Unicorn Academy is one of the biggest franchises to come out of Spin Master Entertainment and Mainframe Studios. Having been running on Netflix since November 2, 2023, the show has proven to be successful for both companies. Now it’s time to present the trailer for season 2 of Unicorn Academy: Secrets Revealed, which comes out October 8, 2026. Here’s everything that you need to know.

The post “Unicorns Academy: Secrets Revealed” Season 2 Coming October 8, 2026 appeared first on Anime Superhero News.

Dota 2 is not simply considered one of the most complex esports disciplines. Currently, there are more than 100+ heroes in the game and several hundred items, each of which has its own characteristics. The main goal is to win a 5 versus 5 match by destroying the enemy Ancient, but this is not easy, as you need to consider the opponent’s draft, last-hit creeps, buy the right items, and know the mechanics.

However, Dota 2 does not require a player to memorize all heroes and items in one evening. To start, it is worth understanding a few basic principles: how to last-hit creeps, control the lane, use abilities, read the minimap, manage resources, and assess risk before a fight. Mastering these skills will allow you to understand how to play Dota 2 correctly and achieve victories.

Last Hitting, Denying and Lane Control

The first skill worth practicing after becoming familiar with the controls is last hitting. When a player last hits a creep, they receive the creep’s last-hit gold, which can be used to buy items. It is important not just to attack the creep, but to land the final hit, for which you will receive gold. If a player attacks creeps without control, they often kill them too early, leave too little health for their own last hit, or allow the opponent to deny them. As a result, the hero loses gold, levels up more slowly, and has a weaker laning phase.

To learn proper last hitting, it is important to consider not only damage but also attack animation. With Juggernaut, Lina, and Dragon Knight, the feel of the moment of the hit is completely different, even if their attack at a certain level deals the same amount of damage. It is better to practice last hitting on 1-2 main heroes that you play matches with. Denying also needs to be mastered separately. A lane creep that a player kills at the right moment prevents the opponent from receiving the normal last-hit gold and reduces the experience they can gain from it.

For a beginner, it is useful to set a simple goal: in the first 10 minutes, do not try to make a beautiful kill at any price, but to consistently pick up your creeps. At the basic level, 40-50 last hits can be used as a rough practice target in a relatively stable lane. Another important detail is creep aggro. This is already a somewhat more complex element. When the player attacks an enemy hero within the aggro range of enemy lane creeps, he attracts their attention. This can be used to pull the wave closer to your tower or create a more comfortable position for the farm.

Hero Abilities, Items and Resource Management

The next thing worth learning in Dota 2 is how to use abilities correctly, because they should not be used just because their cooldown has ended. This is especially true for powerful ultimate abilities, such as those of Crystal Maiden, Enigma, Lion, and Earthshaker. These abilities can turn the game around, either in your favor or against you.

A new player should know at least four parameters of each basic ability: damage or effect, range, cooldown, and mana cost. To make it easier to absorb the information, you can open the dota 2 tournaments schedule and choose an event from the list. By watching matches of professional teams, you will learn faster what abilities are available in the game, what they are needed for, and how to use them to destroy opponents. After all, unsuccessful uses of abilities can leave your team without healing or a resource for escaping, which will negatively affect the outcome of the match.

The same is true of objects. Blink Dagger, Black King Bar, Force Staff or Glimmer Cape are not “save the hero” buttons in any situation. Their power depends on when they’re used. If the BKB is activated too early, its duration may end before the main enemy disables or other important abilities are used.

Resources also need to be counted before the fight. Before the start of a teamfight, check mana, HP, cooldown of key abilities, and the availability of a TP Scroll. If not all heroes on the team are ready, it is worth postponing the initiation. An ill-considered push to the high ground can end with the death of the entire team and a comeback by the opponents.

Map Awareness, Vision and Decision Making

The minimap in Dota 2 is an important element of the game. It provides information about visible heroes, structures, units, wards and other elements of the battlefield, depending on the current vision and fog of war. A beginner does not need to perform complex analysis every two seconds. It is enough to develop the habit of looking at the minimap before going into the enemy part of the map and into areas where there are no wards.

Vision works together with positioning. An Observer Ward provides information about a specific area and is much more important than it may seem. By placing wards correctly, you can farm safely. However, if a ward is placed on one side of the map, it does not mean that the opposite jungle is safe.

Map awareness is directly related to objectives. After a won teamfight, it is not always necessary to run for the next kill. If the enemy is missing two heroes after a teamfight, it may be more effective to destroy a tower or take Roshan. In Dota 2, killing a hero is valuable only if the team converts the gained advantage into gold, space, or an objective.

Teamfights, Positioning and Timing

In a teamfight, a newcomer can often get lost due to the large number of actions that need to be performed simultaneously. This leads to situations where the hero uses all abilities on support, while the enemy carry remains uncontrolled. Positioning should be built around the hero’s role and main function.

For heroes like Lion, the main task may be to find a safe moment to disable. For Drow Ranger, it is important to maintain distance and deal a lot of damage. For Tidehunter, the main task is to initiate the fight correctly and use Ravage. Different heroes have different conditions for a good teamfight, so there is no universal rule.

It is also necessary to distinguish between a fight that the team can win and a fight that looks attractive only on the minimap. Check the number of heroes, HP, mana, buyback, available teleports, and key cooldowns. If three allies are on the other side of the map and the opponent has gathered five heroes near the tower, even good mechanical skill will not compensate for a bad decision.

Finally, teamfighting needs to be evaluated after completion. If the team won the battle but lost 3 heroes without gaining an important objective, it was not necessarily a good deal. At the same time, even a costly fight can be worthwhile if it leads to a tower, Roshan, significant map control, or another important advantage. Dota 2 rewards not only the fact of winning an individual fight, but the ability to turn an advantage into control of the map and eventually destroy the enemy base.

Conclusion

Gathering all the facts together, it can be said that playing Dota 2 is indeed difficult, but at the beginning it is necessary to learn the basic mechanics. A beginner does not need to learn every item, hero, and complex interaction of abilities at the same time; it is much more effective to sequentially master last hitting, denying, creep control, resource usage, vision, positioning, and risk assessment.

The first practical goal can be to achieve stable last hits in the first 10 minutes. After that, it is worth adding minimap control, understanding cooldowns, and the habit of identifying a specific objective before a rotation. When these actions no longer require constant thought, the player can move on to learning more complex things—counter-picks, item timings, smoke moves, and tactics.

The post Core Gameplay Mechanics Every New Dota 2 Player Should Master appeared first on Anime Superhero News.

Today was the day Nintendo finally let us see what this fall’s anticipated Ocarina of Time remake for Switch 2 looks like. Until this morning, all we’ve had to go on is one shot of Link sleeping and the logo. No one knew what kind of remake this was…a faithful one-to-one reimagining of the environments, or a dramatically reinvented open world game bringing the 1998 classic closer to Breath of the Wild?

Now we know it’s going to be the former. Today’s Direct revealed a lot more of the game than we figured it would; there was at least one clip from every dungeon and area except Ganon’s Castle in the presentation. It looks to be the same game, and series producer Eiji Aonuma proved it by playing one uninterrupted string of gameplay from Kokiri Forest to the first few rooms of the Deku Tree. You had to laugh at Aonuma carefully explaining how to obtain the Fairy Slingshot as if we all haven’t done this a million times before.

Yet while the game is mostly the same experience, the visuals are VASTLY different, especially Kokiri Forest, the first area we were allowed to see. In a sense, this is the game you played in your mind back in the 90s, when your imagination had to fill the details in the smeary textures and blocky areas. I would say this should put an end to the “Hire this man” jokes on social media, but since it is impossible to please everybody, and algorithms boost negative comments over positive ones, no…the Internet would never be pleased by this game no matter what it looked like.

There are some new additions if you know where to look. Modern conveniences like a freely adjustable camera, menu-less item switching and a quest tracker were all expected, but Link can now also jump, an ability no previous version of Ocarina of Time ever had. He can also dash if you hold down the A button, and wow, we needed that in 1998. Cutscenes will be fully voiced, something I know some fans were demanding but may regret. We now have confirmation I’ve been pronouncing Saria’s name wrong.

Nintendo’s online store will soon stock a real ocarina, and you can even use it in the game. A microphone feature will let you hum the magical songs, and it’ll pick up the ocarina notes. Other real-world items will soon include Young Link and Young Zelda amiibos (in 2027), new Zelda Lego sets and a special edition of the Switch 2 with OOT-inspired designs on the console, controller and stand.

Despite the stream being billed as about the 40th anniversary of the series as a whole, there wasn’t a lot that wasn’t about this one game, but there was some fresh news on the movie. They’re calling it “The Legend Of Zelda” — big shock, right? But Miyamoto says once we see the film, “we’ll know why it has no subtitle.” Perhaps it’s Zelda who saves the day in the end, not Link.

The new Legend of Zelda: Ocarina of Time will be released for Nintendo Switch 2 November 5. Preorders are open now, with the physical edition costing ten bucks more ($59.99 digital, $69.99 physical).

Discuss this article on the Toonzone Forums!

The post Hey! Listen! Nintendo’s Ocarina Of Time Remake Fully Revealed appeared first on Anime Superhero News.

The Incredible Hulk has always been one of the most recognizable and popular characters from Marvel Comics. It’s possible he’s second only to Spider-Man. He had a cartoon in the 1960’s, but it was really the live action show from the 1970’s that cemented his fame and ingrained the figure in pop culture. An 80’s cartoon followed by a 90’s cartoon then an early 00’s movie and a late 00’s movie (the second installment of the Marvel Cinematic Universe) meant the Hulk has had a constant presence on TV and/or the movies for decades.

But we’re here to talk about that 90’s cartoon on its 30th anniversary. Simply called The Incredible Hulk (or The Incredible Hulk: The Animated Series if you prefer), it premiered on September 8th, 1996. Sure, Spider-Man and X-Men dominated Marvel’s comics in the 90’s and had the longest running Marvel cartoons of that decade, but the often slept-upon cartoons were Iron Man and Fantastic Four of the Marvel Action Hour (aired in syndication) and its spin-off, UPN’s The Incredible Hulk.

Iron Man and Fantastic Four ran for two seasons (1994-1996 to be exact) but not before giving the Hulk a little nudge before its cartoon debuted. In “Hulk Buster”, The Leader, a classic Hulk villain, found one of the Mandarin’s rings, so Iron Man and Hulk had to fight him (and avoid fighting each other). “Nightmare in Green” was a classic Thing vs. Hulk fight. The Marvel Action Hour burned out, but in its ashes rose UPN’s first and only superhero cartoon, The Incredible Hulk.

Much like the 70’s show (and certain runs of the comic), the show was about Bruce Banner going from town to town searching for a cure for his condition but inevitably getting angry or outraged, Hulking out, somewhat fixing the problem, and then leaving. Rather than an investigative journalist hounding him, The Hulk had General Thunderbolt Ross and the US Army trying to apprehend him while the Leader and his gamma-enhanced mutates tried to steal his strength. Helping out the Hulk were Banner’s girlfriend Betty Ross, best friend Rick Jones, and super powered psychiatrist Doc Samson.

It was actually Ron Perlman who played the Hulk on Iron Man and Fantastic Four, but Mr. 1970’s Hulk himself, Lou Ferrigno, voiced the Hulk on the series. Since he didn’t get to do any speaking on that show (even the Hulk’s grunts and roars weren’t done by Ferrigno), the 90’s cartoon allowed him to give Hulk a full range of emotion. That range tended to go from innocent/confused to a state of blind rage, but still, that’s the Hulk in a nutshell. Neal McDonough played Bruce Banner as intelligent but often stressed while Luke Perry’s Rick Jones was every bit the 90’s cool guy teenager. Matt Frewer returned from Iron Man as the Leader, and he really hammed it up, often punctuating his villain speeches with his catchphrase “So says the Leader!” Mark Hamill, whose voice work in Marvel animation at the time included Hobgoblin from Spider-Man the Animated Series and Maximus the Mad from Fantastic Four, played the Leader’s snarky lackey, Gargoyle.

The first season was a solid 13 episodes, which teamed Hulk up with many heroes and built a story arc. Paying respects to the shows it spun off from, Banner went to Los Angeles to seek help from Tony Stark in “Helping Hand, Iron Fist”, and he went to New York in hopes that Reed Richards could cure him (but only finding Ben Grimm) in “Fantastic Fortitude”. Hulk also met Thor, Ghost Rider, and Sasquatch from Alpha Flight. Season one introduced Bruce’s cousin, Jennifer Walters, and turned her into the She-Hulk. The season finale had Betty and Doc Samson finally separate Bruce Banner from the Hulk. Unfortunately, the Leader finally succeeded in getting the Hulk’s strength. Banner and Betty almost got married, and in a battle you’d think was impossible, Bruce Banner fought the Hulk. The three part finale, “Darkness and Light”, ended with a change in status quo. Banner is forced to live with another Hulk, the Grey Hulk, inside of him, and Rick Jones gets transformed into a Hulk.

Despite the promising teases at the end of the first season, the second season wasn’t a great follow-up. She-Hulk became a permanent fixture on the show, which was a fun idea, but the episodes became more comedic in tone and the show seemed to lose its sense of direction in general. Banner struggles between transforming into either the street-smart Grey Hulk or the classic Green Hulk, but he seems less concerned with finding a cure. He’s no longer on the run from the law, and he and Betty don’t see much of each other while the plot of Rick as a Hulk is quickly dropped. Dr. Strange is the only heroic guest-star, and Dr. Doom makes an appearance without having quite the menace he usually does. Season two only lasted for eight episodes, and the series ended with a whimper.

The Incredible Hulk ended up going in the opposite direction of Iron Man and Fantastic Four. While those shows began on shaky ground, they had strong endings. Hulk was, sadly, the inverse. But I guess you can look at all three shows as a rise and fall of the non-Spider-Man/X-Men Marvel cartoons of the 1990’s.

Having said that, despite The Incredible Hulk being an often overlooked short-lived show on a long dead network, it maintains a decent chapter in the ongoing story of the Hulk. It was certainly better than the 60’s motion comic of a cartoon and improved on things from the 80’s cartoon. Your mileage may vary on whether or not this was better than Hulk and the Agents of S.M.A.S.H., but it was certainly more true to the comics. It never forgot the main conflict of the series was Bruce Banner against his internal monster. While it had guest-stars (but no Avengers as a team because the world hadn’t become Avengers-crazed yet), Hulk and his supporting characters were front and center. The second season may have lost its way a bit, but the first season captured the danger, persecution, inner conflict, and action that you’d expect from the Incredible Hulk.

Discuss this article on the Toonzone Forums!

The post “The Incredible Hulk” (1996 Animated Series): A 30th Anniversary Retrospective appeared first on Anime Superhero News.

Aw, thanks, guy! The Emmy committee just pulled up to Matt and Trey’s headquarters with a giant trophy, but it wasn’t to butter them up for favors. It was because South Park was announced last night as this year’s winner for Outstanding Animated Program.

The winning episode was “Sermon on the Mount,” their season premiere and one giant, massive dump on the world’s most thin-skinned and temper-prone Oompa-Loompa. While the episode was one of the funniest they’ve had in years, its win is a bit of a curveball, as it faced some stiff competition from other established shows. Emmy judges aren’t making their decisions on an entire season, but a specific episode submitted by the show creators. Here’s what the others were:

Bob’s Burgers – “Grand Pre Pre Pre Opening” (FOX / 20th Television Animation)

This was the season opener, which flashed back to the beginning of Bob’s burger business and his and Linda’s struggles to turn an abandoned run-down seaside restaurant into a legitimate attraction.

Our judge: it was pretty solid and had a chance to pull ahead.

Rick and Morty – “There’s Something About Morty” (Adult Swim / Rick and Morty LLC, Williams Street)

The episode is a mindless one, but is pretty great from an action and animation standpoint; it’s just Rick and Evil Morty battling each other in as over the top a war as possible.

Our judge: Perhaps that mindlessness cost it a trophy. A whole lot of work went into it though.

The Simpsons – “Homer? A Cracker Bro?” (FOX / Gracie Films, 20th Television Animation)

A rather weird episode that takes an established fact from decades ago — Milhouse’s father Kirk Van Houten works at a cracker factory — and bases an entire episode around it. You will be very sick of the word “cracker” by the end.

Our judge: This only had a shot at winning if the voters weren’t paying attention and voting by brand, which unfortunately happens sometimes. In 2003 Futurama’s “Jurassic Bark” lost to a very mediocre Simpsons episode.

Smiling Friends – “Le Voyage Incroyable de Monsieur Grenouille” (Adult Swim / Williams Street)

The third season’s Mr. Frog episode, which was unusually dramatic in places and seemed to provide a definitive end for the character. That was confusing at the time, but…as revealed months later, it turned out the entire show had just a few episodes left. Since then, Cusack and Hadel have commented that they could revive the series in the future if new ideas come to them.

Our judge: This was the one everybody was pulling for, as Smiling Friends was the preferred underdog going up against giants. C’est la vie.

Star Wars: Visions – “Black” (Disney+ / Lucasfilm, David Production)

Our judge: I still haven’t seen this episode yet.

There are two other animation-specific awards at the Emmys, but one of them this year went to a non-cartoon. That happened with “Outstanding Character Voice-Over Performance,” where Pamela Adlon for King of the Hill, Trey Parker for South Park, Hank Azaria for The Simpsons, Steven Yeun for Invincible and Matt Vogel for The Muppet Show were all skipped over in favor of Julie Andrews’ narration for Bridgerton. BOO!

There is also an “Outstanding Visual Achievement In Animation” category, but no winner seems to be listed in it. There’s just four shows mentioned (one twice) and a note that says “Juried — recipients already announced.” I take it all five won?

Discuss this article on the Toonzone Forums!

The post Your 2026 Animated Emmy Winner Is South Park appeared first on Anime Superhero News.

Sometimes a fresh coat of paint can bring many more years to a project; at other times, it ends up emphasizing the cracks underneath. Such is the biggest flaw with Netflix’s The Ribbon Hero, a visually dazzling loose adaptation of Osamu Tezuka’s classic manga Princess Knight. While able to present fight scenes and gorgeous backgrounds in a way that would’ve been unimaginable sixty or seventy years ago, the rushed hollowness of the plot Tezuka crafted makes for a film that’s far more style than substance, and doesn’t serve as a substitution for the original Princess Knight.

After the tragic death of her parents in a monster attack – a Godzilla-like unstoppable force known as Nergal which appears at random and destroys everything in its path – Sapphire must leave her hometown and search for refugee with the remaining survivors, counting their days and giving their best aid to one another to prepare for another Nergal attack. Sapphire accidentally awakens a hidden power from her ribbon, which turns her into Princess Knight – and, with her newfound power, realizes she may be the only one who can save the world from being destroyed by monsters.

While the Tezuka inspiration might be used as a hook, it would be easy for someone to miss that The Ribbon Hero was influenced by it at all – at least until the words “Princess Knight” are actually used. It borrows an aesthetic and world that Tezuka crafted from a time in which making comics for and about girls at all was revolutionary, but attempts to spin its own weave in a way that can be properly condensed into a film. It doesn’t quite stick the landing, though, with there not being a lot of time for Sapphire to grow as a character or the audience to particularly care, other than opening with the tearjerker of her being unable to save her mother. While a lot of things are happening, the audience has no time to really comprehend them with its break-neck speed – especially in comparison to the original Princess Knight anime, which is 52 episodes long.

One of the major elements of Tezuka’s original Princess Knight missing is the concept of “boy” and “girl” hearts – Princess Knight herself is born from a heavenly error in which a child is born with both hearts, giving her the power to camouflage herself as a prince when it’s more convenient. Tezuka uses this framing device to give Sapphire the unique power to break through the sexist barriers that would otherwise barricade her, even if the “boy” and “girl” heart concept itself can lean a bit into gender stereotyping. The perspective on gender fluidity is also interesting from a modern perspective; however, rather than step into any of that, The Ribbon Hero removes the entire heart concept and makes Sapphire a pretty unassuming female protagonist. Of course, there’s plenty in the series that shapes Princess Knight outside of the heart concept. It’s just that The Ribbon Hero has absolutely no time to explore it. 

However, what the film lacks in storytelling, it makes a strong case for making up for in animation. The colorful world of The Ribbon Hero takes the shoujo aesthetic and runs with it in a way that might be more familiar to something like Puella Magi Madoka Magica. The choreography, character designs, and fight scenes are all incredibly crafted – maybe just thanks to that sweet, sweet Netflix money, but it’s certainly to leave an impression visually on anyone who’s able to see it, even if the story doesn’t leave them with much. Tezuka would likely be amazed at the technological achievements of the film, and then suggest that they add some mouse girls.

An interesting comparison point here is another classic anime that recently was made into a Netflix anime film, The Rose of Versailles. It carries many similar strengths and faults to The Ribbon Hero, doing circles around its original dated anime while at the same time trying to overly condense a story in a way that will leave most new viewers feeling like they’re missing something more than anything. However, one point that you can give to The Ribbon Hero is that it has a decent score, and that no one bursts out into song. 

Overall, The Ribbon Hero is a beautiful canvas of a film, weighed down by an overly ambitious story that wants to play Princess Knight while at the same time missing some of the key elements that made Sapphire Princess Knight. Even as an almost two-hour film, it simply doesn’t have the time to explore all the elements that made Tezuka’s story such an essential for shoujo and magical girl fans even to this day. While it may have the opportunity to lead new fans to the source material, it lacks the ability to stand alone as a solid adaptation or even modern spin on Princess Knight. It comes off more as a confused spectacle of colors and cool fights…though perhaps that’s all some people are looking for.

The Ribbon Hero is available for streaming on Netflix.

Discuss this review on the Toonzone Forums!

The post Review: “The Ribbon Hero”: Dazzling Princess, Not Much Of A Knight Anymore appeared first on Anime Superhero News.

Anime Superhero recently had the opportunity to interview voice actress Madeleine Morris on her role as Rudeus in Mushoku Tensei Season 3, airing new episodes currently on Crunchyroll.

For those needing a refresh, the plot description for the show is as follows: “When a 34-year -old underachiever gets run over by a bus, his story doesn’t end there. Reincarnated as an infant, Rudy will use newfound courage, friends, and magical abilities to embark on an epic adventure!” 

ANIME SUPERHERO: I see you have a pretty unique role on the because you don’t just voice Rudeus, you also write the scripts, is that correct?

MADELEINE MORRIS: I did for all of Season 1 and the majority of Season 2, and I’m assisting more on Season 3 this season.

ANIME SUPERHERO: Well, there you go: you’re assisting. So, having been so connected to the story since the beginning, what’s been your favorite part about bringing this new chapter to the English audience.

MADELEINE MORRIS: Oh my goodness! So this is fascinating to me, because when I started working on the show in 2021, I was going through a lot. I think we were all going through a lot – in late 2020/early 2021. And what I found through working on Season 1 of the show was that I was kinda meeting Rudeus where he was at that point, in that I was doing a lot of work in therapy. I was doing a lot of “inner child” work in therapy! And it was fun to get to meet him where he was, and we kinda did our “inner child” work together, is really how I look back on Season 1.

And Season 3 now, he’s come to meet me where I am as an adult, and he’s got a child now and like, right at the end of Season 2 – right when Season 2 was finishing airing, my baby niece was born, so I have…She’s not my baby, but it’s my first baby in my life that’s important to me, that’s special to me!

ANIME SUPERHERO: That’s right!

MADELEINE MORRIS: It’s been very exciting to see this character (who I feel very maternal about!), really come into his own and start to be this kind of family man, that it seems really evident to me that he has always wanted to be. Um, I think it’s really endearing and it’s really exciting to see him be soft and sweet and domestic and to have fun at home with his family and to value these things that I am appreciating now in a different way in my adulthood as well.

ANIME SUPERHERO: I understand! And I agree a whole lot with the sentiment of “2021” and I think we all needed some therapy that year. *Laughs*

To touch upon briefly, still, the script writing: Just what is your personal philosophy when it comes to keeping the script faithful, but also translating for English viewers, and making it appropriate for English viewers.

MADELEINE MORRIS: So actually, one of the quickest ways I think to get this point across is to compare it directly to subtitling. Um, subtitling (translations for subtitling) are working under a very similar set of circumstances, in that they only have so much real estate on the screen to put so many words.

So not only – like, they are trying to fit all of the nuance of this line into these two lines in maybe 15 or 20 words on the screen. But you can read quickly, rapidly, and get all of the information that you need. When you’re writing for dubbing, you’re working under very similar constraints, because of the animation, because of the lip flaps, the mouth flaps.

ANIME SUPERHERO: Right.

MADELEINE MORRIS: Because that doesn’t change on the back end in when you’re dubbing it into other languages. So it’s incumbent on the script adapter, and the director, the engineer, and the actors as a collective to match that animation. Um, but for scripting in particular, it is very much “How do I say – how do I get all of this information into this many frames of animation, in a way that sounds like a natural flowing conversation.

And that is generally more important to me as an adaptive writer, than trying to find the “one to one” most straight line translation. Because there’s so much of translation that is found in tone of voice, and in delivery and in stress, and in body language.

ANIME SUPERHERO: Certainly.

MADELEINE MORRIS: And you see that I think a lot in particularly sign language. That’s one that I like to point to, where facial expression is part of the language. And just with any spoken language. Obviously, you can – we can both close our eyes or turn off our cameras and understand each other perfectly clearly, but there’s a lot to be said for expression and body language, and tone – to fit in with the tone of voice. And so making sure that a scene flows is my number one priority because anything that comes after that will be absorbed by the audience more naturally and easier. They won’t have to feel like they’re fighting against the information that they are being fed, especially when it comes to really exposition heavy dialogue.

ANIME SUPERHERO: I love the detailed answer, that explains –

MADELEINE MORRIS:  I love the question!

ANIME SUPERHERO: You put a lot of thought into it! That’s great though. Let’s uh…speaking of Rudeus, he’s grown up a lot since Season 1. How do you approach the script writing now that his vocabulary and mindset have matured so much?

MADELEINE MORRIS: Gosh, I mean I really do take my cues from the Japanese – from the Japanese performance, from the Japanese dialogue and from the translations that I get. I am a reader of the light novels, so before I get really started in on the anime, I have this like other basis for what these scenes are going to be like and where they’re going to, where they’re going to head. And I don’t feel like I personally have had to do any really heavy lifting as a writer to convey that. I think that that’s one of the great strengths of the story, is how gradual and how natural a lot of the growth of the characters can be.

ANIME SUPERHERO: So Season 3 places Rudeus in a completely new phase of his life, as a family man and as a leader. So even as he steps into this adult mindset, his inner monologue is still rooted in his past life, in Japan. So how do you balance the two sides of this character, this season? What do you think has been the hardest part about that? Or has it been hard?

MADELEINE MORRIS: Uh, it stopped being challenging to me when I started looking at it like – when I started to frame the whole idea of the show as: “If you could do it all over again, knowing what you know now, what would you do differently?”‘

And that is really…that’s all there is to it. It doesn’t mean that I’m treating these neccesarily – that like, current and previous Rudy as the same person. I’m not treating them as two seperate, they’re both…

ANIME SUPERHERO: Yes.

MADELEINE MORRIS: It’s Schrodinger’s Dude! They are both the same person and different people depending on the conversation that you’re having at the time – and depending on the conversation that I think Rudeus is having at the time! I also think I’ve gotten away from your question a little bit. Am I still on track with you?

ANIME SUPERHERO: No, you answered the question adaquetly. It’s just…this is a new stage for Rudeus and with him being a family man now…and well, this actually touches upon my next question:

So he’s one of the most deeply flawed Isekai characters, and what do you think his journey teaches us about just how hard it is to overcome your past self and build a better life in a new world?

MADELEINE MORRIS: Oh boy. I think my biggest takeaways from this story are that it’s never too late. You’re allowed to say the wrong thing, and healing isn’t linear. And I think internalizing those three things – like as an adult, for me, in my life and my growth as a human being, I think internalizing those three things have…has been what has made me enjoy this story so much more, and what’s made the story mean a lot to me.

Because I love – I enjoy flawed characters! I enjoy damaged characters. I enjoy characters who make poor decisions based on flawed information or flawed thinking. I find them the most intimately human, and the most interesting to play with and to analyze, because of that. Because there are ideas and themes at play in this story that I don’t think we, as you know, just regular people – spend a lot of time thinking or talking about together.

And so I think that there’s a lot about this show and about Rudy and his personality, his maybe (kind of) split personality at times…um, that I think is a really wonderful gateway to some fantastic conversations about what it means to be a person. What it means to improve as a person. What it means to forgive yourself. Learning what you yourself can forgive or not.

ANIME SUPERHERO: I love all of that.

MADELEINE MORRIS: Yeah, there’s a wealth of humanity to be found in Mushoku Tensei. And…I feel like it’s the last thing that gets talked about really. Oftentimes.

ANIME SUPERHERO: Yes, there’s uh…a lot of conversation about this show, but if you zone in on what the lesson is about getting a second chance, and just focus on that…

MADELEINE MORRIS: Right.

ANIME SUPERHERO: I think that’s a…I would be inclined to say that’s where the focus should be. I don’t know if your…I think your thoughts are similar to that.

MADELEINE MORRIS: Yeah, absolutely. I mean, this is really – this is the ultimate kind of version of “if you could do it all over again, knowing what you know now, what would you do differently?” And it’s fun to explore that.

ANIME SUPERHERO: Right?

MADELEINE MORRIS: It’s fun to explore that, and it’s interesting to see how some of these kind of uncomfortable human themes are woven into that, and I think it prompts a lot of reflection of it’s audience.

ANIME SUPERHERO: I just love that it’s up to Season 3 now and that the story is expanding, and it’s growing and it’s just…it’s not “one note”. The character is…well, the character is growing up, how about that?

MADELEINE MORRIS: Yeah. Yeah! And I love that. And especially as this world kind of expands and opens up wider, one of my favorite things about Rudeus is that we never see him make the same decision twice. If he takes the same action, it’s for a different reaason. Or it’s for different, you know…he’s operating under different information. Like he’s not making the same decisions over and over again. And I tend to just…I enjoy that! I enjoy that about the story, and it’s cool to see how his problem solving evolved as the world opens.

Anime Superhero would like to thank Madeleine Morris for taking the time to talk to us, and the Crunchyroll PR team for the opportunity. You can follow Madeleine on Instagram and Twitter/X. “Mushoku Tensei” Season 3 is now airing on Crunchyroll.

Discuss this article on the Toonzone Forums!

The post Anime Superhero Interviews Madeleine Morris on “Mushoku Tensei” Season 3 appeared first on Anime Superhero News.

Here is your guide to Disney Channel’s TV schedule for the week of September 7 – 13, 2026. This week you can find new episodes of Ariel – The Little Mermaid and Spidey and his Amazing Friends.

You can view the complete line-up for the week below. Check back for updates, but be aware that the schedule is subject to change without notice. Listed start times are approximate.

Monday, September 7, 2026

Tuesday, September 8, 2026

Wednesday, September 9, 2026

Thursday, September 10, 2026

Friday, September 11, 2026

Saturday, September 12, 2026

Sunday, September 13, 2026

Discuss this schedule on the Toonzone Forums!

The post Disney Channel Schedule for the Week of September 7th appeared first on Anime Superhero News.

Here is your guide to Disney XD’s TV schedule for the week of September 7 – 13, 2026. This week you can find a new episode of Beyblade X.

You can view the complete line-up for the week below. Check back for updates, but be aware that the schedule is subject to change without notice. Listed start times are approximate.

Monday, September 7, 2026

Tuesday, September 8, 2026

Wednesday, September 9, 2026

Thursday, September 10, 2026

Friday, September 11, 2026

Saturday, September 12, 2026

Sunday, September 13, 2026

Discuss this schedule on the Toonzone Forums!

The post Disney XD Schedule for the Week of September 7th appeared first on Anime Superhero News.

Here is your guide to Disney Jr.’s TV schedule for the week of September 7 – 13, 2026. This week you can find new episodes of Spidey and his Amazing Friends and Ariel – The Little Mermaid.

You can view the complete line-up for the week below. Check back for updates, but be aware that the schedule is subject to change without notice. Listed start times are approximate.

Monday, September 7, 2026

Tuesday, September 8, 2026

Wednesday, September 9, 2026

Thursday, September 10, 2026

Friday, September 11, 2026

Saturday, September 12, 2026

Sunday, September 13, 2026

Discuss this schedule on the Toonzone Forums!

The post Disney Jr. Schedule for the Week of September 7th appeared first on Anime Superhero News.