In confidence, though, it does point out that Kisaki is the main antagonist, Takemichi seems to understand that the amendments that he made in the previous arc were shallow, and that Toman has still converted into a full-blown crime syndicate, post the absorption of the Black Dragons, and that his comrades have still perished. And this compels him to go back to the past again where, together with Chifuyu who has already later figured out his secret, tries to stop the Black Dragons integration with the Tokyo Manji gang which seems to be the reason Mikey started acting up instead. For this, he needs to untangle a tale of domestic abuse of the Black Dragon’s commander, Taiju along with Hakkai his younger brother and a vice commander of Toman, and Yuzuha their sister. In addition to this, he has to work with Kisaki and Hanma and the amalgamation of these events culminates in a church brawl during Christmas.
Koichi Hatsumi closely watches the drama of Takemichi and especially his efforts to go back in time and save some of the people he holds dear to his heart who are at the brink of death, while his move up the Toman ranks seem pointless due to him being unable to defeat any of his foes in battle. To be honest, watching this particular part is fun which also has an impact in the single goal of Takemichi which is to change the future by saving their people. While these goals always keeping setting the stage for more future parts of the series. Up next is the addition of the domestic abuse storyline, in particular of the three siblings as they blend the drama along with the new side story and then give rise to interesting characters. Last comes the touching narrative drama of the season with Takemichi trying his best to save Hinata and maintain a relationship with her.
This time, however, the anime adds weight to its shonen tag with the introduction of powerful foes and an extended climax that has ample flashbacks and monologues blended together to create a better impression. The outcome is hornet’s nest aggravating due to the constant reliance on the Deus-ex-Machina trope, but Hatsumi manages to some extent, by demonstrating his protagonist as someone who gets back up after getting beaten up instead of relying on over the top powerful moves and the concept of winning, in other words, what is usually the case in the category. Predictably, this part contributes to the general drama as well. Still, it seems to me that the anime has reached the limits of the plot with some for some even more common moves being partially revealed towards the season’s end that tie many loose threads together. Finally, the exaggerated voices, ridiculous facial expressions and the unfunny jokes are also present this time, albeit in moderation.
Keiko Ota and Kenichi Onuki make quite the impression on the audience with their remarkable bike rides and combat scenes as seen in their character anime design. This will leave you immersed as they always introduced a wide range of distinguished characters while simultaneously perfecting the character’s design in the enduring and in the historical arc. Furthermore, the development of the characters’ appearance was nothing short of incredible, showcasing exceptional focus on all of the details. Everything is equally as artful and realistic especially the different characters being bruised and bloodied.
It is convenient understanding that the masked context in the “ Tokyo Revengers Christmas Showdown” is less developed , it remains to me equally amusing. Once again the story is already broad, thus ending up in two seasons is wise.
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