A Hundred Scenes of Awajima is the most beautiful anime you’re not watching
🎮 Multi-platformNews
🎮 A Hundred Scenes of Awajima#Anime

A Hundred Scenes of Awajima is the most beautiful anime you’re not watching

Polygon RSS FeedRyan Epps4 min read(4 months ago)

Overview & Key Takeaways

Like a watercolor painting forced into motion, Awajima is oozing in emotional weight and class

We’ve all at some point wanted to be a star. It’s only natural to crave the spotlight, but standing in it requires a kind of conviction few can actually sustain. Countless stories have explored this innate human desire — from The Great Gatsby to the Marvel universe — but the latest entry in this long-running narrative tradition comes from a brilliant new anime that's streaming now on Crunchyroll.

Set against the backdrop of an elite opera boarding school, A Hundred Scenes of Awajima puts that quiet, often painful pursuit of stardom on full display. Based on the dreamy, watercolor-esque manga by Takako Shimura, this anime adaptation from Madhouse (Death Note, Paprika, Vampire Hunter D: Bloodlust, and countless more classics) and director Morio Asaka is elevated by its breathtaking animation style and ethereal soundscape.

Awajima initially seems to follow Wakana Tabata, a dedicated first-year student with dreams of becoming a theater star. She recalls characters like Asa Takumi (from Journal with Which), timid and unsure of how to express herself yet desperate to be seen. But the focus quietly moves past her, not because Wakana stops mattering, but because Takako and Morio are less interested in following one life than in capturing many. In that sense, the Awajima Opera School itself becomes the closest thing the series has to a main character. Rather than a traditional ensemble, the series presents a rotating collection of lives, each one capturing a different shade of the same fleeting emotion.

Morio structures Awajima around pairs, not protagonists. Each episode introduces two characters not as leads, but as reflections of one another. They act as contrasting emotional states that only fully make sense when viewed together. Like brushstrokes on the same canvas, they bleed into one another, their emotions overlapping, blending, and sometimes clashing in ways that feel fleeting but deeply intentional.

Still from A Hundred Scenes of Awajimi Image: Crunchyroll

Whether it’s Wakana Tabata’s quiet uncertainty, the poised distance of Kinue Takehara, or the subtle push and pull between Emi Okamoto and Yuki Onoda, every character in A Hundred Scenes of Awajima feels less like a protagonist and more like a borrowed moment. A perfect example comes just minutes into the first episode: The camera lingers on Wakana as she walks down a hallway with a classmate, but the audio drifts elsewhere, picking up a stray conversation between two girls leaning against a nearby wall. The scene lasts only a few seconds, but it says everything about Morio's approach to his characters, even when they feel like part of the scenery. Awajima feels like a collection of fragmented lives, many of which are unfolding just out of reach.

It helps that A Hundred Scenes of Awajima features stunning animation that looks and feels like watercolors brought to life in a nod to Takako's original art. Scenes don’t cut so much as they fade, like memories you’re trying to hold onto before they slip away. Morio even employs a soft ghosting effect around the edges of certain shots, subtly distinguishing past from present and giving everything a dreamlike, untethered quality.

Still from A Hundred Scenes of Awajimi featuring characters walking in a memory. Image: Crunchyroll

The music works in much the same way. Rather than punctuating the more fantastical moments, it drifts in and out of scenes, carrying emotions that the characters themselves can’t fully articulate. Conversations trail off into soft melodies, rehearsals blur into full performances, and silence is just as expressive as sound.

Together, the visuals and score create something more fleeting than a traditional story ever could. Just like its characters, nothing in Awajima ever feels fully fixed. You’re not watching a story unfold — you’re watching a performance that feels destined to become legend the second it ends. Awajima is a rumination on the arts, on potential, and on how much one is willing to sacrifice to accomplish their dreams.

With only three episodes in, A Hundred Scenes of Awajima is already a promising start to what could be the Spring season’s most inspirational anime yet. The stage is set, and episode four is calling.


A Hundred Scenes of Awajima is streaming on Crunchyroll.

Share:

More in Multi-platform

Magic: The Gathering Isn’t Done With Final Fantasy Just Yet🎮 Multi-platform

Magic: The Gathering Isn’t Done With Final Fantasy Just Yet

Final Fantasy 7 Revelation includes an exclusive Magic: The Gathering promo card, continuing Wizards’ steady stream of Final Fantasy releases.

🎮 Final Fantasy🎮 Magic: The Gathering
PolygonNewsabout 3 hours ago
‘Worst Crash We’ve Seen Since the 1980s,’ Warns Epic Games CEO🖥 PC, Multi-platform

‘Worst Crash We’ve Seen Since the 1980s,’ Warns Epic Games CEO

A panel of experts said the game industry is currently in the worse state it's been in 40 years.

🎮 Fortnite
PolygonNewsabout 4 hours ago
Playing Halloween: The Game's Single-Player Campaign Is A Tutorialized Love Letter, But Not What You're Here For🎮 Multi-platform

Playing Halloween: The Game's Single-Player Campaign Is A Tutorialized Love Letter, But Not What You're Here For

!Halloween The Game Michael Myers Illfonic Gun Interactive Single Player Campaign (https://gameinformer.com/sites/default/files/styles/bodydefault/public/2026/09/03/af83b5ce/halloweenpromo1.jpg.webp) Colorado-based developer IllFonic has been making asymmetrical multiplayer games based on iconic movie IPs for most of its existence. Arguably its biggest hit remains its first stab at the genre, with 2017's Friday the 13th: The Game (a great game now infamous for its shutdown), but since then, the team has released Predator: Hunting Grounds, Ghostbusters: Spirits Unleashed, and most recently, Killer Klowns from Outer Space: The Game. Finally, though, IllFonic is making the biggest horror-movie-turned-asymmetrical-multiplayer layup game of all time with Halloween: The Game. If you preorder the more expensive fancy-smancy version, you can hop into the game early on September 4; otherwise, the game goes wide on September 8. I need more time to work through and digest IllFonic's multiplayer offering in Halloween, but I have completed the single-player campaign (the studio's first in one of these games) and wanted to bring you some initial thoughts. A Few Notches Above Glorified Tutorial !Game Informer News(https://gameinformer.com/sites/default/files/styles/bodydefault/public/2026/09/03/2e83139b/halloween1.jpg.webp) If you aren't a multiplayer person and were curious about picking up Halloween for its single-player offering... I wouldn't. It lasts just a couple of hours – though you can extend it by replaying chapters to knock out optional objectives and unlock cosmetic rewards – and is just a few notches above a glorified tutorial for playing as Michael Myers. Each chapter introduces new mechanics in his kit that you will then hone and master in the multiplayer side of Halloween. There is a heaping dose of love from IllFonic, however, to the movies, primarily the 1978 Halloween from director/synth player/gamer John Carpenter that started it all, that elevates it just so. As you might expect, a single-player campaign where you play as Michael Myers based on the first Halloween film is, well, a video game version of that movie. If you've never played an IllFonice game before, this campaign will give you the rundown on how its games feel, including the at-this-point-must-be-a-feature-and-not-a-bug baked-in instability. I encountered nothing game-ruining, but like its predecessors, Halloween has a distinguishable jank to it that you will either come to love because it adds to the unpredictable nature of these multiplayer experiences or you will hate because... it's still jank. It runs fine, performance-wise, but I did encounter some noticeable bugs, like falling through floors or being unable to hide bodies in designated hiding areas; I would not categorize this as the acceptable jank I expect in an IllFonic game, and I hope the team is working on patching issues like that up. !Game Informer News(https://gameinformer.com/sites/default/files/styles/bodydefault/public/2026/09/03/bd2832aa/halloweenpromo3.jpg.webp) Nonetheless, escaping Smith's Grove, killing a mechanic and donning Michael's trademark navy blue jumpsuit, and killing the clerk at a department store so you can steal and put on the William Shatner mask to complete the set is good fun. A filmic look overlaid on the game's true-to-movie visual style sells the aesthetics. Though if you aren't a fan of film grain, you won't like what you see. Performances in the campaign are fine, with Dr. Loomis being the only real standout/named character in the otherwise boilerplate cast who are there to be victims. Running around Haddonfield's suburbs as Michael is good, terrifying fun. In quiet moments, his pained breaths add a sinister air to every step, while screams from nearby houses or hushed breathing in closets sell the idea that you embody evil and everyone is afraid of you. So, too, does the wide array of kills at your disposal. You can stalk victims from afar, completing minigames to raise what is essentially their fear level, and then strike using your knife, your hands, other weapons you find out and about like pitchforks and fire pokers, or even the environment for special contextual kills (like piercing bodies onto telephone poles or throwing someone off a second-floor porch). It remains a good time throughout the short campaign, which ends with Michael escaping Haddonfield to presumably go kill a bunch of random players in online matchmaking lobbies, but it does little more than teach you the ropes within the context of some of Michael's most notorious kills. !Game Informer News(https://gameinformer.com/sites/default/files/styles/bodydefault/public/2026/09/03/05b7c47e/halloween2.jpg.webp) I'm satisfied as this campaign is about what I expected, but I would have liked something bigger to dig my knife into for IllFonic's first go at a single-player experience like this. Admittedly, however, that's not what you're here for (or at least, not what you should be here for). IllFonic's games of this ilk live and die by the multiplayer, and though I can see how playing as Michael will be interesting, I still have no idea what it's like to play alongside real players or as a resident running from him. With the campaign behind me, I'll be starting my multiplayer Halloween journey properly. Look forward to my review for Game Informerat a later date. In the meantime, read Game Informer's reviews for Friday the 13th: The Game(https://gameinformer.com/games/fridaythe13ththegame/b/playstation4/archive/2017/06/02/a-killer-formula-suffering-massive-casualties.aspx), Predator: Hunting Grounds(https://gameinformer.com/review/predator-hunting-grounds/not-quite-at-its-apex), and Killer Klowns from Outer Space: The Game(https://gameinformer.com/review/killer-klowns-from-outer-space-the-game/more-fun-than-a-pie-in-the-face). After that, read our interview with IllFonic about what to expect in Halloween(https://gameinformer.com/gamescom-2025/2025/08/25/everything-we-learned-about-single-player-and-multiplayer-in-illfonics).

🎮 Playing Halloween: The Game's Single-Player Campaign
GameNewsabout 4 hours ago