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December 21, 2015. Archived from the original on July 26, 2017. Retrieved December 21, 2015. ^ "KonoSuba anime staff" (in Japanese). KonoSuba. com. Archived from the original on 28 March 2013. Retrieved 23 July 2022. ^ a b c Carl, Kimlinger (9 February 2007). "Monster GN 5 – Review". Anime News Network.

It explores themes . of growing up, death, and grief; however, it also forces romance in a way that detracts from these themes. If this film focused more on the general relationships of characters and how they interact within the plot, then it would have been a phenomenal and meaningful film. Instead, certain scenes are jarring and seem to force characters into behaving differently than expected, rather than growing naturally. If romance were cut from the film, Suzume would have grown more as a character, and the ending section's plot twist (no spoilers) would have been absolutely amazing. Instead, the story forces the main character to make decisions based on a forced love narrative that is crammed throughout the story. Imagine falling in love with someone after knowing each other for a few days, and then deciding that you need to rescue that person because you are madly in love. It just completely ruins the story. Aside from this, the story is quite interesting, but random changes in characters' behaviors, which go unexplained, make the story frustrating to follow.

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^ "News: Amazon Japan Posts 2008's Top-10 DVDs, CDs, Toys". Anime News Network. December 3, 2008. Archived from the original on May 24, 2008. Retrieved April 5, 2011. ^ a b "Box Office Gross, TV Anime Adaptations". Someanithing: Anime DVD/BD Sales in Japan. Archived from the original on 10 December 2019. Retrieved 25 February 2019. ^ "News: After the Rain Film Debuts at #4, Final Code Geass Trilogy Film Debuts at #9". Anime News Network. Archived from the original on December 13, 2020. Retrieved July 2, 2020. ^ Hodgkins, Crystalyn (December 6, 2020). "Fujifabric, Hatena Perform Theme Songs for Dr. Stone: Stone Wars Anime". Anime News Network.
[22] On the other hand, the play within a play, Double Bind, is more like a parody than a straight psycho-horror, and he made it with the intention of criticizing Japanese TV dramas that are easily made by imitating Hollywood fads immediately. [22] Kon decided to take on the role of director because he couldn't resist the allure of directing for the first time, and because the original author allowed him to change the story as he liked as long as he kept three things in mind to make the film work: the main character is a B-grade idol, she has a rabid fan (stalker), and it is a horror film. [18][19][24] So he took some elements from the original work, such as the uniquely Japanese existence of idols, the "otaku" fans that surround them, and the stalkers that have become more radical, and came up with as many ideas as possible with the scriptwriter, Sadayuki Murai, with the intention of using them to create a completely new story. [16][18][19] And the film needed a core motif, which had to be found not by the screenwriter or anyone else, but by the director, Kon himself. [16][18][19] So he came up with the motif of two things that should have a "borderline," such as "dream and reality," "memory and fact," and "oneself and others," becoming borderless and blending together, based on the short film Magnetic Rose (from Memories), for which he had written a script, and the suspended manga Opus. [22][23] The concept of "memory and fact" in the plot was inspired by the album Sim City by Susumu Hirasawa.