“Dance!” I’ve been a fan of anime for a decade, and it’s all thanks to the exceptional blog that I’ve been following. Today, I have the opportunity to give back to that community by sharing my thoughts on one of the shows that captured my attention – Shingeki no Bahamut: Virgin Soul.

Virgin Soul is the sequel to Shingeki no Bahamut: Genesis, both of which were created by Studio Mappa and based on a card game by Cygames. Unlike most shows adapted from games, both Genesis and Virgin Soul managed to avoid the pitfall of mere promotional vessels. Virgin Soul, in particular, was a well-executed conventional show that stood out among the exceptional anime of that year.

The story of Virgin Soul takes place in a changed world, where the new king, Charioce, has decided that humanity can only find security in its own power. Using forbidden powers, he went to war with the gods and daemons, enslaving the latter to serve humanity. In this world, our protagonist, Nina, enters the scene. She is a half-dragon, and her condition is tied to her virginity. If approached or touched by a good-looking man, she turns into a powerful red dragon.

Despite the potential for this show to exploit its title and the condition of its protagonist, Virgin Soul handles Nina’s virginity and condition with finesse and little room for vulgar humor. The show’s fan service, while present, never feels creepy or leery. Instead, it focuses on the interesting interactions between its characters.

The secondary plot points in Virgin Soul are worth more than the central plot itself. Characters like Nina, Kaisar, Azazel, Jeanne, and Favoro are given intriguing stories that make them interesting and sympathetic. These character-developing subplots add depth to the show, even though they are not completely integrated into the central plot and are left unresolved.

The only exception to this is King Charioce, who initially appears as a cruel and ruthless ruler but ends up becoming a major love interest for another protagonist. The contrasting personas of Charioce the King and Chris the Lover are not brought into direct conflict within the character himself, making Charioce feel more like an object than a fully realized character. This missed opportunity is a flaw in an otherwise well-executed show.

The animation and artistry in Virgin Soul are generally excellent. The action scenes are fluid, and the character expressions radiate personality. The show also showcases the animation team’s talent through elaborate dance scenes, which are a treat for the eyes. The only downside is the use of CGI for some creatures, including the titular Bahamut, which feels slightly out of place compared to the fluid animation of the characters.

In terms of music, Virgin Soul delivers serviceable tracks. The first opening is excellent, while the second one is more conventional. The endings are quirky and cute. However, during battle scenes, the music sometimes feels forced and loses its impact.

Despite its conventional plot, Virgin Soul deserves recognition for its well-developed and exciting characters. The art and animation bring them to life, even though they are not always used to their full potential. Overall, I would give Shingeki no Bahamut: Virgin Soul a solid 80 out of 100 (or B).

• Characters: 90/100
• Plot: 70/100
• Art: 90/100
• Sound-Music: 80/100

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