DESCRIPTION

CAST

MANGA ComedyMikadono Sanshimai wa Angai, Choroi.
SPECIALRun Run Lantern

REVIEWS

• 

  KoraxCatalyst

  80/100
  The First Real Successor to The Quintessential Quintuplets

  Realistically, given the kind of anime made today, there’s a serious conversation to be had if a show like this is even necessary. With its subsequent sublimation into light novel metatext, whether it be through a meta-otaku high school romcom type thing, or heaven forbid, an isekai light novel; the harem genre has become more of an ingredient in a greater dish, or an obnoxious object to be shoehorned into something currently publishing, rather than the main course of a narrative on its own. It’s particularly interesting to see the slow and innocuous demise of the shonen harem manga. Especially in a post-Quintuplets world, I think it’s hard for a lot of mangaka to imagine tackling the genre as sharply or as elegantly without simply falling into pastiche (which has already happened to minimal success). You still have your occasional bread and butter ecchi harem romcom, sure. But with Shonen Jump’s recently contracted allergy to harem stories, in the hopes of not alienating their 50% female readership, there are slimmer and slimmer harem pickings every year. However, Dealing With the Mikadono Sisters is a Breeze proves once again that a rudimentary understanding of basic human psychology can open up the opportunity for a shonen harem manga to resonate with millions across the world once again.

  To quickly pitch, Mikadono Sanshimai wa Angai, Choroi, is about a kid named Yuu Ayase who was the son of a now deceased famous actress Subaru Ayase. Thankfully, the wealthy Mr. Mikadono, a friend and patron of Yuu’s mother, becomes the kid’s legal guardian and helps him enroll in the prestigious Saika Academy. Yuu, despite being naturally attractive, pretty much sucks at everything and isn’t terribly athletic. However, because his mother was fairly neglectful, the subsequent parentification led Yuu to develop a general aptitude towards cooking and cleaning. So, in very harem manga-esque development, Yuu is requested by the Mikadono patriarch to be the support of his three prodigious daughters, for they also do not have a mother. In turn, Yuu becomes determined to build a strong family with the girls, and in doing so, ends up rizzing all of them and harem hijinks ensue.

  I’ve opined in past reviews about shoehorning in a harem as a trope versus focusing on harem as its own narrative device. Foundationally, this is likely due to the influence of manga editors contorting their author’s narratives into something that injects artificial tension without any substantial consequences. And I understand, as much as anyone else, that harem is an inherently dissonant and contrived kind of story structure. On its face, that you could have a scenario of multiple women all interested in the same man, and for none of those women to properly act upon their feelings, while somehow all of them being teenagers, doesn’t make any sense. Ironically, High School DxD’s juvenile, frat-esque approach with actual polygamy is somehow more realistic to me. However, harem being treated as it is still pisses me off. I can smell the pandering a mile away, and frankly, it reeks of cowardice. It’s the same hokey and hackneyed narrative crutches you’d get with a love triangle except the mc can collect women like Pokemon. The only reason a harem exists in a show like My Dress Up Darling, when the main characters are five inches away from boning every other episode (and that isn’t a metaphor or an exaggeration), is to make Gojo look good in a mutually gendered power fantasy kind of way, like Bisque Doll likes to do. Dealing With the Mikadono Sisters is a Breeze, on the other hand, is honest with what it wants to do—and its honesty is one of the series’ greatest strengths.

  Mikadono understands first and foremost that it is a shonen harem manga, and it respects that. It’s not trying to hide its structure under layers of pretentious irony like in Makeine or is trying to be something else entirely with a harem in it because “anime,” like in every isekai light novel. There are no gimmicks like in an ecchi harem comedy, it’s a tried and true, bread-and-butter, shonen harem romcom that relies upon its strong characterization to keep audiences coming back week after week. It’s not trying to reinvent the wheel but fails, it instead feels like the first real successor to The Quintessential Quintuplets we’ve seen this decade. There’s a boy, there’s some girls, they’re in this ridiculous ass scenario, but it’s good this time, and you’re never truly sure who is going to win. Quintuplets played this game where you were never supposed to really know who was going to become Futaro’s wife, so theoretically, any girl could win. And ideally, even if you picked your team and were ready to go to war for her, the author did well to build up multiple acceptable answers to its starting mystery. Now, many contend with Go-toubun’s ending in how it failed to do this by the time the series reached its final few volumes, but a serious, semi-successful attempt was made. Mikadono Sisters in response, reduces the number of girls, but in doing so, can make an even stronger case per girl.

  One of my biggest contentions with the harem genre in basically any of its iterations is that 99% of the time it’s incredibly obvious which girl is going to win. You can even go back to Love Hina or I’’s or some shit, and there’s always “the main girl” and some other bitch who ends up becoming the silver medalist. This is likely a product of the mangaka not thinking far enough ahead as to how they are supposed to balance all of these disparate personalities and relationships, especially wherein you could realistically see this cardboard cutout of a main character end up with any of the girls. What’s even more unfortunate is that there is always a moment where the girls properly relent the mc by saying something emotionally meaningful, especially for the first few drop offs, the series sort of just gives up. Like this chick with the glasses and the boobs can still be there for fan service but she won’t develop or have an interesting internal world outside of the mc for the foreseeable 80 chapters. Mikadono Sisters is the kind of series where it’s actually worth your time trying to theorize who’s going to win the harem. Each girl has their own argument, but even relying upon genre convention isn’t enough, for there isn’t some kind of “queen” of the harem. And this is exciting; I want to feel any kind of remote tension at all for who is going to win.

  Furthermore, the girls themselves are also strong characters for this kind of scenario. I’ve seen the comments joking about how all the girls are some shade of tomboy, which is true, but others have noted that they’re all kind of tsunderes. The Mikadono sisters are fun in that even if you could similarly label them, it only serves to highlight the nuances in how different they are. By the end of the season, we’ve somewhat established the unique dynamic Yuu has with each individual girl, and how their specific gender expressions affect them.

  Dealing with the Mikadono Sisters is a Breeze has a lot of interesting angles to explore gender dynamics in its narrative. In academia they like to use the term “gender play” to broadly describe the process in which gender conventions are messed with or manipulated in ways that are harmless. Kazuki is an explicitly gender non-confirming character who becomes boxed into her role as a princely girl. In a typical harem narrative, the mc would help Kazuki discover how she needs a man in her life, and allows her to live as her “true self,” a feminine woman. However, Mikadono Sisters takes a much more nuanced approach. Kazuki does, and will continue to, engage in several dilemmas due to the unique expression of her gender identity, but she will likely not give up her role entirely; Kazuki likes being a boyish girl and has since she was young. Even so, she is still a woman, and through Yuu, is looking for ways for her to feel pampered and wanted. This manifests in her being interested in Yuu occasionally taking on more masculine roles, but she also wants to protect him and take a more measured, assertive position in their relationship. There’s seemingly this undercurrent of her really liking to dote on Yuu, like the fact that he’s so pathetic makes taking care of him kind of hot? Even if most of the time, he will be taking care of her, it's a whole thing. And it’s not just this one girl, all of them are kind of like this or have their own particular thing.

  What Aya Hirakawa has done is lampshade the gendered undertones in a lot of harem stories (in that the women really don’t need the man to make a living, instead for emotional support) and made that dynamic the basis of the story. It’s why I think all the girls are a bit boyish in the first place. In addition, Aya being a woman allows for Yuu to be a protagonist that can exist beyond being a surrogate for a presumably male audience and appeal to a potential female demographic. Because, even if Anilist doesn’t necessarily reflect it, Mikadono Sisters has been quite popular this season. I’ve consistently seen this show’s latter episodes in the upper ends of those online anime magazine episodic ranking polls every week, even ones that lean toward women. And I think it’s because Yuu’s more sensitive earnestness, and home ec skills, are aspects that appeal to a lot of women in the modern world. It’s the main reason (outside of well written female characters), I believe Mikadono Sisters could reportedly sell 1.5 million copies before an anime adaptation even aired, something that’s kind of an anomaly for a harem series these days. We’re probably never getting Quintuplets numbers ever again, that was a statistical fluke. But the evidence has shown itself that even heavily male dominated genres can find a broader audience if they can just walk off their bullshit for like thirty seconds.

  Speaking of, for those that are curious, this is not an ecchi harem comedy. In fact, there’s a flabbergasting lack of fanservice in this show, but that’s more a reflection of the mangaka’s style than anything else. I’m not opposed to fanservice, but what we have balances the more wholesome tone Mikadono attempts much more coherently.

  Additionally, the visuals in Mikadono Sisters are very solid. PA Works is unique in that they’re one of the few anime studios wherein their shows are more of a studio effort than the vision of a small set of artists and their team of independent contractors. And PA Works shows, in fact, look good—this show is no exception. There are the typical short cuts you’re likely to find in a tv production like this, but nothing we’re not used to at this point, and the show seems like it tries to avoid it when possible. Arguably the biggest complaint I have regarding the visuals is that there is no substantial sakuga or serious directorial experimentation. Now, this is a harem manga, so I’m honestly not sure why you would be expecting crazy visuals. And I will say there was an episode or two with some neat storyboards, but nothing crazy. Either way, you won’t be seeing a production mired in bad compositing or off-putting character art. Hell, I dropped the Quintuplets anime because the visuals were invariably bland (outside of the shaft animated bits I’ve seen online), and this show is heads above that if that says anything.

  I could levy more complaints. But honestly, they would be the same complaints I’d give to about 99% of any harem manga. Like, it would be cooler if there was more physical intimacy between the mc and all the girls, but that would inevitably cause conflict in such a way as to end the harem scenario. So, no matter what I do, I will likely never find my perfect harem show, but that’s honestly fine. I can respect the terms the show is guiding itself under as long as it doesn’t suck, and Mikadono Sisters is good, so it’s fine.

  Not to overly praise it but, Dealing With the Mikadono Sisters is a Breeze is easily the best harem anime of the decade. Now, this isn’t hard to do at all when the genre has been tokenized to irrelevance, but good art should be recognized for the value is does, in fact, provide. Interestingly enough, Mikadono Sisters is a work that well inspires me to make art in my personal life. The pathology of the main characters is so tactile, so strongly present, that other characters with similar neurosis seem fun to write. Each of the Mikadono sisters have daddy issues, some even have mommy issues, and their struggles are presented in a way as to be clear but not nauseatingly trite or overwhelming. I can admit that this, of the 15 shows I’m trying to watch this season, was the show I was the most excited to come back to—and every time I came back, I was always well engaged. Something about this show is infectious, and I frankly can’t wait for it to hopefully come back for more content.

  Who knows where this adaptation will go necessarily? We’re 150+ chapters into the source, and only now does it seem like the story might wrap up by like volume 22 or something, when 16 is just now releasing. Even Quintuplets, one of the most successful manga ever made, has struggled with one of the most regret ridden, schizophrenic adaptations I’ve ever seen. It was clear the production committee only planned up to the movie, and because of that, spent the last three years backpedaling that as hard as they could. And if THAT couldn’t get a well-adjusted adaptation, I doubt this can either. Whatever it may be, I’m happy I was able to catch this show when I could, and I’m looking forward to whatever bizarre creative output comes from me because of it. If the length of this review doesn’t tell you something, then I don’t know what will.

  Have a nice day.

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• 

  SnowBrine

  70/100
  Mikadono Sisters e a raiva contra coach mentiroso

  Só uma review descrevendo uma brisa que eu tive de um anime que gostei bastante, perdoem os erros gramaticais

  • SINOPSE:

    A obra Dealing with Mikadono Sisters Is a Breeze retrata Yu Ayase que, depois da morte da mãe, vai morar com as três irmãs Mikadono — Niko, Kazuki e Miwa — filhas de um amigo de sua mãe e verdadeiras prodígios em suas áreas. Cada uma tem uma personalidade marcante: a atriz confiante, a atleta explosiva e a gênio intelectual. No meio desse trio caótico, Yu tenta se adaptar à nova casa e, aos poucos, entender o que significa viver em família.

  • QUEM SÃO OS PERSONAGENS:

    Yu pode ter herdado a beleza de sua mãe — Subaru Ayase, uma antiga atriz fenomenal, mas distante do filho — contudo é demarcado na história como ele é completamente medíocre em tudo que faz: seja esportes ou artes, jogos ou provas escolares, sempre tendo resultados medianos contrastando com a expectativas que as pessoas têm do filho da Subaru Ayase. Tal inferiorização de Yu aumenta com a aparição das irmãs Mikadono, um trio genial de adolescentes, ganhadoras de competições e aclamadas pelo público, sendo gritante a disparidade de Yu com esses prodígios.

  • O ORDINÁRIO NA NOSSA SOCIEDADE:

    Essa apresentação de tamanhas características negativas de Yu tem conexão com nossa sociedade: vencedores e perdedores, quem marca a história e quem é esquecido. É relatado por muitas pessoas como parece que tudo na sociedade induz o mediano, sobre como as pessoas não tentam mais melhorar como pessoas, se aprimorar no trabalho, nos estudos ou no círculo social. Uma “Cultura da Mediocridade” assim chamada…
    E ela tem fundos de verdade, nas escolas não somos ensinados a pensar: a matemática não é uma exercício de abstração para nossas crianças, e sim um treinamento para aprender a girar um parafuso; sem o devido conhecimento sociológico e filosófico de nossos direitos e o que é indevido, nos tornamos massas de manobra nas mãos dos poderosos; fora o categórico sucateamentos dos trabalhos, onde ninguém quer viver a vida toda só fazendo o mesmo trabalho alienante recebendo um salário mínimo, com direitos mínimos e felicidade mínima. As pessoas clamam por uma melhora e com um boom recente das filosofias estóicas e livros de auto-ajuda, parece que a sociedade ruma para um futuro brilhante e sem pessoas fracas e medianas, né…? Ou talvez não.

  A obra se destaca por muitos fatores, como suas carismáticas heroínas a qual são um brilho para os nossos olhos, além de uma comédia de gargalhar e momentos íntimos e muito fofos. Entretanto, para mim a maior força dessa obra foi a poderosa recusa, vejamos o que a obra fez:

  • A RECUSA DE YU:

    Yu ao se instalar na nova residência sofre ao ser inferiorizado pelas suas novas colegas — as talentosas irmãs Mikadono — pois como poderia um garoto tão comum querer se relacionar com tamanhas prodígios da nova era? Yu de fato é terrível na maioria das tarefas, com exceção de tarefas domésticas as quais ele precisou melhorar para sobreviver sem uma mãe presente na infância, mas uma coisa que chama atenção nele é sua visão de mundo, ele questiona para nós: qual o valor de ser o melhor?
    A única coisa que ele busca é aquilo que ele nunca teve com sua mãe: uma família a qual ama de coração. A reviravolta na obra começa com a aproximação que as irmãs têm com o jovem, pois ele de fato não chama atenção, até sua culinária é comum, mas tudo que ele faz é com tanto amor e carinho, como se só por poder ajudar as pessoas que ele ama, isso já bastasse para sua consciência. Tal detalhe ganha maior destaque no último arco da obra onde a “rival autointitulada” da irmã Miwa — talentosa no shogi, esporte japonês — Sakura Yaotome critica Yu por aceitar ficar na sombra de pessoas mais geniais que ele, como se aceitando sua incapacidade, a única coisa que restou seria ser “capacho” das irmãs Mikadono. Contudo, para Yu é de fato uma paixão poder apoiar as pessoas que gosta, e saber que elas estão bem cuidadas não é a “única opção” e sim a opção a qual ele escolheu para viver.

  • O TEATRO SOCIAL:

    Esse caminho de Yu é alienígena na nossa sociedade, talvez dito como apenas ficcional, pois não teria como alguém realmente querer ser tão "inferior" por vontade própria, o caminho da felicidade é a ascensão social, não é?
    Muitos pensadores declamaram como o esforço mínimo resulta em felicidade mínima, e eu tendo a concordar, pois viver sem tomar as rédeas de sua vida só trará infelicidade. Esse comportamento pode até ser confortável em dado momento, mas a conta vem quando no leito de morte percebe-se não ter aproveitado a vida.
    Nesse momento de admitir para si a responsabilidade por sua vida que mora o teatro social em que vivemos, pois numa sociedade Capitalista que cria seus jovens para serem funcionários substituíveis, sem pensamento crítico e vontade de crescer, ao mesmo tempo cria a solução para esse problema: os cursos de autoajuda e a “competitividade positiva”, aonde fundamenta o modelo geral de ascensão social enriquecendo com trabalho duro… Contudo, e para quem não se encaixa nesse cenário? Para quem o que importa de verdade na vida não são os luxos e quantos carros há na garagem? Para quem só quer viver sem competir com outros enquanto aproveita sua família?
    Nisso percebemos a armadilha desse sistema: ao criar mão de obra barata, consegue seus funcionários para suas fábricas que enriquecem os poderosos, e mantém o poder estagnado criando uma cultura de “meritocracia”, aonde supostamente todos tem capacidade de ascensão social e que o sistema não tem falhas, pois com toda a certeza não existe nada melhor do que ser rico. Consuma e trabalhe, pise nos outros e assim você será feliz, esse é o jogo. Mas esse jogo é podre e adoece a todos.
    No último arco de Dealing with Mikadono Sisters Is a Breeze percebemos como fica a mente de quem força por tanto tempo atuar nesse teatro: Miwa já não aguenta mais competir apenas pela ideia de ganhar dos outros, ela nem sente prazer jogando, sinceramente poderia ser qualquer outro jogo, como xadrez ou damas, já que o que importa é ser melhor que os outros; até que não aguentou mais essa máscara...

  Por quanto tempo mais nossa sociedade vai aguentar batalhar e lutar, destruir e conquistar apenas pelo mérito de vencer? Sem ter prazer, paz de espírito e alegria de viver.

  Por isso, urge mais “Yu's” na nossa sociedade. Pessoas que não tem medo de serem felizes no que é importante para elas — mesmo que não possua luxos, riquezas ou glórias — por que no fim só temos uma vida e o que importa é a vive-la ao máximo em plena felicidade.

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• 

  yayami520

  99/100
  Final review: A highly recommended anime.

  >A gentle counterattack that defies expectations

  The author of this manga is known for creating androgynous characters that transcend gender boundaries., who transcend gender boundaries—the male protagonist, Ayase Yuu, has an irresistibly cute face, yet his voice actor is female; the three female protagonists are the "emperors" of their school—the eldest is a master actress, the second is a karate virtuoso, and the third has an IQ of 180+, their striking appearance almost making one forget their gender. However, once you get past this initial hurdle, you'll discover that this work uses a subversive, sweet comedy shell to wrap a touching core about the "value of the ordinary" and "diverse kindness."

  

  The most striking breakthrough of the work is its subversion of the traditional power dynamics of harem anime. It doesn't follow the old path of "strong male protagonist conquering weak female protagonists," but instead allows the "ordinary man with no talent," Yu, to use his overflowing "wifely power" to win over three genius goddesses. He meticulously prepares nutritious meals to suit the needs of his three sisters, notices the eldest sister's blisters from her gait, offers emotional support when they're frustrated, and even uses housework and sincerity to maintain the warmth of their home. The three sisters, outwardly tough but inwardly gentle, gradually transform from disdainful of Yuu to being moved by his clumsy yet unwavering tenderness. The aloof eldest sister becomes sweet with a wig, the hot-tempered second sister becomes a charmingly arrogant little darling, and the withdrawn youngest sister becomes a soft and adorable little sister. This contrast between "domineering emperor" and "charming wife" is the core source of the comedy, making each episode's competition for Yuu's affections lighthearted and addictive.

  

  Its exploration of "talent" and "value" adds extra depth to this sweet romance anime. Set in a school where "talent is paramount," the male protagonist, Yuu, didn't inherit his mother's acting genius, but he proved through housework, empathy, and sincerity that "ordinary gentleness is also a rare talent." Despite their genius, the three sisters learn to accept their imperfections under Yu's influence, understanding that "being cared for wholeheartedly" is more healing than "always being strong." This deconstruction of traditional gender roles is equally appealing—the male protagonist uses housework and emotional support as "weapons," while the female protagonists display a strength that transcends gender, breaking the stereotype that "men must be strong and women must be weak," and affirming both "diverse strength" and "gentle power."

  On the production front, PAworks' expertise ensures high-quality visuals, and the characters' expressions are nuanced, especially the three sisters' shy micro-expressions and contrasting cuteness, which are vividly portrayed. The voice acting by voice actors such as Koga Aoi and Aoyama Yoshino further brings the characters to life. Of course, the work also has its shortcomings; the core framework of a harem anime isn't entirely broken, some plot points are slightly clichéd, and the initial setup might deter viewers looking for conventional character designs. However, these flaws are ultimately overshadowed by its abundant humor, heartwarming core, and vibrant characters.

  

  In short, 《Mikadono Sisters》 is a sweet, unconventional drama that becomes increasingly addictive with each viewing. It avoids creating anxiety through melodramatic political infighting, instead touching the audience with pure joy and tenderness, telling us that the so-called "difficult emperors" are simply those who haven't met someone who warms their hearts with genuine affection; and that ordinary sincerity and gentleness always possess the power to pierce through any hard shell. For viewers looking to relax, who prefer unexpected charm and heartwarming sweet romance, this work is undoubtedly an excellent choice.

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