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Dec 8, 2024
I am up to date with both Blue Lock and its side story, Episode Nagi. Written by Muneyuki Kaneshiro, known for works like As the Gods Will, Bokutachi ga Yarimashita, and Jagaaaaaan (some of the best yet underrated manga I’ve ever read), and illustrated by Yusuke Nomura, a former assistant to Hajime Isayama (Attack on Titan), this series promised something revolutionary for the sports genre. However, despite the initial praise for its unique premise, Blue Lock feels like a derivative work, mishandling ideas borrowed from superior narratives and presenting them in a tasteless way.
The Premise: A Flawed Foundation
Blue Lock starts with an intriguing premise: following
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Japan’s disastrous defeat at the 2018 World Cup, the Japan Football Union launches a radical project to create an "absolute ace striker." By isolating 300 of the country’s most promising youth players in a facility and pitting them against each other, they aim to forge the ultimate goal-scorer who embodies pure egoism and can single-handedly carry Japan to victory.
At first glance, this might seem exciting, especially with the tagline, "The best offense is a good offense." But when you examine the premise closely, it’s riddled with issues:
Parental Consent and Mental Health Neglect: How were the parents okay with sending their kids to an isolated facility, stripped of phones and freedom, potentially shattering their mental health? While higher-ranked players eventually gain privileges, the setup’s disregard for basic well-being undermines realism.
Premise Contradictions: The project claims to focus on creating the ultimate striker, eliminating 299 players in the process. Yet, as the story progresses—notably before the U-20 World Cup arc—players are suddenly forming teams, playing as midfielders or defenders, and even returning after elimination. This undermines the core "winner-takes-all" premise.
Misinterpretation of Football: Egoism may work in individual sports like boxing, where "It’s not the size of the dog in the fight but the size of the fight in the dog" applies. But football is inherently a team sport. Even the greatest players like Messi or Ronaldo rely on their teammates to succeed. The story’s attempt to blend individualism with teamwork feels forced and contrived, diminishing its psychological appeal.
Lack of Stakes: Where’s the Drama?
Sports narratives thrive on stakes. In classics like Ashita no Joe, the threat of physical and emotional ruin gives the story weight. Blue Lock tries to introduce stakes by claiming that losing players will be barred from representing Japan professionally. Yet, disqualified characters often return, erasing any tension.
If the goal was to create an ultimate team rather than a striker, this should have been established from the start. Clear rules and a structured progression system—laid out by Jinpachi Ego or via documents given to players—could have added intrigue and legitimacy to the narrative.
Characterization: Flat and One-Dimensional
The characters in Blue Lock fail to stand out:
Yoichi Isagi (the protagonist): Bland and forgettable, Isagi has no depth. He’s unremarkable.
Jinpachi Ego: Reduced to a caricature of a "mad genius," Ego’s over-the-top monologues lack substance.
Supporting Cast: Nearly all characters share the same goal—to be the best striker. This uniformity strips them of individuality. Their backstories add little to the narrative, making it hard to care about their journeys.
Anri Teieri, the sole prominent female character, exists primarily to be objectified, further highlighting the series’ lack of meaningful character development.
The Art: Generic and Edgy
While Yusuke Nomura’s art shows technical competence, it’s overshadowed by poor design choices:
The "monsters" that supposedly symbolize players’ inner egos come off as laughable rather than intimidating.
The glowing eyes and exaggerated expressions make the story feel more like a parody than a psychological thriller.
Character designs are so indistinct that names are frequently displayed to avoid confusion, reflecting a failure in visual storytelling.
Even the facilities and match settings lack variety, further diminishing the immersive quality of the manga.
A Game of Missed Opportunities
Football is called the beautiful game for a reason. Legends like Pelé said, "Success is no accident; it’s hard work, perseverance, learning, and teamwork." Blue Lock tries to reinvent the genre but forgets the fundamentals of football—cooperation, strategy, and heart.
In contrast, series like Haikyuu!! excel by celebrating teamwork and building friendships, making the sport itself appealing. Even One Outs (a psychological baseball manga) creates tension and stakes through its protagonist’s cunning tactics.
Final Verdict
Blue Lock had the potential to revolutionize sports manga but squanders it with shallow characters, a flawed premise, and lackluster stakes. It’s neither a compelling psychological thriller nor a tribute to the beauty of football.
My Recommendations for Quality Sports Manga:
Ashita no Joe: A gripping boxing tale with real stakes.
One Outs: A psychological masterpiece set in baseball.
Slam Dunk: A heartfelt basketball story.
REAL: A poignant exploration of wheelchair basketball.
In football, the first rule is to "play as a team."Unfortunately, Blue Lock ignores this, making it one of the worst sports manga I’ve ever read. Save your time and pick something that respects the spirit of the game.
Reviewer’s Rating: 2
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Dec 5, 2024
A manga that aspires to be a Chinese seinen masterpiece but ends up as a shōnen version of Dynasty Warriors — and not even a great one at that. I’ve managed to read all 818 chapters of Kingdom, along with its short chapters outside the main series. Before delving deeper into this review, let me clarify: if you’re one of those who truly love Kingdom, that’s perfectly fine. But this review may not resonate with you. That said, I hope you’ll hear me out before dismissing my perspective.
Initial Expectations
When I first heard of Kingdom, it was through the relentless praise it received in videos and
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top manga lists. Many called it one of the best seinen manga of all time, lauding its "intelligence" and "thought-provoking" qualities. Unfortunately, after reading the series, I found that it falls short of those claims. Yasuhisa Hara, the mangaka, was once an assistant to Takehiko Inoue, the genius behind Slam Dunk, Vagabond, and REAL. Yet Hara seems to have learned little from Inoue’s mastery of storytelling, producing a work that barely deserves the seinen tag.
The Premise and Simplification of History
The story is a fictional adaptation of China’s Warring States period, culminating in the unification of China under Ying Zheng, the King of Qin. The tale begins with Xin, a war orphan who dreams of becoming a "Great General of the Heavens," and follows his rise as he aids Ying Zheng in reclaiming his throne and conquering rival states.
On paper, this premise has enormous potential. Ancient China’s rich history is a treasure trove of intrigue, betrayal, and philosophical depth. A seinen manga could have explored the intricate politics, societal structures, and existential dilemmas of this era. Instead, Kingdom simplifies everything, turning complex historical events into a repetitive, formulaic shōnen power fantasy. It’s like taking the nuanced philosophy of The Art of War (學者不識其範、完範者可以命世)—and reducing it to "swing your sword harder."
Art: Spectacular but Occasionally Silly
I’ll give credit where it’s due: Yasuhisa Hara’s art shines in depicting large-scale battles. Panels showcasing thousands of soldiers, intricate costumes, and dramatic battle sequences are breathtaking. Few mangaka can rival Hara’s ability to illustrate the sheer scale of war.
However, the art often undermines the intended seriousness. Some character designs border on parody, resembling Dynasty Warriors caricatures more than historical figures. I couldn’t help but hear the Dynasty Warriors OST in my head while reading—and it fit a bit too well.
In trying to emulate traditional Chinese art styles, the manga occasionally devolves into visual absurdity. It’s like an awkward middle ground between The Romance of the Three Kingdoms (三國演義) and a flashy JRPG.
Pacing and Repetition
One of the manga’s biggest flaws is its pacing. The story falls into a repetitive cycle:
War arcs that drag on for over 100 chapters.
Pseudo-political discussions that lack depth.
Over-the-top action sequences that feel more like Dragon Ball Z than a historical epic.
This rinse-and-repeat formula dominates all 818 chapters. The "Coalition Arc," often touted as the series’ best, epitomizes these issues. On paper, it’s an ambitious narrative with multiple factions and grand stakes. In execution, it’s just another oversized war arc with little strategic substance. The battles rely on brute force and plot armor, with characters surviving due to their flashy designs rather than any tactical brilliance.
As Confucius once said: _“有幾念學也，不早不慢；有幾念武也，無語無道。” (“There is thought in learning, there is timing in warfare; yet without balance, there is neither wisdom nor success.”) Kingdom misses that balance entirely.
Character Development: A Shōnen Protagonist in Seinen Clothing
Xin, the protagonist, is the quintessential shōnen hero: brash, simplistic, and driven by dreams of becoming "the strongest." Over 818 chapters, he undergoes almost no meaningful growth. He solves problems with brute force, rarely reflecting on his actions or evolving as a person.
Side characters fare little better. Most exist to serve Xin’s journey, their personalities reduced to single traits or gimmicks. The only standout is Qi Wang, whose charisma and complexity make him a rare bright spot. Unfortunately, his early death robs the series of one of its few genuinely compelling characters.
By contrast, Vagabond excels at character development. Takehiko Inoue’s portrayal of Musashi Miyamoto humanizes the legendary swordsman, exploring his inner struggles and growth. Musashi’s journey is deeply philosophical, reflecting on themes of identity, purpose, and mortality. As Musashi himself says, “我要越過江海，則需踏实地上。” (“To cross the great seas, one must first walk firmly upon the earth.”)
Kingdom offers no such introspection. It’s all flash and no substance, with characters spouting clichéd lines about "greatness" while showing little depth.
Themes and Philosophy: Shallow Waters
Seinen manga like Berserk and Vagabond excel because they tackle profound themes with maturity. Berserk’s Golden Age arc uses war to explore trauma, ambition, and human fragility. Guts fighting 100 soldiers is harrowing, highlighting the brutality of war. In contrast, Kingdom glamorizes its battles, treating war as a stage for flashy moves and heroic posturing.
Even Chinese philosophy, which could have enriched the narrative, is sorely underused. The Warring States period is a goldmine for exploring Confucianism, Taoism, and Legalism. Instead, Kingdom opts for simplistic morality and superficial politics. It’s as if Hara read The Analects (訓“不知生，許語死”) and thought, "Too complicated. Let’s just have Xin punch someone."
Conclusion
Kingdom aspires to be an epic retelling of China’s Warring States period but ends up as a generic shōnen story wrapped in a seinen disguise. While Hara’s art captures the grandeur of war, the repetitive storytelling, shallow characters, and lack of thematic depth hold the series back.
For those seeking a truly profound exploration of history, philosophy, and human nature, I’d recommend Vagabond or Berserk. Kingdom is best enjoyed with low expectations, perhaps with the Dynasty Warriors OST playing in the background. As a wise man once said: “奇能者，過者究乎空。” (“What strives for greatness but stumbles, ultimately falls into the void.”)
Reviewer’s Rating: 5
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Nov 22, 2024
At the time of writing this review, I am up to date with Dandadan through chapter 175. The series gained initial fame, in part, due to its catchy anime opening theme and the notoriety of its creator, Yukinobu Tatsu, who was formerly an assistant to Fujimoto Tatsuki (Chainsaw Man). This background—alongside industry connections—helped the series find its footing. The manga’s rise coincided with the hiatus of Chainsaw Man, which allowed Dandadan to grow and nurture a fanbase. Its anime adaptation, bolstered by the viral popularity of its opening song, further propelled its visibility.
The Premise
The story begins with an unusual friendship between Momo Ayase, a believer
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in spirits, and her classmate Ken Takakura, nicknamed “Okarun,” a UFO enthusiast. Their clashing beliefs prompt a playful challenge: Momo visits a UFO hotspot to prove aliens don’t exist, while Okarun ventures to a haunted tunnel to disprove the supernatural. What follows is a bizarre and chaotic tale blending young love, otherworldly encounters, and humor—infused with an overtly horny tone revolving around both spirits and aliens.
While the premise isn’t groundbreaking, it has potential if executed well. However, in my opinion, the execution is messy, and the narrative struggles to find coherence.
Strengths
The most undeniable strength of Dandadan lies in its artwork. Yukinobu Tatsu has delivered some of the most visually stunning panels in recent manga. The dynamic paneling, intricate designs, and vibrant depictions of yokai and aliens are truly eye-catching. The series oozes style, making it a visual treat. The character designs are appealing—almost to a fault—with the standout being a GILF-esque character who seems straight out of a crossover between Jujutsu Kaisen and Bayonetta. Tatsu has arguably surpassed Fujimoto in terms of pure artistry.
One notable arc, the Alien Invasion (chapters 97–120), exemplifies the series’ "rule of cool." It feels like a fusion of Gantz, Terra Formars, Eureka Seven, Tokusatsu, and Gainax productions, delivering an adrenaline-fueled, sugar-rush spectacle. Although the arc concludes with an anticlimactic ending, its chaotic energy is reminiscent of my teenage love for action-packed absurdity.
Weaknesses
Despite its artistic merits, the series falters in storytelling. While Momo and Ken are likable protagonists with potential, their development is often sidelined in favor of humor and shock value. The reliance on degeneracy (including rape and choking jokes), Reddit-style humor, and one-note character traits undermines any deeper narrative potential.
The plot becomes formulaic and repetitive: the protagonists embark on wacky adventures, absurd events ensue, transformations and cool monsters appear, rinse and repeat. The pacing suffers, particularly due to the Alien Invasion arc occurring too early in the story. This arc raises the stakes significantly, only for the narrative to return to lower-stakes adventures, creating a sense of de-escalation. Had this arc been placed near the end, it could have served as a proper climax rather than a mid-series spectacle.
In comparison to Chainsaw Man, which balances its chaos with moments of levity and character growth, Dandadan leans entirely into its craziness, leaving little room for meaningful development. The lack of variety in tone and its over-reliance on absurdity can make the story feel exhausting.
Final Thoughts
Dandadan is an enjoyable read if you approach it with a “turn-off-your-brain” mindset. It excels in style and visual appeal but lacks the depth and balance needed for a truly great story. For those seeking similar eccentric energy with more substance, I recommend exploring works like Soul Eater, Dorohedoro, or Tsutomu Nihei’s manga. Alternatively, No More Heroes or Takashi Miike films offer a comparable blend of style and madness.
Score: 5/10
While Dandadan has its moments, it doesn’t live up to the hype surrounding it.
Reviewer’s Rating: 5
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Jul 24, 2024
The anime that begat the lie of “a new era for anime” is back with more nonsense for the average viewer to wonder how this was ever supposed to usher a new era when it’s so poorly written.
It starts by crapping on one of the few things everyone was pleased about the previous season. The artwork is now completely generic and you can confuse it with any other generic show out there. Not just in terms of artstyle but also designs. The new characters are now plain looking and the main girl wastes no time in sexualizing herself. You know, like in any generic anime.
The
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show attempts to give the bland slice of white toast that is the main character a reason to continue his ascend of the tower. It basically comes down to “find waifu and unravel mysteries by getting stronger” none of which happen organically because it’s poorly written. Ban (this bland archetype) doesn’t care about unraveling mysteries and should have lost interest in his waifu after her betrayal. But since the show somehow needs to continue with this loser as the protagonist, it wants you to think he cares about mysteries and the traitorous waifu as well as getting stronger being the only way he can use to achieve the other two. Because it’s a poorly written story.
The anime has the audacity to show you all the secondary characters of the first season sitting on a table and doing absolutely nothing. In case you somehow cared about these bland archetypes, stop doing it since you will never see them again. The brilliant writer removes them from the plot after you are supposed to be invested in them, in favor of introducing more characters who are equally bland. Make sure not to care about them either; they get a similar treatment down the line. Because it’s a poorly written story.
Then we get a time-skip and now we are at the 20th level. If for some reason you thought you would get to see each and every one of them and marvel at their amazing world-building, well, sucks to be you. You got duped, exactly as you did with Sword Art Online, which is supposed to be an inspiration for Tower of God. Remember when the trailers made you think there would be several episodes for each level? You only get glimpses of a few levels and in a hurry. Because it’s a poorly written story.
So, on this new level we get a generic city. There is nothing special about it and yet the show is hailed as good as One Piece when it comes to world building. Then the rules change once again and now you have to pay money to willingly join the tests of the tower when before that you get teleported unwillingly inside completely for free. You didn’t seriously expect any consistency in the rules, did you? So, how much do the fees matter in the plot? Not in the slightest since grown-ass men won’t have the money, while 5 year old girls will. Also, it’s the 20th level and somehow 5 year olds are still in the game. Because it’s a poorly written story.
The protagonist is a participant, and he now has a completely different personality. Instead of being a clueless bland slice of white toast now he is an edgy bland slice of white toast. Hurrah, character development that happened instantly and out of screen along with a time skip. Because it’s a poorly written story.
So, what is the toast with legs doing in the tower this time? Honestly, not even he knows. One moment he beats up anyone he comes across, the next moment he doesn’t harm anyone. Then he changes his mind and beats them up anyways. No consistency whatsoever. Oh, also he is a rebel now, out to kill the king of the tower. How do you know that? Because he wears a black robe with the insignia of the rebellion. With it, everyone instantly knows he is a rebel. Including the organizers of the tests of the tower, who work for the king. Why do they allow the walking toast to participate and don’t instantly arrest him and interrogate him? Because it’s a poorly written story.
The show attempts to make you care about the new characters in a way only a 50 year old Dragonball fan would. By giving each one of them a power level, which means nothing since it can change based on emotions and whatnot. Also it sexualizes the main female character because when you don’t have personality you can substitute it with revealing the color of your underwear.
Then the show does the usual nonsense of spending half an episode on explaining the rules of a test, as if they matter. They don’t. They never did. All you have to do is punch hard enough to win. Every single time.
And that is why this trash is considered the best Korean webcomic of all times by tens of thousands of people. Just imagine how worse the rest of them are if trash is the best you get.
Reviewer’s Rating: 3
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Jun 24, 2024
A quick summary regarding the preairing hype: Kaiju No.8 was promoted as the new big thing of spring 2024. Hailed as the new Attack on Titan, it was supposed to be backed up by the hype of its manga. Yet the very people reading the manga had zoned out by the time the anime came out (they got fed up with the lack of development), and the simpler-drawn character figures of the adaptation failed to attract many anime-onlys. On top of that, it got instantly overshadowed by the continuation of Mushoku Tensei, an established title with a huge following.
Even if the artwork was more detailed
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and this anime didn’t face any competition from other titles, it would still not fare much better. Its premise is by the numbers as far as shonen go. Monsters attack humanity, and a guy who can turn into a monster fights them. We’ve seen this countless of times and the execution is not attempting to move away from what everyone came to expect.
If there was an element everyone was qurious about, that would be the protagonist being in his 30s, but even that was quickly proven to be meaningless. As uncommon as it is to have an older main character, getting to fulfill his dream of becoming a monster hunter at a later part of his life, he does not act any differently from your average teenage shonen hero. Basically, his age is not reflective of his behavior and thus does not matter in the least. He is not even fulfilling his dream in a way that is inspiring. He did not work hard to get himself a well-built body for years, not he studied hard. One day he got superpowers and he breezed through the exams. Including the written ones, which he was very bad at.
Toping it off, he is completely unfazed by his transformation into a monster. There is zero psychological pressure compared to something like Tokyo Ghoul, and instead jokes about it all the time even in situations that demand maturity. Basically, he’s coming off as irritating instead of a reliable adult. Not even a master-level shonen like Full Metal Alchemist could escape being criticized for using comedy inappropriately, so it is understandable why many viewers ended up dropping the show early on because of this element.
Those who stayed, didn’t get much to make up for it. Despite having good animation and being promoted as an action-heavy series, the battles are fairly short and simple. They don’t have tactics or choreography, and despite the monsters being huge they are not dealt any differently compared to your typical human-sized monsters. Their size matters as much as the age of the protagonist. Not at all. Each battle almost always ends with a single shot or punch, making the monsters to come off as fodders. The heroes also go through the typical ‘I must believe in myself’ phase before they can one-shot the monster, thus coming off as not going prepared to battle although they are supposed to be professional soldiers. Hence why action fans will not be pleased with this show.
The minute details are also nothing to bat an eye, since the world building is just a copy of our world, with nothing to show change because of the constant monster attacks. It doesn’t feel like it reacts to the crisis as something like Pacific Rim did. The atmosphere is fairly light in general and you will never feel the monsters are scary. Those who declared this anime to be the new Attack on Titan seem to think the only similarity they need is huge enemies, and not if they are treated seriously or dramatic.
The characters joke too often despite being military officers tasked with the serious mission to protect humanity from complete annihilation. The character dynamics are so basic you can encounter them in any anime with some sort of school or academy. Aside from the crazy anime hair, there is absolutely nothing distinctive or memorable about them, and once again nothing is treated as seriously as it should, if the creators cared about making something more than a generic shonen. If you haven’t gotten sick of the typical character-bonding tropes yet, the show does a good job at following a checklist when it comes to establishing the usual character types and making them interact in fanciful ways. That aside, none of them are memorable for any reason.
Conclusion: It’s nothing out of the ordinary, but if you like junk food you will get plenty of that here.
Reviewer’s Rating: 4
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May 24, 2024
The initial segment of the story continues the monotonous pacing, characteristic of the previous season, predominantly depicting slice-of-life scenarios. The PDF protagonist continues to deal with inconsequential issues arising in his school and married life, resolving them effortlessly with a few jokes and casual conversations. The show had turned into a trivial school dramedy, devoid of action, adventure, or any exploration of the world, a.k.a. the main hook of the first season and primary allure that attracted a substantial audience.
Allegedly, the show is not intended to be an adventure but rather a portrayal of the PDF protagonist’s life in a setting that indulges his questionable
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desires. In this respect, the narrative does not necessitate constant action and adventure, and those expecting such elements essentially bamboozled themselves and as a result abandoned the series. Some argue that the absence of engaging adventures is not a significant drawback, yet it undeniably poses a major hurdle. The show retains the degeneracy of its previous seasons but no longer hides behind the world exploration. It is glaringly overt, with nothing to divert attention. Viewers can no longer claim, ‘I am here for the magic and the adventure’. They can’t avoid admitting that their continued interest lies in watching a PDF protagonist larping in what is essentially a waifu-gathering simulation, replete with numerous ‘call the feds’ moments.
The series attempts to convince viewers that the PDF protagonist has matured and is no longer a reprehensible character. However, this supposed maturity is undercut by his continued worship of stolen panties and the blood of the women he has deflowered. This incongruous behavior is presented as mostly anime comedy, with the show suggesting that it aligns with the logic of its isekai setting. And yet the more questionable elements are predominantly a direct consequence of the protagonist’s actions rather than the world’s inherent sexism.
Here are a few examples. The PDF protagonist gets horny in the presence of the furries he has tortured into submission (and who inexplicably show no signs of mental trauma because of it). They immediately discuss seducing him for personal gain. This reaction is not a reflection of the world’s norms but rather a result of the protagonist’s abusive conditioning. Basically, he reared them through torture to think that way.
The furries also go on to torture innocent girls, which is just mimicking what the protagonist did to them. They bully and threaten very young girls to take off their panties, because they know that is what their sick master likes. He is caught and guess what kind of punishment the school imposed on him for this horrible act. Nothing. They let him go without punishment. It’s not like a dozen little girls were bullied into removing their underwear in broad daylight and inside a school which will leave them with mental trauma because of it.
The author also makes sure to have such vile acts not having any visible consequences, by making the furries he tortured and the girls they bullied to instantly get over it. What a well-written story that truly respects your intelligence. Feel sorry when the PDF protagonist spends decades as a shut-in because he was bullied, but when he inflicts the same humiliation to dozens of others, laugh about it and move on. Then the author makes sure to have the entire school hand-jobbing the PDF protagonist for all the cool stuff he does, and to magically forget all the creepy stuff he did. It’s not like this is a sick power fantasy or something, where the protagonist is deified and all the terrible things he does are ignored.
Like most anime, such situations are treated like a joke, and on top of that as a filler side story that doesn’t matter in the plot. It’s there just as fan service, to please the sickos who like this sort of comedy. Does anyone remember that the main plot is about finding the PDF protagonist’s mother? Yeah, forget it and indulge in the sick power fantasy of torturing girls, bullying them into removing their panties in broad daylight, and then running away laughing as nobody does anything about it.
Be prepared for most episodes to feel as aimless and manipulative as the above. There will be one where they chase fake ghosts as if you are watching Schooby Doo. There will be another about that badly written masked bitch trying to return to her world, for which nobody gives a shit since this is not the reason they are watching the show for. They reveal the slutty elf’s relative, and some other nonsense. None of these side stories matter plot-wise. The only positive thing about them is that they don’t last as long as the PDF protagonist trying to cure his erectile dysfunction for a dozen episodes because his cousin ran away after he f*ed her.
Speaking of his cousin, he finds out it was all a misunderstanding and she doesn’t hate him. So much about being depressed for years about it, ahaha, let’s put it behind us and settle with how he can f* her all he wants when they meet again. Just another example of how the show handles drama. Oh, also his elf wife is so submissive and lacks agency to the point she shows how much he loves him by allowing him to f* as many women as he likes. And he loves her so much, he actually does exactly that. What a realistic depiction of married life and surely not some sick power fantasy.
By the way, there are many people who love the married aspect of this part of the story, calling it the ideal life, even though it’s completely sick. The PDF protagonist’s 10 year old sisters come over and the anime adaptation is forced to omit all the incest and pedophilic scenes where they seduce him just because he is being kind to them. Where do you see the appeal in this supposed ideal married life? It jumped out of some sick hentai premise. And may I remind you again that it seems ideal only because the author never punishes the PDF protagonist for all the sick things he does.
But hey, the show’s insistence on framing these behaviors as part of the protagonist’s so-called redemption arc makes it all okay, am I right?
Reviewer’s Rating: 3
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Mar 23, 2024
1) Not saturated
Although I do not gravitate towards such genres, it is easy to see why Frieren got to be loved by so many watchers. The fantasy genre had suffered for many years, since such anime were usually lackluster videogame adaptations that were just going over the events of the game with no care for pacing or character appeal. Even worse, the isekai plague had led to a dozen fantasy-themed shows each season, most of which were slight variations of the same, lazily-written power fantasy tropes that usually involve harems and slavery. Frieren didn’t belong in either of these two types. It was not the
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adaptation of a videogame, thus it was not limited by whatever gameplay mechanics and dialogue infodumps the source had. It was also not written to be sleazy escapism for depressed people yearning to flee from reality into a realm where desires could be fulfilled instantly, and women could be conquered with little to no effort.
2) Aesthetic allure
Obviously this is not the first thing most people will realize about Frieren. Your average watcher is just going to notice it has good production values and a waifu-level elf on the cover, and that would be enough to please him. Even with this completely surface-level approach, Frieren manages to have a mainstream appeal by catering to the most basic desires of a casual watcher. Just pretty colors and cute girls. And nothing degenerate that usually alienates a big part of the audience, such as a harem of one-dimensional bimbos, or slavery where the protagonist is forced to do it but it’s otherwise okay because he cares for his slaves.
3) Uncommon premise
Once a viewer manages to see past the most superficial elements, he will be presented with feelings of nostalgia and melancholy, meaning that the show begins with heavy emotions and an elegiac type of premise. In fact, you could say that Frieren begins where most other shows conclude and that it’s akin to an epilogue. All the conventional tales you would get regarding the gathering of allies, leveling up and fighting the demon lord, are over by the time the show begins. We are given the aftermath of such stories, which by itself is something very few stories touch upon. The glory days are over and now we mostly get to see the aftermath of the heroes winning and what that means for the world.
4) World building
Because of how the premise is structured, the plot is heavily based on world building. Since the heroes’ journey concluded, every location bears the scars of their battles and triumphs, thus you are constantly let to know the main characters have impacted their setting. They are neither disconnected from it, nor forgotten as soon as their deed was done. The show places considerable effort in a mostly slice-of-life type of plot, where rarely action or major conflicts takes place. This approach lets the viewer to mostly glimpse into the daily lives of the people in the settings, instead of the wars they had with monsters. It enhances immersion despite being completely tensionless.
5) A protagonist you can get behind
Speaking of tensionless, Frieren is one of the most powerful beings in her world from the very outset. After centuries of training and fighting and getting stronger during the campaign against the demon lord, she is now at epic levels and nothing can be considered a threat to her. Although this could easily turn her into another trite power fantasy akin to the ones in isekai (broken powers right from episode 1) in this case she grinded for centuries to get where she is now, and has a long history of battles and people that interacted with her, instead of being a bland self-insert. Thus she is powerful (thus nobody can complain about being a weak loser), she earned her power (albeit only because of her race), and she has an actual personality and backdrop instead of being an empty vessel for the viewer to self-insert.
6) What the show isn’t about
Obviously, no show caters to the tastes of all audiences, and Frieren is not for action or adventure fans. It is a cozy slice-of-life show about a cute elf and her pouting apprentice, having wholesome vignettes as they travel around and fixing the problems of each area with mostly tensionless fights and stupid-strong magic no opponent has any chance against. It can become dull if you get too much of it, and you are never going to be biting your nails, wondering what comes next. It’s an anime you watch to relax and sometimes feel sad with the elegiac atmosphere, or laugh with the whimsical antiques of some characters. It is a mostly cute girls doing cute things anime, than a Lord of the Rings variant. In this regard, there are bound to be a lot of people who will not be interested in it, but even they are likely to find little to be overly negative about it, since it doesn’t have many elements it can fail at.
7) Personal thoughts
Even I who am not a fan of it, the worst thing I can say about it, is that both story and characters are simple. They don’t provoke contemplation or investment in their fates. Frieren, for all its merits, remains something you watch to relax, and I was never that kind of a fan. I favor action, adventure, big explosions, an inclination shared by the majority of anime fans who seek hype and excitements. It’s why fighting shonen are always the most popular anime, despite being filled with dumb plots and mindless fights. But even that does not mean I dislike the show. I just don’t consider its plot interesting, and thus my enjoyment of it remains anchored at a base level.
Reviewer’s Rating: 6
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Feb 12, 2024
Preface
Solo Leveling is the most eagerly anticipated anime of Winter 2024, mostly because it faced minimal competition from new releases. Hype aside, it still got eclipsed by the ongoing success of Frieren from the previous season and it is a fairly standard power fantasy that got fervently praised by fans of the web comic. As is usually the case with fans they want you to believe it’s some subversive masterpiece, although it does nothing that its predecessors haven’t already explored, often with superior execution. Furthermore, its glaringly apparent flaws provide plenty of reasons for the average watcher to disengage.
1) It’s needlessly padded out
Something everyone who
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seeks a good power fantasy will notice early on, is that it doesn’t begin as one. It takes its time in establishing the setting and the rules and the major characters before becoming a power fantasy after 4 episodes. This deliberate pacing may prove off-putting to audiences desiring immediate gratification through seeing the protagonist doing cool stuff right from the start (think of One Punch Man for example). Also, despite the slow buildup the show falters in establishing the basics of its premise.
- The setting is an augmented version of our mundane reality, infused with isekai portals and superhuman abilities. It doesn’t differ in the slightest despite a decade of constant monster invasions and people walking around with the ability to demolish concrete walls. Beyond the superficial addition of a hunter association, it doesn’t reflect any substantive shifts in geopolitics, the global economy, or societal norms. It’s lazily made and doesn’t deserve any time in elaborating how it functions.
- The mechanics governing videogame powers and superhuman abilities, along with the hierarchical ranking system, are conveyed with no nuance. They are the most basic representation of an MMO which might have been cool to follow in the early 2000s along with other titles doing the same such as .hack and Gantz, but now it’s ever-present in our pop culture. It became understandable through mere osmosis and there is little reason to be explained.
- The characters are as one-dimensional as they get. They are all defined by a singular character trait, so once again they don’t deserve any elaboration. The director doesn’t seem to get that and persists in interrupting action sequences to afford glimpses into the inconsequential activities of minor characters somewhere far away, which leads to needlessly diluting the narrative focus.
2) Its explanations work against it
The series’ sluggish pacing works against it, and the more it tries to explain its world and powers the more it exacerbates the shortcomings of its world-building and power system. It would be a more satisfying viewing experience if no explanations were given and more screen time was allocated to the action scenes. You know, the main appeal of the show? The revelation that hunters must personally finance their equipment and they undertake perilous dungeon delves merely to pay the bills (it’s literally mentioned on the intro song), can make you wonder why would low-ranking hunters such as the protagonist in the beginning of the show persist in risking their lives when more lucrative and less hazardous employment opportunities exist. Flipping burgers or gathering trash would earn them more money and there would be no risk.
3) The action is constantly interrupted
The best parts of the show are, as you can imagine, the dungeon battles. They have all the pulse-pounding action and captivating moments anyone would be watching such a show for. Regrettably, these highlights are marred by constant interruptions just to explain new mechanics or to show us inconsequential characters in faraway locations, thus ruining whatever hype you might be experiencing at that moment. They are also filled with a lot of questionable moments, such as the complete lack of safety protocols that result in an unacceptably high casualty rate. They just deploy a bunch of people, completely unprotected and unmonitored, thus it’s very easy for anyone to die because he does something risky or, even worse, to kill his fellow hunters and run away with their gear and loot without anyone questioning what actually happened.
4) The videogame terminology works against it
The infusion of videogame terminology can cater to gamers, yet unwittingly creates a jarring dissonance for everyone else. Having statistic screens with levels and numbers and abilities may lend a certain allure within the confines of a virtual world, but when applied on the real-world such elements become a detriment. The reason we need statistic screens in videogames is because we can see and hear, but we don’t experience pain, emotions, or hunger as we do in reality. That is why numerical indicators for health, emotional state, and fatigue serve a vital purpose. However, when we are in the real world these metrics become redundant since we do feel pain, emotions, and hunger. Such videogame mechanics make sense in, let’s say, Sword Art Online, but not in Solo Leveling. It’s why the protagonist’s incessant monitoring of his health bar or fatigue gauge was making me eye-roll. It underscored his detachment from his own bodily sensations, as if he had no idea if he was tired or not. Also, being heavily injured is simply more natural than saying ‘My hit points are down to 18%’.
5) The protagonist lacks agency
Beyond its superficial appeal, the videogame aesthetics employed in Solo Leveling also strip the protagonist of free will and agency. His actions are dictated by the videogame system, rendering him a mere pawn in its machinations. Choices presented by the system are illusory at best, since they simply ask him if he accepts to do something or be severely punished. Do your daily quests or get chased around by monsters! Complete this special quest, or die! Your health is down, so buy potions! There’s nothing to actually choose in any of that. By extension, the protagonist’s accomplishments feel staged and unearned, since he would have never done anything without the enforcement of the system.
6) Character development is sudden and artificial
Any changes to the protagonist’s personality are artificial for a similar reason, since they too are imposed by the system rather than arising organically from within. They are also fairly sudden, which comes off as extra jarring when the pacing is overall glacial. The protagonist literary becomes a different person in an instant, then the animators go as far as changing his facial structure completely, and then the viewer is expected to be fine with it. How about no, since it was both artificial and sudden?
7) Moral dilemmas are hollow
Any attempts at moral dilemma also ring hollow, such as a scene where the protagonist has to choose between killing people or dying himself. There is no real choice, especially when the people he had to kill were already about to kill him. Furthermore, said people were one-dimensional evil bad guys, made to be hated. Their leader’s name was Sucks Dong, in case you weren’t given enough reasons to hate this guy. The writer wasn’t even trying, yet he expected the viewer to consider this a life-changing moment.
8 ) The protagonist is not an underdog but a cheater
Down to it, the protagonist was designed to be a blank slate for gamers to project themselves onto, but this inherent lack of agency detracts from his appeal, rendering him a bland archetype devoid of genuine depth or charisma. Undoubtedly, there is an audience for bland-looking self-inserts who get constantly betrayed by society and then get constantly more powerful so they can extract their revenge. The main issue with this bland-looking self-insert in specific is that he is not an underdog or a victim as many fans like to portray him as.
- He is the only one who can level up in this show, so you can’t call him something that can’t apply to anyone else.
- He is not a victim when the hunter association allowed him to be a hunter and all his teammates (including the ones who wanted to kill him) were very welcoming. Nobody denied him the chance to participate or to prove his worth through his accomplishments.
- In reality he is a cheater, since he doesn’t tell anyone how he gets stronger and he has several unfair advantages over everyone else. No other hunter is given a life-saving full recovery in the middle of the battle, or the option to buy potions as he is dying. It’s not the system giving him the change to get stronger. It’s the system being rigged so he will be the only one who gets favored by it, thus becoming stronger while everyone else is kept in the dark (and dies because of it).
9) Grinding and training are filler
The portrayal of training within the series serves as further evidence of its narrative inconsistencies. There is a portion of anime fans who get motivated by seeing characters training and getting stronger, as if they are gym rats. This show in particular should have the opposite effect, since training sequences in Solo Leveling lack significance. The protagonist’s exclusive access to leveling renders the efforts of secondary characters futile. Gym rat scenes, intended to evoke motivation and empowerment, come off as useless filler. Even if it wasn’t so, training scenes in general are looked down upon by most fans of power fantasies. They tend to find them boring and they skip them, aiming to get to the outcome right away for that sweet dopamine fix. That is why most power fantasies begin with the protagonist being the most powerful since the very beginning. Nobody cares to see him grind. They want to see him being awesome. In this regard Solo Leveling fails spectacularly by not delivering on the genre’s expectations.
Conclusion
Solo Leveling is nothing special when it comes to power fantasies. Its badly implemented videogame tropes, coupled with intrusive interruptions to its action sequences, diminish its overall impact. It’s just seasonal hype during a season with no real competition. And even then it still pales in comparison to Frieren, a cozy slice of life about an elf gmilf. It’s a forgettable time-waster at best.
Reviewer’s Rating: 4
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