The United Federation of Nations. Later, he finds out about Nunally’s death, and after that even gets betrayed by the Black Knights, who found his identity and his true intentions of forming them. Losing all of his reasons to fight, all the hope, he continues to give an end to Britannia and birth to a new world by planning one of the greatest plans and sacrificing himself for the greater good of the world, which gave him nothing but pain and betrayal.

+

With such a tragic yet beautiful end, could Lelouch be considered the true justice?

+

No.

+

Lelouch himself knew he couldn’t symbolise true justice, thus he formed the alias, Zero, as the symbol of true justice.

+

One Piece

+

The first words that come to mind when thinking of pirates would include: ocean, ship, booze, treasure, and criminals. Which is an accurate depiction of them, however, One Piece explains that there’s more to it. Monkey D. Luffy, the man who dreams of being the King of Pirates by finding the greatest treasure called One Piece, begins his journey like every normal pirate, but Luffy is anything but a normal pirate. His qualities of friendship, caring, kindness, and being funny make him so likable. Throughout his journey, many characters doubt that if he’s a pirate or not. But there is one thing that makes him a pirate: his hatred towards the government. His hate was not built in a day; some instances are: when govt allowed some people who belonged to a certain bloodline to treat whoever they want as a slave and gave them the ability to summon three of the strongest Navy personnel whenever they want at their aid. Another instance was when the govt destroyed a whole village of the world’s best archaeologists and scholars, just because they were researching on finding out the history of when the government was born. Not only that, the government restricted the knowledge of the whole century to every human. Several more instances led to the great era of pirates in this world.

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Not every pirate is like Luffy, though; some just like to watch the world burn. Hence, there exists one more group, the Revolutionary Army, whose sole purpose is to oppose the world government and fight to bring it down. They could be considered as the ‘true justice’, but due to their extremity, ‘freedom’ would be considered a better word. Their actions often blur the line between chaos and liberation, leading them to be a rather morally ambiguous force in One Piece.

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Comparing the three major forces, Pirates, World Government and Revolutionary Army, none of these is fit to be considered as true justice; however, the straw hat pirates do come close to being so as the story progresses. Maybe one day, when One Piece ends, we might finally get this answer as well.

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Tokyo Ghoul

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In a world where there exist humans and human-like species that live by consuming humans called ghouls, Ken Kaneki is a human who becomes a ghoul after an incident. It would be fair to consider that ghouls are supposed to be ‘evil’ as they eat innocent humans to live, which was the truth until humans found a way to fight back, and some humans now terrorise the ghouls the way ghouls would have terrorised humans before. The humans who terrorised the ghouls were from the organisation CCG(Commission of Counter Ghouls), who had the power to kill ghouls. CCG was supposed to be the true justice in the eyes of humans, but Kaneki, who saw the world through the eyes of a ghoul and as a member of CCG, couldn’t find who was right. He found out that the ghouls that eat humans don’t have a choice, as otherwise they’d die. Ghouls also had families and friends as humans do. But so did CCG members, some of them, like Kijima and Mado, had gone insane due to their jobs; they got so obsessed with killings that some might even consider them less humans than ghouls. Kaneki wasn’t alone; there was one more who shared his fate, Kotaro Amon. Amon was a former CCG member who became a ghoul. He fought Kaneki numerous times when he worked in CCG, and Kaneki was a ghoul. They were rivals until the tables turned, and they found the truth of the world. Even though the ghouls and humans share different biology, they share more similarities psychologically. Many would think that the world was unfair for creating them, but in Kaneki’s words, “The world isn’t unfair. It just is.”

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Conclusion

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The answer to our question of who should be considered as justice can be found in these anime. If there exists a power that can be used as well as misused, it will be misused by the ‘evil’, and there will emerge ‘justice’, which will either oppose the ‘evil’ to either eradicate the ‘evil’ or eradicate the power that caused the formation of ‘evil’.

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Where Anime Adaptations Go Wrong ?

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I. The Art of Adaptation

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To understand where an adaptation goes wrong, we must first understand what adaptation actually is.

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Every medium tells stories within its own constraints. Manga relies on stillness, negative space and reader-controlled pacing. Animation relies on motion, sound, and set pacing. The way a story reveals emotion, builds tension, or allows a moment to express itself is shaped by the medium in which it was born.

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Adapting a work is not a matter of simply copying content from one format to another. It is an attempt to translate an experience across fundamentally different mediums.

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That translation is inherently imperfect. Everything behaves differently. Timing changes, Visual representation shifts. A single manga panel that lands like thunder and makes you pause for minutes may last only seconds in animation. An expression meant to be read in stillness must now be expressed in motion, voice, and framing.

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This is why adaptation is one of the most demanding creative acts. It requires both reverence and ruthlessness: preserving what defines the work while discarding what cannot survive the transition, and reinventing what must.

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Unlike original creations, adaptations are never judged on their own terms. They are measured against memory, a version of the story the audience already is familiar with. Even a technically competent adaptation can feel wrong if it fails to match this internalised rhythm readers have already formed.

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But adaptations rarely fail in a single, dramatic moment. They fracture, through small compromises scattered across the process.

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In order to understand how great source material becomes poor anime, those fractures must be traced back to where they begin.

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II. The Many Fault Lines of Adaptation Failure

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Industry analysis and reporting repeatedly show that anime adaptations fail in three interconnected domains:

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  • Creative Leadership & Series Composition
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  • Production Execution & Technical Delivery
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These domains map to different kinds of “Bad adaptations” audiences often experience mainly:

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  • Unfaithful (story altered or condensed)
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  • Flat (emotion or pacing lost)
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  • Technically bad (poor animation, jarring CGI, inconsistent art)
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If we follow these fault lines, we can understand the reasoning behind these three fates of an anime adaptation.

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1. Planning : When the Failure Begins Before Anything Is Animated

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Long before a single line of animation is drawn, the fate of an adaptation is decided by the production committee.

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The committee decides things like :

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  • Commercial goals
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Basically laying down a commercial backbone dictating what is in store for the adaptation.

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If the source material is long but the anime only gets 12 episodes, entire arcs must be compressed. If the budget is tight, amination sequences must be shortened, staff reduced.

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This is not hypothetical, it’s the norm.

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The Promised Neverland Season 2 illustrates this clearly. The anime attempted to resolve a long-form narrative within a drastically shortened lifespan. The result was missing content and the erosion of tension and thematic buildup that defined the manga’s identity.

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Similarly, Blue Exorcist (2011) and Fullmetal Alchemist (2003) diverged from their manga because the adaptations were greenlit without accurate foresight into the source’s publication timeline. Once the anime caught up, deviation became the only option to continue forward.

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These are failures of structure and planning decisions, no amount of talent downstream can preserve narrative integrity in these cases.

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To the audience, this manifests as stories that feel rushed, incomplete, or emotionally hollow.

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2. Creative Leadership & Series Composition: When directive vision meets the Source

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Once the constraints are set, the adaptation passes into the hands of directors, scriptwriters, and series composers. This is the point where intent and interpretation collide.

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A manga’s internal rhythm, its emotional pacing, depth, and narrative pacing all must be reshaped for animation. Done well, it becomes a new expression of the same spirit. Done poorly, it becomes a different story entirely.

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When this interpretive layer fails, the adaptation may remain coherent on paper but loses its emotional direction.

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Tokyo Ghoul √A is a defining example. By diverging from Sui Ishida’s manga, the anime removed the psychological causality that justified Kaneki’s transformation by changing events. Key motivations were altered or erased, leaving a story that still moved forward along the same lines but no longer knew why.

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Claymore and Soul Eater suffered a similar fate through anime-original endings. In both cases, the narrative reached a conclusion, but the emotional and thematic buildup that gave the manga’s endings their charm was replaced with abrupt resolution.

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Even Record of Ragnarok, which remained largely faithful in plot, demonstrates how interpretation can fail without altering the story. Solely because of its art direction which chose to rely heavily on still frames and stretched out pacing, the anime stripped momentum from battles that were explosive in manga format. The events were intact; the “experience” was not.

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These adaptations fail because they failed to interpret what the story is doing. Fidelity is not matching plot points. It is preserving emotional logic, narrative and thematic intent.

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When that spine breaks, the result is an anime that looks correct but feels wrong, a familiar story that no longer carries the same experience.

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3. Production Execution & Technical
Delivery : Where Art Meets Labor

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Animation is a grueling, labor-intensive, and often underfunded task. Schedules are punishing. Even the most faithful script cannot survive a collapsing production pipeline.

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But why and what leads to a collapsing production line ..?

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Sometimes, the fault once again lies in the hands of the production committee.

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Grueling schedules and lack of accurate foresight leads to production houses rushing to meet deadlines and often releasing an anime in unfinished state.

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Sometimes internal collapses occur in production houses which leads to delayed and poor quality product even leading to sudden studio changes in the middle of an anime run.

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Sometimes Production houses take on projects that they cannot undertake leading to a mismatched product.

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Berserk (2016-17) is often cited because of its technical failure due to heavy reliance on poorly integrated CGI that shattered immersion. The glaring issue was execution without sufficient resources or refinement.

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Ex-Arm (2021) represents the far end of this spectrum: mismatched CGI, off-model characters, and visible compositing failures. Public comments from staff pointed to inexperience and cost-cutting as primary causes, not a lack of effort.

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In these cases, the story remained technically faithful, but the medium itself failed to carry it.

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Technical failures destroy trust. Once visual coherence breaks down, the audience can no longer emotionally engage with the narrative. The adaptation fails because it cannot convincingly exist for the audience to enjoy.

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It's also one of the most visible cases of a failed adaptation where anyone can understand that this was wrongly executed. It's not only a heartbreaking failure for the fans but also a great injustice to the source material.

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It's a complete undoing of an impactful story.

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III. Why Failed Adaptations Are Systemic: The Failure without Villains.

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By the time an adaptation collapses on screen, all of the fractures described in Part II are already visible: rushed pacing, altered intent, technical shortcomings. These failures are real, and their effects are undeniable.

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What is often misunderstood, however, is intent.

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In the vast majority of failures, no single party sets out to sabotage a story. Studios do not wake up intending to disrespect a source. Directors do not aim to hollow out the story's experience. Animators do not choose bad execution for its own sake.

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Most failed adaptations are not acts of negligence. They are products behaving exactly as the system that created them allows.

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Anime adaptation failure is the result by design within its industry.

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The anime industry did not evolve as an auteur-driven creative space. It evolved as a mass-production, risk-managed media pipeline, designed to convert popular intellectual property into commercially viable products under tight constraints.

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Every adaptation begins with a business incentive in mind.

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Production committees invest in anime because the source material has already proven its market value by manga sales, brand recognition, merchandise potential, and audience reach.

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Once that threshold is met, the objective shifts in order to extract value while minimizing financial risk.

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Within this framework, excellence is not the primary goal of anyone Predictability is.

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This is why so many adaptations are approved with conservative episode counts, compressed schedules and limited or inflexible budgets

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From a business perspective, a “good enough” adaptation that maintains brand visibility or boosts source material sales is often preferable to a risky, resource-heavy production chasing artistic excellence.

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Unlike films or creator-led television, anime adaptations operate under fragmented authority.

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No single entity owns the work’s creative soul.

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Publishers prioritize sales. Broadcasters prioritize scheduling. Merchandisers prioritize market timing. Studios prioritize survival and staff availability.

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Each stakeholder optimizes for a different metric of success. As a result, creative intent must pass through layers of negotiation, compromise, and approval.

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And every adjustment may be individually reasonable. Collectively, they tend to dilute vision.

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A director may want more time. A writer may want more episodes. A studio may want to delay for quality control.

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But none of them control the calendar or the capital.

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But this creates a question, Why does the system Keeps Repeating Itself..?

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One of the most damaging realities of anime production is visibility of a metric i.e. What can be measured like Disc sales, streaming numbers, merchandise revenue etc.

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What cannot be easily measured like animator exhaustion, creative fatigue, long-term quality erosion and loss of staff morale etc.

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When a visibly flawed adaptation performs “good enough,” the system interprets this as validation. The flaws are not seen as warnings, but as acceptable trade-offs.

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This creates a feedback loop, partial success justifies tighter schedules, tighter schedules increase production strain, strain produces more compromised adaptations.

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Over time, these conditions have normalized.
What appears to audiences as avoidable becomes, within the system, a standard operating procedure.

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IV. When the System Produces Excellence: Why Great Adaptations Matter

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History shows that from time to time, anime adaptations arrive that disrupt the industry heavily.

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They become reference points, escaping industry constraints demonstrating how those constraints can be negotiated without destroying the work’s core.

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Works such as Fullmetal Alchemist: Brotherhood, Attack on Titan, JoJo’s Bizarre Adventure, and Mob Psycho 100 did not emerge from a different industry. They emerged from the same fragmented, risk-prone structure described earlier.

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The conditions that enabled their success were rare alignments: clear planning, stable production, and creative leadership granted enough authority to preserve what the story was fundamentally about.

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These adaptations matter because they change the terms of comparison. Once audiences experience an adaptation that commits to the craft, the absence of those qualities elsewhere becomes harder to ignore. What was once tolerated becomes visible as compromise.

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This is the influence of good adaptations. They raise the baseline against which future works are judged by altering expectations of the masses. The system may continue to reward speed over care and predictability over risk, but audiences, creators, and critics do not forget what excellence looks like once they have seen it.

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Importantly, this does not contradict the reality that failed adaptations remain common. The existence of great adaptations does not mean the pipeline has been corrected. It just means that within a flawed structure, exceptional outcomes are still possible with enough persistence.

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These works are cited by fans, creators and producers when attempting to negotiate.

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In this way, great adaptations function as an overall boon to the industry. They expose what is lost when compromise goes too far, and what is possible when it does not.

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This is why supporting well-made adaptations matters, because it preserves standards. In an ecosystem where “good enough” is often sufficient, remembering what “good” actually looks like is itself a very important thing.

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Excellence in anime adaptation is rare by design. But once it appears, it leaves a trace that is visibly being experienced with the rapid expansion of the industry and higher amounts of faithful adaptations coming out every year.

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A Look into the storytelling of the big webnovels

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A lot goes into creating great stories, especially those that endure in the minds of fans.

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A series would have a lot of runtime, direction, sound design, and the allure of the actors acting in it, and most importantly, its story. When considering movies, the scope of things that set a movie apart is reduced due to its shorter runtime compared to a series. The moment we consider anime as a means of telling a story, we attach a great deal of freedom to the medium. The unique animation and artistic style adds a lot of flair to the story. If we restrict this freedom, we end up going to comics that rely on their art design, and panelling makes up a part of it. Further restricting this freedom, we end up with novels. Novels rely on their text alone to entice readers and immerse them in their world.

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Novels are dependent on mainly two things. What the story is and how it is written. Perhaps this simplicity is the reason it has maintained its position as a way of storytelling over a long time since its introduction.

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In this article, I am trying to go through and look at the way stories are told in a few popular webnovels.
The ones I am going to cover are: Lord of Mysteries, Shadow Slave, Omniscient Reader’s Viewpoint, and The Beginning After The End. Feel free to read the part you're interested in first.

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Lord of Mysteries

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This story is one of my favourites, and I have particularly enjoyed the author’s take on storytelling.
The story was originally written in Mandarin, so I have read its English translation. However, it is safe to say that the translator was hell-bent on making this a fantastic read and has achieved that really well.

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If I were to describe the way the world inside the novel is unveiled, I would call it akin to lighting up a world shrouded in fog, waiting for one to discover it. Each bit of the world has a story behind it, to be revealed sooner or later. A reminder is often relayed in this novel that everything that is to be known will be known when it is time.
This theme keeps the reader on the edge and excited for what is to come. The way the story is driven plays a lot into this as well, as the main character, Klein Moretti, is not one to stop and become content with what he has, a determined yet cautious person, making him the perfect candidate to guide the story in a world like that of Lord of Mysteries.

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The story features one of the most unique power systems seen in any webnovel, with its set of complexities that is not as simple as a power progression. The world is teeming with secrets, mysteries, hidden connections, and politics, all set against a well-paced, action-packed, and thrilling story that keeps one on the edge of their seat the entire time.

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The immersive nature of the novel and its lengthy expanse make it a truly great read and one of the best attempts at storytelling I have witnessed.

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Shadow Slave

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This novel is another favourite of mine, also known as one of the Big Three of webnovels. (The Big Three being Lord of Mysteries, Reverend Insanity and Shadow Slave. More stuff in the p.s. about this.) This novel has stayed on top of the rankings on WebNovel since 2023!

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The story is revealed as though we are walking in a dark cave with a flashlight. We can have some idea of where we are and what is a little ahead, but otherwise still lack information about the things that are further ahead and those that are left behind. The uncertainty of the current state and of what is to come makes this novel thrilling. It is gritty in its nature, with the main character, Sunny, almost always struggling just to make his way through the current predicament.

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This story has numerous plot twists and is primarily guided by one of Sunny’s attributes, Fated.
Fated makes it so that Sunny is more likely to have good or bad luck compared to any other person. This road of ups and downs makes for a constantly active, engaging story.
The characters are well-written, and their interactions with one another are delightful to read.
All in all, the storytelling in this is truly unique and enjoyable, especially with its Soulslike aspects. (Soulslike refers to the Souls games from FromSoftware Inc., which are known to be ridiculously tough to get through.)

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Omniscient Reader’s Viewpoint

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Omniscient Reader’s Viewpoint is another contender for the 3rd spot of the Big Three of webnovels. It has an amazing manhwa, and that is how I got into it.

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The world in this novel is designed like a video game with different stages. Each new arc feels disjoint from the previous one, with only the main cast of characters remaining constant throughout. This disjointness is primarily because ORV(Omniscient Reader’s Viewpoint in short) tries to cover a wide range of mythologies and ideas to implement them into its story.

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The central power system is revealed somewhat late in the novel, but it is one of the most unique takes on a power system that I have ever encountered. Due to how this power system works, power scaling is quite uneven, and it creates a situation where one doesn’t always know the definite outcome.

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The disjointness, the broad scope of ideas covered, a unique power system, and its lovable cast of characters are what set it apart and make it a contender for one of the best webnovels written.

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The Beginning After The End

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This is another novel with an amazing and really popular manhwa.

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Its approach to story telling and world design is quite different from the others mentioned in this article such that it is a reincarnation story. The main character Arthur Leywin, experiences his life in this world starting from his childhood, and we see that perspective and come to learn about this world with him.

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It seems to follow the troupe of the genius isekaid protagonist but it starts differing from that soon enough. The world that they are present in is quite detailed with each region there having its own fair share of troubles. The power system at the start seems normal/generic but it expresses its unique identity soon enough. It also explores Arthur’s previous life and the various things that come along with it.

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The characters are fleshed out and developed thoroughly and we get to see their character development over time. Arthur himself is a good take on an isekai protagonist. He carries the emotional detachment caused due to not being from this world and also the attachment because a part of him grew up in this world.

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It is a fantastic story with its up and its downs accentuated by the things that have been set up over its entirety.

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Well thats all for now. Thanks for Reading!!

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P.S:-
I might just make this into a series of articles.
Also about the Big Three webnovels. General consensus says that at the very least Lord of Mysteries and Reverent Insanity are two of them. The third position is often argued about. Personally I am on team Shadow Slave for the third contendor. I tried reading Reverend Insanity but unfortunately couldn’t get too far. I hope that whenever I try next I’ll be able to read its entirety.

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Iyashikei and a Medicine to Modern Sadness

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The Modern Sadness

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+ Boomers: I hate my wife
+ Millenials: I hate my life
+ Gen-Z: …
+ Gen-alpha: ……
+ Let’s not go there now lol.
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We see a trend of increasing cases of identified depression, lack of sun, midlife crises, and all sorts of indications saying we are experiencing sadness despite the increasing comfort of technology. This situation least to say is almost ironic. People, on average, live longer, more comfortably, and are less prone to any natural enemies compared to any other organism on earth, but many don’t live a very enjoyable, healthy, or safe life.

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Just around this time last year, I saw a 5-star ad featuring the plight of an office worker being asked to do 20 times more work because AI allows him to complete his tasks in one-tenth of the time. Ah yes, a variant of the Jevons Paradox that says “The Jevons Paradox states that as technological advancements increase the efficiency with which a resource is used, the overall consumption of that resource actually rises, rather than falls, because the cheaper service makes it more attractive and accessible, driving greater demand.”

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Birth of Iyashikei

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Japan is arguably the worst sufferer of a toxic work culture. The first episode of Zom100 with the overworked animators foreshadowing the whole Mappa incident is as poetic as it gets. Art imitates life. As such, artists in Japan have noticed that this trap laid by the modern man on himself is too pitiful a state. So, in response made a genre called “Iyashikei”.

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Iyashikei, in the literal sense, means “healing” or “healing-type”. And with a lack of a better definition, I quote MyAnimeList definition:

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The Japanese word "iyashi" (癒し) means healing, and the term "iyashikei" refers to anime and manga that "heal" the audience by instilling a calming feeling or evoking emotional catharsis. Almost always, Iyashikei stories have peaceful, somewhat mundane, and nostalgic atmospheres. The settings are idyllic with little or no conflict, and the narratives focus on personal reflection, heartwarming moments, a vague sense of melancholy, and/or an appreciation for the small things in life. Iyashikei is a theme within the Slice of Life genre. Pets-themed stories are a subcategory of Iyashikei.

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What makes Iyashikei different

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Note that Iyashikei does fall under the Slice of Life umbrella. But in general Slice of Life is also somewhat varied in its intentions, like some are focused on youth and romance, like Kaguya Sama, some focus on self-improvement and handling their own emotions like Mob Psycho 100, etc. However, Iyashikei differs in that it doesn’t focus on a limited theme of life. Nor does it focus on characters, their personalities and idiosyncrasies or give a heavy moral on how to enjoy or live life. Iyashikei is a rather boring act of observing normal life.

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Yes, normal life. Just like common sense isn’t common, a common life is also fairly uncommon at least by the standards we got from our parents as we grew up. So many people find it therapeutic to see a bunch of anime characters living a simple life, exploring the various aspects of daily lives that many cannot.

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Iyashikei can work well with both a small set of recurring characters, a large cast, and a small set of common and a replenishing set of background characters.

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Feeling of Iyashikei

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Since I am somewhat nerdy, I have to describe it like this: Iyashikei is like taking a diet free of excess spice, sugar, salt, and fats, and engaging in a lot of exercise. Getting even more nerdy: It works on a psychological phenomenon of emotional catharsis as said in the MAL defintion.

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Definition of catharsis according to “verywellmind.com”

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Catharsis involves a strong emotional component where strong feelings are felt and expressed, but there's also a crucial cognitive component in which the individual gains new insights.

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The catharsis a modern man experiences varies from person to person and the anime they are watching but it usually goes like a wave of realisation hitting the viewer when he enjoys watching the characters living a simple life, that he lacks the said simple life and that he would have been much happy and satisfied with such a life and the life he’s living is filled with meaningless decorations and short-sighted beliefs forgetting the beauty in simplicity - if you ask me from my experiences.

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Prescribing an antidote

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Anime in general is a good medicine to a boring life, a slice of life to a heavy mood, and iyashikei to the burnt.

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Here’s some anime to cure boredom and watch when stressed. Some of them aren’t officially considered Iyashikei by MAL or Anilist or Wikipedia but they are (in my opinion)!

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Nichijou

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Nichijou, an anime on daily life, should be considered an Iyashikei even if the anime itself is more of a gag on daily life events. Exaggeration shown in Nichijou or the absurdly op gag characters don’t really have a parallel in real life but the activities shown are very much real.

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Nichijou doesn’t have a plot and goes on for the sake of it. It has a trio of friends, two of whom embody the spirit of a high school girls' friend group. There are pranks, there are fights, and there is resolution. There’s a story of failed romance, a tsundere and diligent boy romance couple, and romance between two young teachers (one-sided btw).

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A classroom filled with characters with subtle peculiarities living a common life. To push this concept to the brink is a trio of a child, robot, and a cat. The child girl is a genius professor who invented the robot, and the cat can talk with the help of a scarf made by the professor, but this smartest professor is the one who is dependent on the other two and the less mature one. The robot is the caretaker of the professor, with wishes to live a school-life, but is hesitant to leave her child professor home alone. The cat is the intermediary who intervenes with his wisdom and sometimes likes to take leisure to satisfy his cat self.

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The adventures of the school’s three stooges are often found as a mix of solo, duo, and trio acts. The robot’s journey to schooldom, will it converge with that of the schoolgirls? Will there be a successful romance in those sub-stories? Will you be able to find a hidden budding romance before revealed by the show? Will you get diabetes by watching this show? (probably not literally unless you have already) Will you be able to understand the show’s brilliance despite many Japanese linguistic wordplays at the center of many jokes?

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Find out in your journey in the daily lives (Nichijou) of this chaotic cast. (curtains fall)

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Konosuba

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Having already written multiple articles on Konosuba, I would love to redirect you there but alas.

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Konosuba is essentially a satire on the Isekai fantasy genre where a hero is reincarnated to defeat the demon king. The point of this anime, in my eyes, is to enjoy the new and wonderful (and bizarre) world to its fullest, and that your destiny can be fulfilled even when having a slow and whole experience of the world around you. The show never gets sad, really, and is a great way to escape reality.

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The protagonist doesn’t take the whole “demon king” ordeal too seriously and is often found bantering with his crew who all have one screw loose. While there are already multiple isekai on the concept of Iyashikei, this happens to be one of the most popular and entertaining ones and for good reasons. One good reason for this is my goddess Aqua, ah bless me. Her stupidity and ability to party and have fun even when she was forcibly dragged from heaven to this wonderful world to give it a blessing (Konosuba’s title translates to God’s Blessing on this Wonderful World), is a slap to all those sigmillion grindset people.

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Again, there are arguably better isekai iyashikei anime out there. I heard Overly Cautious Hero is one such that makes you see life in a wider and lighter light. But this one was the one that diffused my tension in the middle of a JEE crisis for me, so yep, I humbly vote for this anime as a strong recommendation to escape stress and worry about some silly characters in a silly fantasy world.

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Saint Young Men

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In our secular country of India, where two to three major religions have taken birth and spread, and two in particular of Hinduism and Islam, reign above others in terms of the number of men, we see commonly that there is a peculiar sense of harmony and disharmony between the religions here. While the common man, or at least where I am from, doesn’t see fights happening for religious reasons, we see contempt held against a religion based on few of its men. As for what we see in the media, you will hear of religious tensions way too common, so one sometimes thinks religion is a prickly topic that will spark fights.

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So for such people, this anime, which probably very few have heard about, makes an otherworldly experience. This is an anime about Jesus and Buddha living in the modern world. This takes place in a hypothetical world as the second millennium (2000) starts, and Buddha and Jesus take their millennial vacation to earth in Japan. The world depicted in this story has a similar aura to Doraemon and Shinchan world, which is more of a typical Japanese neighbourhood when there wasn’t much technology. This makes the experience even more soothing.

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If I had to be blunt and half-hearted about the review, I would say this is a bromance anime between Buddha and Jesus in Japan. Which sounds crazy. By the way, 'Buddha' here specifically refers to Gautama Siddhartha, not Kannon, the thousand-armed Avalokiteshvara Buddha, who is famous in Japan.

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Saint Young Men’s uniqueness is rooted in its references to both the daily lives and religious/cultural references across the show. The show does no partiality in the amount of exposure given to either god, despite Christianity being so rare in Japan that most don’t know that Christmas is Jesus’ birthday, although it is widely celebrated with gifts and romance.

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In the manga, there is a chapter dedicated where Buddha plans a surprise minimal birthday party for Jesus on Christmas, where Jesus himself forgets that today is his birthday, and Buddha worries Jesus might encounter actual Christians on his walk that night who will say that today is his birthday.

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Ahem. A little background: Japan has two major religions, namely Shinto and Buddhism. Shinto is the majority, accounting for just slightly more than 50%, and is the religion whose references you are most likely to see in anime, for example, Your Name. In Japan, there is not much difference between the religions, and they coexist in harmony, celebrating each other’s festivals as if they were their own. In fact, Japanese Buddhism is very much part of their history. There’s a festival called Sanja Matsuri, which takes place in the Asakusa district, involving a Shinto tradition honouring three men who built a Buddhist temple. This is one of the big festivals and is enjoyed by both religions. (You can see the Asakusa reference in Fire Force season 1). They say in Japan it is not rare for people to be born Shinto and die Buddhist, hence their religion isn’t fixed throughout their life. This is a major contributor to the numbers. And as for Christianity, Japan has less than 2% of its population Christian.

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This anime also portrays a theme that emphasises the importance of enjoying life both freely and in moderation. A person who is innocent despite looking like a gangster (yakuza) getting no objection from gods, gods being troubled by their own lore, especially concerning their relatives, incidents of dependence on each other in needs, showcase of mutual respect in how they enjoy life, and Gods having funny interactions with their subordinates, overall this anime (or at least manga since I read it) is filled with unique elements.

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Personally, having read this as a manga made me many things, including a happy man, a more knowledgeable person in tales of Christianity and Buddhism, a man aware of the traditions of normal Japanese people of all ages, and finally, a man who knows how to have a vacation. Taste of all sorts of emotions and experiences is on the table for those who are willing to feast on this delicacy. If possible, read this with breaks in between for a while with different mindsets at the beginning, and I promise you cannot walk out of this with the same outlook.

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Conclusion

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Like a doctor says to take a course of medicine regularly. Like he also says, to finish the course even when the symptoms fade for a thorough and long-lasting effect. Like we usually forget some doses due to our distracted lifestyle. I prescribe regular doses of Iyashikei in life and on time when you observe the symptoms of wear and stress build up fatigue in you. And like one should not depend on medicines too long and a therapy is suggested for chronic ailments, I suggest you walk out and live life with a new perspective when this medicine of modern sadness takes effect, and you feel better. With that, I, Dr. InkClaw, sign off on this unreadable prescription.

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