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Mar 17, 2025
Watching this show felt like sitting through a series of Let’s Play videos on Youtube: a meaningless waste of time but somewhat entertaining.
If you replaced Jinwoo in this show with Rudeus from Mushoku Tensei, all the people screeching about how good this show is would go run and hide back in their basement. You'd ruin both shows at the same time. Replacing the core of Mushoku character development and storytelling with a bland nobody with zero personality at the same time replacing the core of Solo Leveling's power fantasy since nobody wants to go around fantasizing about being a pedophile.
This is the new brand
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of isekai where instead of fantasizing about killing yourself/getting run over by a truck and reincarnating in a brand new world, OP with no problems to trouble you, now you fantasize about going into a 'dungeon' and coming out OP af with special treatment from god himself and nobody can ever reach your heights except you.
You can never get genuinely invested in anything Jinwoo does because the outcome is always the same old predictable, boring smut-fest. There are no stakes in a show where the only possible outcomes for a fight are win or lose because Jinwoo is always going to win.
There are no characters in this show besides Jinwoo and so there’s nothing for us to latch onto besides his trials and tribulations which frankly shouldn't even be classified as such. This show treats side characters as disposable props rather than fleshed-out individuals with a not so subtle dig at their “no potential for growth” status contrasting Jinwoo’s. Characters exist solely to highlight Jinwoo’s superiority or to be rescued, stripped of their agency. Female characters feel especially lackluster as they exist purely to be cheerleaders for Jinwoo’s power trips and validate him, regressing sexist tropes back another 100 years.
The animation is superb as is the case for most of A-1 Pictures’ works. They’re a fantastic animation studio.
Villains are the lifeblood of a show and they make or break shows for me. There are no villains here, except mindless monsters and one-dimensional ‘bad’ guys. So bad.
The glaringly obvious rip-off of Hunter x Hunter is disgusting. The author basically wrote fanfiction for what if the Chimera Ant arc had Superman appear out of nowhere and solve all of our problems for us.
OMG wHaTaGrEaTiDeA
If you stripped away all of the slick animation, you’d be left with a PowerPoint presentation titled, “Why I’m Cool:” By Sung Jinwoo.
Reviewer’s Rating: 6
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Jan 29, 2025
Basically an isekai except she's been kidnapped, instead of reincarnating. Same effect. This is the new Nancy Drew story of the anime world. This is the Solo Leveling equivalent power fantasy for women and I’m surprised no producer came up with this concept earlier. It’s so prevalent in web novels, so honestly the novelty was lost on me. It tries to not fit any theme for any length and is obsessed with trying to balance a light-hearted mood and a poisonous plot.
I was told this was supposed to be on the same level as that other show but goddamn besides the apathetic female MC,
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what else do they have in common?
The characters! Oh lord there’s characters! There’s (), there’s (), there’s (), (), (), ()...... Do any of them even matter to the central plot? No.
I hated how Jinshi kept touching Maomao without her consent. It’s fucking creepy and no matter how much he “ikemen” smiles it’s not gonna change my mind.
Maomao is a fantastic main character and a great female lead. I love her voice, Yuuki Aoi, her disparaging remarks, her sweet tooth, and disregard for the creepy Jinshi. I love her attitude, her 72 transformations, and her unapologetic bluntness when faced with pressure. Her unassuming frame hard-carries this show and it would be an unassuming, forgettable, episodic, seasonal mystery without her.
Character: 7/10
The opening “Hana ni Natte” by Ryokuoushoku Shakai is absolutely beautiful in both the music and the animation category. Ryokuoushoku Shakai are an underrated band and I love their music. The ending song “Aikotoba” by Aina the End just killed me. What a perfect ending song to lull the viewer into a sense of romantic ditsy every week and keep them wanting more. The music by Kevin Penkin, Kousaki Satoru and Okehazama Alisa for this show is gorgeous and perfectly captures the cultural inspiration and enhances the weak dramatic portrayals by a few whole pegs. Yuuki Aoi and Tanezaki Atsumi are both starring in this as main and supporting main characters. What more do you want?!
Sound: 10/10
This reminded me of Cowboy Bebop. The episodic storytelling, the lack of a cohesive, straightforward storyline, the good music, the overinflated scoring, niche genre, and the overall midness that oozes off of it. It’s better than that CB though imo :)
I have eaten chocolate before, but that didn’t happen to me (lmao).
*RANT*
My suspension of disbelief was in orbit the entire time I watched this. I can put up with Asta in Black Clover flying around on his magic sword and destroying mountains in single hits and not blink an eye. However, every time Maomao pulls a remedy out of her ass in this show, it destroys all sense of immersion cause I can’t even BEGIN to excuse the absurdity of her being in possession of such knowledge. It’s not a matter of her being too smart but rather a matter of her being ridiculously knowledgeable about things she could never reproduce receipts for. She doesn’t have anywhere near the time, money or resources to accomplish the experiments necessary for her to become what she’s portrayed as in this series. Not even her father is excused from this. I have no problems with her deduction skills or her intelligence being out of this world but the knowledge is inexcusable. I’d rather her have been a doctor from 2024 who got isekai’d into the past cause that would’ve made it completely believable. This bothered me all the while I watched this anime and it put a damper on all of Maomao’s actions and monologues for me.
Maomao’s special power is her absurd amount of knowledge that she has “learned from her dad”. I don’t care how smart she is or her dad is, there’s just simply not enough time, money and manpower to accomplish the RESEARCH necessary to acquire all that knowledge. She doesn’t have Wikipedia, Mayo, or WebMD to give her all the knowledge in the world.
I see a lot of people complimenting this show for being medically accurate but that’s exactly the problem here! This has no business being medically accurate because the setting is ancient China!
There is no overarching plotline as it is basically a series of episodic routines dedicated to solving a mystery related to a poisoning and detailing Maomao’s rise to the top. If you’re not up for a slow, paced drama that lacks all action then this isn’t the show for you. Although that scene of Maomao slapping the shit out of that one random girl was kinda hard ngl.
*Spoiler*
Episode 11 was extra retarded bro. YOU CANNOT JUST GUESS ALL THAT!! THAT WAS SOOOO DUMB!!!!
Make it make sense. WHY are we supposed to allow the old hag to get off scot free when she's the whole reason why this family was torn apart in the first and second place! Is making the audience look like a fool by purposefully framing the father as a villain and making it all out to be a misunderstanding on our part good writing?! That last arc was fucking trash. JINSHI HAS NO PENIS!!! Why is everyone obsessed with this dickless virgin eunuch?! How has he not been executed for flirting with the IMPERIAL HAREM?! This show makes no sense.
*Spoiler*
Reviewer’s Rating: 8
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Oct 23, 2024
A template movie version of a popular tv show. Even if you haven't seen the original Bleach anime, read the manga or even heard of Bleach, this movie does a good job of establishing the fundamentals of the Bleach world within its opening half and it's nothing too complicated. This is a non-canon self-contained story about a soul phenomenon that threatens the safety of the world and Ichigo must try his best to save it. The villains are a generic bunch of loser outcasts who want to destroy the world for no reason. They have no character and no beauty to speak of and a
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hero's story is only as good as his villains. Senna is a sympathetic young girl that the MC has to protect. She was somewhat of an interesting character as she basically questioned the other characters’ and the viewer’s definition of a living being. I, of course, would happily chop her in two like Ukitaka wanted to but Ichigo was conflicted by his feelings for her and the necessity of her elimination.
Rukia loses every fight like always and has to have someone save her from distress. Minimal Orihime screentime; which is a plus as always.
Music was typical Bleach OST and the animation was movie quality enough to hold up two decades later.
This is a must watch for all Bleach fans and even non-Bleach fans are welcome to try it.
Reviewer’s Rating: 6
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Sep 22, 2024
Doumu is a gripping horror story about an apartment complex that’s being terrorized by a mysterious serial killer with supernatural abilities that’s left the authorities dumbfounded. If you’re used to reading manga, you might have a little trouble at the beginning as this project reads left to right like an American comic book. Doumu is a short enough book to be read in a single day so I can wholeheartedly suggest that you drop whatever it is that you’re doing right now and read this horror hit, preferably at night with an open window behind you. The art is a brilliant accompaniment to this suspenseful
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tragedy and it depicts people in a realistic manner that’s dark and off-putting but not fully photo-realistic. The story unfolds like a classic supernatural thriller that doesn’t discriminate between character status and importance but rather the characters serve as a vessel to convey the horror to the reader that otherwise would’ve been novelized had we spent more time with them. That said, I do prefer character writing that lasts over a few volumes to classical motif writing that ends as abruptly as it starts.
Reviewer’s Rating: 8
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Sep 19, 2024
A modernized 90s shounen with a splash of fairy magic and sinful consequences.
Most people are scorning this as a Naruto rip-off but it’s equally as heavily inspired by Fairy Tail and Nanatsu no Taizai. Black Clover itself weaves a classic tale of rivalry, magic, and relentless ambition that resonates deeply within the shounen demographic. While it doesn't necessarily reinvent the wheel, Black Clover excels in its execution of familiar tropes. The series is riddled with shounen clichés and plot devices, bringing almost nothing original to the table except for its execution, which is, admittedly, quite the new tier of youthful complex. This is a train
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that never stops, every arc is better than the last and the art is among the best you’ll ever see in Shounen Jump!
~ Set in a world where magic is everything, Black Clover introduces Asta and Yuno, two lovely orphans raised in the classist Clover Kingdom on the verge of a renaissance, who aspire to become the Wizard King, the most powerful mage in the land ~ The twist? Asta, unlike everyone else, is born without any magic! ~ The story unfolds as the classic underdog tale, with Asta relying on sheer determination, physical strength, and his mysterious anti-magic sword to carve his path to the top and become the Wizard King ~
If that doesn’t sound like your cup of tea, then that’s fine. The plot might initially seem predictable, but the rich world-building and gradual unraveling of the kingdom's history and conflicts will keep you rooted to your seats. From the intricate magical abilities and systems that deviate from nation to nation to the diverse cultures within the various nations and territories, Black Clover supplies an abundance of vibrant and immersive characters, cultures and relationships that are easy to get lost in. However, the notion that Asta has no magic is misleading. Anti-magic is, after all, still a form of magic. Tabata’s insistence on portraying Asta as someone who triumphs without magic is frustrating, especially when his "anti-magic" is arguably one of the most broken abilities in the series! It often feels like the narrative is trying too hard to paint Asta as an underdog when, in reality, he’s been blessed with powers Shinso could only dream of. This repetitive emphasis on his "magicless" status detracts from the story’s tension, as his victories often feel predetermined, lacking the ingenuity and struggle that should accompany his bloody and hard-fought battles.
Asta, with his unyielding spirit and infectious positivity, is a quintessential shounen protagonist. His rivalry with Yuno, who is the polar opposite in terms of personality and abilities, is the driving force behind the narrative, showcasing the parity between talent and hard work. Although this attempt is somewhat undermined by the fact that Asta has magic and is almost equally as talented as Yuno. His powerful anti-magic magic and his powerful physical body and his lack of mana which double as stealth and protection from certain magic more than makes him an equal for Yuno in terms of talent in my eyes.
The supporting cast is equally strong, with characters like Noelle Silva, whose journey from a timid and insecure noble to a confident and powerful mage, is particularly noteworthy. Noelle is by far the best character in Black Clover and one of the best female protagonists in Shounen Jump. The Black Bulls, Asta's quirky yet lovable squad, each have their arcs that explore themes of self-acceptance, loyalty, and the importance of family. The villains in Black Clover are the weakest part of the cast. Although the devilish and grim scenarios paint one story the villains never manage to quite accomplish anything except in backstories.
At its core, Black Clover is about perseverance, the bonds of friendship, and the belief that hard work can overcome any obstacle. It embraces these themes wholeheartedly, delivering a narrative that, while familiar, is executed with a passion that’s hard to resist. However, one significant flaw that hinders its overall impact is the lack of meaningful stakes, particularly when it comes to character deaths. In a series filled with high-stakes battles, intense confrontations, and world-threatening events, the decision to keep nearly all major characters alive significantly undercuts the tension. This approach creates a sense of narrative safety where we can always predict that characters, no matter how dire their situation, will survive unscathed. This predictability diminishes the emotional weight of the story, as the fear of loss is conspicuously absent. This safe writing style may align with the magazine's generally optimistic tone, but it also prevents Black Clover from reaching the heights of tension and drama seen in more pragmatic and stirring shonen series’ where the threat of loss is palpable.
Despite this, the series still managed to convey powerful themes of perseverance and camaraderie. However, the lack of consequences in life-or-death situations ultimately limits its potential to deliver truly gripping, edge-of-your-seat storytelling.
Black Clover has some of the best art in the manga industry if not the whole world. I think Tabata Yuuki is one of the best artists in human history and his talents would have been better utilized working alongside a more talented writer to craft a more stunning, perfect manga. The only reason I still continue to read Black Clover is because of the gorgeous artwork and it makes me feel so happy and sad at the same time. Happy because I get to look at this beautiful work of art and sad because I wish this art was paired with a better written story.
Black Clover may not be the most innovative manga, but it’s a series with heart. It captures the essence of what makes shonen anime so beloved: a journey of growth, fraternity, and the unyielding pursuit of dreams. For Shonen Jump fans, Black Clover is a must-read, offering a tale that, while familiar, is executed with a charm and enthusiasm that makes it truly special. When I think of shounen anime and manga now, Black Clover is the first thing that comes to mind. If it’s not at least as good as Black Clover then I’m not reading it. BC has really set a new standard for shounen consumption for me and if you love shounen then you’ll see what I mean.
Art: 10/10
Enjoyment: 8/10
Overall: 7/10
Reviewer’s Rating: 7
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Sep 18, 2024
An insolent attempt by Wit Studios to recreate the success of Attack on Titan.
The gorgeous music, choreography and action scenes reminiscent of their work on Attack on Titan are obfuscated by the absence of Isayama Hajime's god-tier writing and visionary discipline. Cash grab seasonal shows are dime a dozen but it feels weird to see a creative leader like Wit stepping into chocolate footprints like this. The show started off with piss-poor animation quality disguised as thrilling, suspenseful artwork that deteriorated in resolution with each passing sequence. The music by Sawano Hiroyuki attempted to detain the audience long enough to deliver a better trainwreck than
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Spiderman ever could but the opening and ending sequences by EGOIST and Aimer were too busy competing for the worst performances of their burgeoning careers. I have never seen a more shameless attempt at rehashing prior success than this sunsurfing bungle in my entire anime watching ‘career’. Even Kaiju No.8 was more original and transformative in its plagiarism.
Reviewer’s Rating: 1
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Sep 3, 2024
Xian Ni is an unfortunate example of a poorly executed adaptation. I see that newcomers aren’t prepared for the neutering about to take place but be prepared to be amazed!
The animation in Xian Ni is disappointing and disgusting. The quality is subpar, and the 3D animation feels clunky and unpolished, the CG looks bought and paid for by the asset. It's a far cry from what fans of the web novel should expect, and it will detract significantly from your viewing experience. If the animation doesn’t leave you debilitated and crying ‘uncle’, the story will! 1/10
The voice acting lacks the emotional depth and nuance needed
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to bring the characters to life. It feels flat and uninspired, making it hard to connect with the characters or become invested in their journeys. Wang Lin barely has any lines and the grim atmosphere that Xian Ni is famous for has been replaced with a highfalutin musical number and bright imagery.
The music is equally unimpressive, failing to enhance the atmosphere or complement the narration or combat scenes. Compared to other anime, the soundtrack feels inadequate and doesn't leave a lasting impression; the opening and ending songs are decently palatable but haven’t left an impression on me. There is NO Japanese dub available and there will probably never be, which is a big minus. 1/10
The story is another needlessly propagated issue! The intricate cultivation system, which is a significant aspect of the web novel, is entirely skipped over! These elements are crucial to the story's depth and appeal. This omission left the storyline feeling hollow and disconnected from its source material. Numerous chapters are crammed into single, rushed episodes, resulting in a disjointed and confusing narrative. The web novel of Xian Ni is known for its detailed world-building and complex cultivation system; “was” I should say, prior to the massacre. The censorship, a big issue with Chinese publishers, diluted the original content, making it unrecognizable to fans of the novel. 1/10
Fortunately, Xian Ni fails to deliver a quality adaptation of the web novel or even provide enough originality to stand on its own like the original Fullmetal Alchemist. Its animation, voice acting, and music are all subpar, and the storyline is butchered beyond recognition. My advice? Don’t even bother touching this adaptation and read the web novel instead. The novel offers a far richer, more immersive experience that the anime simply cannot match. 1/10
Reviewer’s Rating: 1
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Aug 18, 2024
A must-read for every Overlord fan!
This bonus volume was a pleasure to read from start to finish! I got to see a whole new side of Momonga as he travels through this new world as Satoru, without the presence of those boot-licking rugrats.
Though intended as an alternative to Evil Eye, Keno reminded me much more of Neia Baraja. Their camaraderie and the burgeoning sense of friendship between Keno and Satoru was one of the highlights of the story. Unlike the relationships he shares with his guardians, which are often marked by unquestioning loyalty and reverence, the dynamic with Keno is more balanced. They support
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each other, and there’s an unspoken bond that feels genuine and heartfelt. However, I couldn’t help but wish that Satoru had a humanoid body for once—seeing how that might have influenced his interactions with Keno; could have added another intriguing layer to their relationship.
One of the most gripping aspects of Boukoku no Kyuuketsuki was the introduction of Cure Elim. Unlike in the main novels, where Momonga’s overwhelming power often leaves little room for genuine tension, Cure Elim brought a palpable sense of danger. For the first time, I truly felt the threat that the Dragon Lords pose. The stakes were higher, and the battles were more intense, making me appreciate just how formidable these ancient beings are. The fact that we got to see Momonga fight solo, with his life genuinely on the line, added a level of suspense that was exhilarating. It’s a rare treat to see him pushed to his limits without the safety net of his usual companions.
The world-building in Boukoku no Kyuuketsuki is nothing short of masterful. Although the story’s structure is simple, it’s packed with rich details that flesh out parts of the Overlord universe we’ve been teased about but never seen before.
10/10 for me.
This was definitely an experience that I want more of. Maruyama, get to it! We need more bonus content like this!
Reviewer’s Rating: 10
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Aug 10, 2024
The Most Innovative Show I Have Ever Watched
I don’t say this lightly. I have a big head, and I’m not quick to compliment authors on their writing as genius, but even I have to admit that Kui Ryouko is an absolute genius—undeniably smarter than me. Dungeon Meshi stands as a testament to her extraordinary intellect, a culmination of vast knowledge in fantasy and mythological lore, combined with an absurdly vivid imagination. The world Kui-san has crafted is nothing short of a masterpiece, rich in detail and bursting with creativity. The worldbuilding is so brilliant that I’m at a loss for words that can fully express
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my admiration.
The foundation of Dungeon Meshi lies in its meticulously crafted world. Kui Ryouko has taken the standard fantasy dungeon-crawling premise and elevated it to a level of depth and originality that is rarely seen. The dungeon in Dungeon Meshi is not just a backdrop for the adventure but a living, breathing ecosystem filled with its own history, cultures, and rules. Each level of the dungeon is distinct, dangerous and wondrous. From ancient ruins to lush forests, the variety is staggering. This diversity in settings ensures that the series never feels monotonous; every episode brings a new challenge, a new discovery, and a new opportunity to explore the world Kui-san has so meticulously designed.
What sets Dungeon Meshi apart is how this worldbuilding is seamlessly integrated with the narrative. The creatures that inhabit the dungeon are not just obstacles but integral parts of the ecosystem. Every monster has a role to play, and their presence is justified within the logic of the world. This level of detail reflects Kui Ryouko’s deep understanding of fantasy and mythological lore. She doesn’t just create creatures; she breathes life into them, making them feel like they belong in the world rather than just being there to provide action sequences.
Story: 10/10
One of the most innovative aspects of Dungeon Meshi is its focus on food. In a genre where survival often takes precedence over all else, Kui Ryouko introduces the concept of using the monsters in the dungeon as ingredients for meals. This culinary twist is not just a gimmick; it’s a central theme that ties the entire series together. The idea of cooking and eating monsters adds a layer of creativity that causes the characters to constantly experiment with new recipes, turning what could be a mundane survival story into a gourmet adventure.
The food in Dungeon Meshi is more than just sustenance; it’s a way for the characters to connect with the world around them. The act of preparing and eating meals becomes a ritual, a moment of respite in their dangerous journey. These scenes are presented with a level of detail and care that makes them feel almost sacred. The process of cooking is depicted with the same intensity and focus as the action sequences, highlighting the importance of food in the characters’ lives.
What’s remarkable is how Kui Ryouko manages to make these cooking scenes both humorous and heartfelt. Each dish they create is a testament to their ingenuity and adaptability, turning even the most terrifying creatures into something delicious. This blend of humor and creativity gives Dungeon Meshi its unique charm, making it stand out in a crowded genre.
Food: 10/10
At the heart of Dungeon Meshi are its characters, and it’s here that Kui Ryouko’s genius truly shines. The cast is diverse, each member of the party bringing their own quirks, strengths, and vulnerabilities to the table. Laios, the noble-hearted knight, serves as the leader of the group, and his love for monsters—both as creatures to understand and as ingredients to experiment with—drives much of the story’s humor and charm. His obsession with monsters might seem eccentric, but it’s rooted in a deep respect for the creatures that inhabit the dungeon. Laios’ character arc is one of growth and self-discovery as he learns to balance his fascination with the monsters with his responsibilities as a leader.
Marcille, the elven mage, provides a counterbalance to Laios with her skepticism and delicate constitution. Her initial reluctance to eat monsters is both amusing and relatable, but over time, she comes to appreciate the necessity of their situation. Marcille’s journey is one of overcoming her fears and prejudices, and her growth is a testament to Kui Ryouko’s skill in creating multi-dimensional characters. Chilchuck, the pragmatic half-foot thief, brings a level-headedness to the group, often serving as the voice of reason when things get out of hand. His expertise in traps and dungeon navigation is invaluable, and his character adds a layer of practicality to the story.
Senshi, the dwarf with an unparalleled knowledge of dungeon cuisine, is perhaps the most fascinating character. His passion for cooking and his deep understanding of the dungeon’s ecosystem make him both a mentor and a source of wisdom for the group. Senshi’s character embodies the theme of resourcefulness, and his dedication to using every part of a creature is both admirable and inspiring. His interactions with the other characters are always a delight, as he shares his vast knowledge and imparts lessons on survival through cooking. Senshi’s character arc is one of my favorite aspects of Dungeon Meshi.
Kui Ryouko doesn’t shy away from exploring the psychological toll of their journey, making the characters feel more real and relatable. What makes these characters truly remarkable is the way their relationships evolve over the course of the series. The camaraderie that develops among them feels natural and earned, and the moments of humor are balanced with moments of genuine emotion, as the characters confront their fears, insecurities, and desires.
At its core, Dungeon Meshi is a celebration of resourcefulness and the joy of discovery. The dungeon is not just a place of danger but a treasure trove of possibilities, waiting to be explored and understood. The characters’ ability to adapt to their environment, to find creative solutions to the challenges they face, is a central theme that runs throughout the series. But Dungeon Meshi is also about the thrill of discovery. Every corner of the dungeon holds a new surprise, a new mystery to unravel. The series captures the essence of what makes exploration so exciting—the sense of wonder, the anticipation of the unknown, and the satisfaction of uncovering something extraordinary. Kui Ryouko masterfully balances the tension of survival with the excitement of discovery, creating a narrative that is both gripping and uplifting.
Characters: 10/10
The visual style of Dungeon Meshi complements its narrative brilliance. The animation is vibrant and detailed, bringing the dungeon’s creatures and culinary creations to life in vivid color. The character designs are expressive and endearing, capturing the unique personalities of each party member. The cooking sequences, in particular, are a visual treat, with a level of detail that will leave viewers hungry.
The art style strikes a perfect balance between the fantastical and the realistic. The textures and colors used in the dungeon environments add to the sense of immersion, making the world feel both magical and tangible. The creatures are designed with a blend of creativity and believability, making them both terrifying and intriguing. The attention to detail in the animation enhances the storytelling, drawing the viewer into the world of Dungeon Meshi and making the experience all the more engaging.
Art: 10/10
One of the standout aspects of the animation is its fluidity, especially during the action scenes. The battles are meticulously choreographed, with each movement flowing seamlessly into the next, creating a sense of dynamism that kept me fully engaged. The animators have paid close attention to the physics of the characters and their environment, ensuring that even the most fantastical actions feel grounded and believable. Whether it’s a high-stakes combat sequence or a character performing a mundane task, the motion is smooth and precise, contributing to the overall immersive experience.
Animation: 10/10
This show has sated my long-held desire for a proper adaptation of Toriko. This is almost nothing like Toriko and yet it has that sense of wonder for food and appreciation for worldbuilding that made me lose myself in the world of Toriko to begin with. I would like to thank Kui Ryouko for reminding me that the joy of fantasy and adventure that I loved so much was a genre unto itself, separate from the repetitive re-incarnation and pseudo-fantasy that I’ve been consuming during my isekai-trash binges lately.
Dungeon Meshi is more than just an anime; it’s an artistic landmark. Kui Ryouko has created a series that is both innovative and timeless, a work of genius that sets a new standard for what anime can achieve. The blend of adventure, comedy, strategic action, and gripping human drama is nothing short of masterful, creating a narrative that is as entertaining as it is thought-provoking.
This show is one for the ages—a true work of art that deserves a place in a museum. It’s a series that will be remembered not just for its creativity and originality but for its depth and heart. Dungeon Meshi is a testament to the power of storytelling, a reminder that even in a genre as well-trodden as fantasy, there are still new and exciting stories to be told.
Reviewer’s Rating: 10
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Aug 3, 2024
Kaiju No. 8 comes across as another attempt to replicate the success of Attack on Titan. Despite its popularity, likely bolstered by heavy promotion from Crunchyroll, the series fails to deliver anything new or exciting in the kaiju genre.
The comedy in the first half of the season detracts significantly from the show's quality. Given that Kafka is a 30-year-old protagonist, I expected a more mature character. Instead, the constant gags and interruptions of serious moments made it difficult to take the story seriously, and I nearly dropped the show because of it. Fortunately, the second half of the season tones down the humor and focuses
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more on the plot, which was a welcome change. Consistency is key, and it seems the creators finally realized that even younger shounen fans don’t appreciate forced comedy in a serious context. Overall, the story feels like a poor man's mix of "Attack on Titan" and "Parasyte," with little originality or creativity.
The animation, produced by the reputable Production I.G., is stellar. With Kamiya Tomomi at the helm, an animation and storyboard expert who has worked on Shingeki no Kyojin, Fate/Zero, Chainsaw Man, and Mob Psycho, the direction is commendable. The art style, while crisp and realistic, lacks uniqueness, and the backgrounds in many scenes could use more detail. It's serviceable for the show but not particularly memorable.
The opening theme is underwhelming, with neither the music nor the animation standing out. The ending theme, featuring OneRepublic, was a pleasant surprise cause I usually prefer not to mix Western music with anime but it worked well enough here. The background music is adequate but not impactful, and the sound effects during action sequences sometimes fail to convey the intended intensity, most noticeably in the first half of the season.
Kafka is likable but too goofy for his age. His poor comedic timing and lack of combat sense are frustrating, though he compensates with his kaiju knowledge. At 32 years old, Kafka’s journey is marked by a sense of regret and unfulfilled potential. His transformation into Kaiju No. 8 offers him a second chance at his dreams, creating an interesting dynamic between his human and kaiju forms. While his goofiness and lack of maturity can be off-putting, they also make him relatable as someone who hasn't fully come to terms with his failures.
Ichikawa is a solid supporting character with potential for growth, driven by a desire to help Kafka live without regrets. Ichikawa's motivations remain somewhat mysterious, suggesting there’s more to his character that could be explored in future episodes. His unwavering support and belief in Kafka’s potential provide a strong emotional anchor for the series, balancing Kafka's more erratic personality with his calm and composed demeanor.
Shinomiya Kikoru pleasantly surprised me; initially appearing as a typical tsundere, she turns out to be hardworking and compassionate, adding depth to the cast. Unlike other tsundere characters who often remain one-dimensional, Shinomiya displays a wide range of emotions and reactions that make her feel more real and relatable. Her skills as a fighter and her dedication to protecting others are impressive, and her growth into a team player adds significant value to the narrative.
Hoshina, although listed as a main character, feels more like a supporting role, providing tension and conflict while managing the pacing effectively.
The show’s themes of unity and teamwork are thinly developed. The story doesn't explore its themes deeply, leaving them feeling superficial. The concept of an alien invasion and a monster-hunter protagonist who can transform into a monster himself is nothing new and lacks the originality needed to stand out in a crowded genre.
Kaiju No. 8 is an attempt to capitalize on the popularity of kaiju and monster-hunting anime. Its inconsistent tone, lack of originality, and reliance on forced humor undermine its potential. While the animation and some character development are highlights, they aren’t enough to elevate the series.
Art: 6/10
Animation: 8/10
Story: 5/10
Characters: 8/10
Pacing: 8/10
Comedy: 3/10
Enjoyment: 7/10
Overall, Kaiju No. 8 may appeal to some for its action and occasional humor, but it falls short of being a standout series in the genre.
Reviewer’s Rating: 7
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