Did you watch Mushi-shi and think, “This anime is too friendly. Needs more violence and demons”? Well, do I have the anime for you!
Dororo takes Mushi-shi’s adventure of roaming rural Japan in search of the unusual, but instead of trying to understand the supernatural like Ginko would do, Hyakkimaru massacres them to the very last. He was born as a child of sacrifice. Though he should have died, missing his limbs, most organs, skin, and even a spine at birth, a prosthetics doctor found him down the river and rebuilt him to survive. Now, with each demon he slays, a part of him regrows. His single-minded focus to cleanse the land of demons and regain his body drives him down a dangerous path. Thankfully, the ever-cheerful street rat Dororo latches onto him and claims him for an older brother.
The feudal world of Dororo is a harsh one. It does not romanticise the samurai era whatsoever. There was a time when a samurai’s primary goal was collecting the heads of enemies, even if it meant taking them by force from allies. After all, the survivor tells the tale. The country is in a state of desolation – Hyakkimaru’s father and lord performed the sacrifice to bring prosperity to his state. Samurai or peasant, honour is a scare resource when starvation grips the soul. Dororo’s parents were victims of a battle, an inconsequential skirmish in the grand scheme of things, fought over scraps of power. He now travels with Hyakkimaru in search of demons to slay and food to survive, all the while making the most of life.
There is so much to like about Dororo. The titular character is likeable from the very first. I love his energy and craftiness. The contrast between him and Hyakkimaru is a perfect balance between the former’s bubbly personality and the latter’s silence. The perfect foil. Hyakkimaru wouldn’t have worked as a protagonist without him. Speaking of, I love the design of Hyakkimaru with the prosthetics, blades hidden inside his arms, and the way he regrows bit by bit. When a new leg shoots out after a kill, it’s painful yet great to watch. The more he regrows, the more human he becomes and learns about the world around him. Smell and sound are a surprise. However, he becomes more obsessed with the next kill the closer he gets to completion. His arc is fantastic, culminating in a crazy scenario that I don’t even want to hint at.
Dororo gripped me from the start. If you want a prime example of how to do a first episode, watch this anime. There are no exposition dumps, no out of place humour (we all know another studio would have forced a boob grab or some such cliché), and the showing of the characters, their motivations, and the world is spot on.
Then we have the world. The watercolour environments give such a rustic, quaint feel that you wish you could roam that countryside. That is, until you face a demon, or worse, the samurai. I can imagine the Japanese tourist board setting up walking tours to visit the modern equivalent, safe from horrors of course. The charming feel to the world was a great decision, for it lulls the audience into thinking perhaps things aren’t so bad, perhaps they have found peace. Then reality hits and all goes to hell.
The variety of demons and the way they fit into this world – like a mini fairy tale each episode – is fantastic. Some are simple beasts of instinct, while others are cunning. There’s always something new over the next mountain. And it certainly doesn’t hurt that the action is exciting with great animation. Doesn’t hold back on gore either.
Now, I don’t recommend this as a binge show. Much like Mushi-shi, it’s best to let it sink in every few episodes. I watched Dororo over the course of two months – hence the delay on this request – and would not have had it any other way. The episodic structure (until the final stretch) facilitates this method. Dororo gets better with each episode. Each piece of the puzzles comes together to make one of the decade’s best anime.
Art – Very High
The samurai drama visual style is a success. Plenty of animation too, but it does have to use some TV shortcuts like repeating animations. Beautiful backgrounds are an increasingly rare sight these days.
Sound – High
I almost had a serious negative about a casting choice, but it worked perfectly in the end. Acting is solid, though Hyakkimaru isn’t quite right. I like the first OP and ED, listening to them each time, but I would skip the second set.
Story – Very High
A street rat and a cursed child roam a war torn land in search of food and demons. Dororo doesn’t hold back on the realities of war, starvation, and the desperation to survive as it delivers riveting action and an engaging arc.
Overall Quality – Very High
Recommendation: Watch it. Dororo is a surprise hit for me. I wouldn’t want you to miss it (unless you don’t like violence).
Bobobo-Bo Bo-Bobo was the final review that prompted this new format. I struggled for three weeks trying to get a review out the door. Twice I had to delay it and whip up another review for the week in its place. Why? There is both too much and too little to say.
Bobobo is an insane anime. I mean that in the literal sense. Episodes barely string together as the most random events flash across the screen. At first, it seems like a comedy battle anime following a disco protagonist that can control his nose hair to deadly results. He’s a hairbender, if you will. (I’m here all night! Tip your waitresses.) But the plot – ha, plot! – goes off the rails with the introduction of a…a…sun mascot? I don’t know what Don Patch is.
The humour is almost random. There is consistency in the overall style and a running theme in any given arc, but once it moves to a new story, the rollercoaster derails into Wonderland. Earlier, I said there is too much to say about Bobobo. This isn’t due to depth or complexity – Bobobo is neither of those. There is too much because to give an idea of this anime is nearly impossible without doing a line-by-line retelling. And that doesn’t make for a good review, so I have too little to say. It’s too weird for words. You just have to watch an episode for yourself.
My thoughts on it? It is amusing and the commitment from the actors is insane enough for this series. The two big issues I have with Bobobo: the art is garbage (barely animated, overreliance on repeated frames, background smears) and it is too long. I made it 50 episodes. I would have stopped earlier, but I kept going while waiting for inspiration to strike for the review. Never happened. I prefer the shorter and snappier style of Pop Team Epic when in the realm of weird anime comedy.
Overall Quality – Medium
Recommendation: Try an episode for yourself if you like random anime humour.
House of Five Leaves caught my eye for the unusual faces on these characters. Behold, the faces of depression! And boy, let me tell you, these aliens wearing human skin don’t make for an engaging story. This didn’t get a full review due to my absolute boredom, which unfortunately isn’t the sort of boring you can dissect at length. Little happens Five Leaves’ 12 episodes. (Only 12 episodes!? Took me three months to get through this!)
The plot. I should mention it. A skilled yet sheepish ronin can’t find employment until a gang led by an enigmatic man takes him in as a bodyguard. Former samurai turned gangsters sit around looking glum. They mutter some mundane conversations on nothing anyone cares about until the final two episodes, where it finally feels like a samurai western (I think they were going for that genre?). Funnily enough, the protagonist barely participates in these final episodes. Whole thing should have been about the gang boss and his past.
The positives I can admit for Five Leaves are the nice music (often a single melancholic instrument) and the acting even for this stilted script. I suppose one could enjoy it as a laid back, low-tension piece to veg out to.
Overall Quality – Low
Recommendation: If you aren’t interested within 10 minutes, House of Five Leaves isn’t for you and I wouldn’t blame you either.
Of these three anime, Bungo Stray Dogs is the best and one I enjoyed most. Don’t take this as a recommendation though. It follows a ragtag group of misfits with superpowers that fancy themselves a detective agency. We have episodic stories that blend detective and gang narratives together in the vein of Blood Blockade Battlefront and Baccano. The protagonist is an orphan of the spineless type. You know the one – always has that worried expression, voice cracks every second sentence, can’t say no to anyone. Not my favourite.
Each character has a unique superpower that they have to announce and explain each time we see it. The issue permeates every element of the story. Characters over exposit everything when it comes to conveying story, all told at face value. Bungo Stray Dogs suffers a severe lack of subtlety. The writers have no faith in the audience’s ability to read subtext or to understand anything unless beating one’s face.
The character clichés also wear thin. Everyone talks in brooding tones, trying to be cool. One guy is obsessed with killing himself alongside a beautiful woman. If you’re going for whimsy at least try making sense within story context. Another guy is a Mafioso who doesn’t kill… Stop laying your desperation to be cool out for the world to see.
Stray Dogs would have worked better with a noir leaning, à la Darker Than Black but more comedic. The tone is an issue. The blend of comedy and drama doesn’t quite flow well here.
None of the problems are deal breakers, mind you. I can imagine having a higher opinion of this had I not seen so many similar but better anime already. If I have nothing new to say, I don’t find a series interesting to analyse. It’s why I didn’t give it a full review.
I did finish Bungo Stray Dogs, however, which is saying something, for it is an easy watch and the dub allowed me to consume the series passively as I completed other work. The art is nice too – beautiful colours.
Here we go, back for another season of Attack on Titan. After the poor showing of Attack on Titan: Season 2, I was done with this series, but a reader requested I return for the third season, as it had improved – or so the claim went. I go into this willing to give it a chance.
Attack on Titan: Season 3 starts well with beautiful animation and a focus on human versus human conflict. The titans became an uninteresting part of the series since it turned out every character and their mum is secretly a titan. Eren as a titan is still the greatest mistake this series made. You don’t think the author would do the same again, would he? Would he? It has also become evident which characters have plot armour, removing much of the tension that Attack on Titan executed well in the first season. These problems persist in season 3.
However, this season does improve in several ways. As I mentioned, the human conflict is good between the scouts – largely composed of the lower class – and the ruling class at the heart of civilisation. There should have been more such conflicts from the beginning of the anime. The most captivating element in any monster story is how characters react to each other, not the monster. Attack on Titan in general lacks complexity. Look no further than the one note cast of characters, especially Mikasa. I thought she would find relevance by now.
Ironically, the best action comes not against the titans but between humans, all of it in the first half of the season. The animation is great, the settings are creative and lend themselves well to the web swinging, and it’s different from earlier seasons. As for the titan action, it’s okay overall. The fight with the crawler titan has good atmosphere. A massive battle against a few special titans eats up most of the latter half of the season, which does drag from lack of story and two glaring flaws. First is the Bigfoot Titan and his baseball puns while pelting boulders. Just why? Imagine if Gollum started going on about fidget spinners in The Lord of the Rings. The second is the decision to have the Colossal Titan made entirely in CG – it never looks good (the crawler has the advantage of being in the dark).
In fact, we see a significant drop in visual quality during the second half. Static pans with only mouth movements become more common, highflying action is rare (characters hanging from walls or on roofs is popular), and we have less key frames throughout. The first half looks great, much better than season 2, only for the second half to slash the budget. One has to wonder either if a different team did the work or if they realised that fans would watch regardless. Attack on Titan is popular enough to draw a crowd on a shoestring production.
The “Part 1” and “Part 2” structure of this season brings another problem to mind: the disconnect in story between seasons. Think back to seasons 1 and 2 and how little most of their events matter to season 3. Even with this season, the two halves aren’t all that connected. There is no sense of planning for the overarching story, as though the author thought of it one season at a time. The internal conflict within the human city of Part 1? Irrelevant to Part 2. What happened in season 2 again? I’d say 10% matters from season to season. This simultaneously makes each season feel like filler and relevant content.
Every good story employs resonance to build and build the narrative, incorporating past elements with the new to reinforce themes and events. Attack on Titan lacks resonance. When an earlier setup does receive an answer, I imagine the editor had to remind the author the night before.
Lastly, we come to the details. In my season 2 review, I talked of how the author hadn’t grasped the size of the human territory within the walls and the travel time required. It gets worse. We have characters travelling vast distances in a fraction of the time it should take. People come to the rescue at the last second (see plot armour earlier) despite being on the other side of the battlefield a minute ago. You can get away with this to some extent, but repeat offences wear thin. On a scale of one to Game of Thrones season 7, Attack on Titan is an eight for poor travel logistics.
Then we have simple stupidity. The ruling class wants to disband the scouts, the one group able to slay titans. How moronic are they? While evading the police, the scouts have the idea of hiding Eren in a crowd of 100 scouts by pulling their hoods up while flying around. Hoods wouldn’t stay up – bet you the writer has never worn one. Not a big deal, but it’s one of many instance where no thought went into the idea. No one instance is atrocious, yet they add up over time. Another that comes to mind is the torture scene. The mad scientist woman is the interrogator, but because she is comedic relief, the scene is laughable rather than frightening.
Contrary to my plethora of criticisms, I am more positive than negative towards Attack on Titan: Season 3, mostly because of the first half and its visual plus audio quality (great new OPs). It’s easy for the action to sweep you up.
Still, season 3 has not increased the likelihood that I will watch the conclusion. There are no mysteries left for me to care about. Season 3 revealed the origins of the titans to lacklustre results (would have been better with no explanation and no attention drawn to the idea of a backstory whatsoever). The studio has announced the fourth and final season is to release in 2020.
Overall Quality – Medium
Recommendation: For Attack on Titan fans only. While an improvement over season 2, Attack on Titan: Season 3 isn’t worth it for those that already quit.
It pains me – it pains me to report how disappointed I am with Kurozuka. This is my type of story. Historical fact woven into in a fantasy narrative with vampires, romance, unflinching action, and cyberpunk – what’s not to love? Maybe the fact that we are missing the middle of the story.
Kurozuka opens in feudal Japan with Minamoto no Yoshitsune (a real historical figure, also known as Kurou) and his closest ally as they flee into the mountains after the fall of Kurou’s brother, first ruling shogun of Japan. The real historical account says that he committed suicide here. Kurozuka postulates that idea of him meeting a stunning woman, Kuromitsu (based on a fable), whom he soon discovers is a vampire and rather than fight her, falls in love. He falters while defending her, but she turns him into an immortal to save his life. Thus a romance set to span over a millennium is born.
I love this setup, particularly in the presentation. It doesn’t hold back on the gore and dark fantasy. His conversion to vampire is the perfect illustration of this, where the norm would be to have him die and then wake up as a vampire or show a sanitised transformation at most. Kurozuka has him alive as a dismembered head while Kuromitsu prepares a new body for him. It’s gruesome and just right (narratively relevant in future as well). The tone of the romance is clear from the start. I am in!
Then episode 3 leaps a thousand years into a dystopian cyberpunk future with Kurou having no idea how he got there. A chance encounter has him join the resistance to combat the Red Imperial Army sporting the same emblem as the clan that tried to kill him and Kuromitsu all those generations ago. The resistance promises they can help him find the one person he knows.
And here is where you lose me.
The setup promises a twisted romance through the ages, Kurou and Kuromitsu forever entwined in a love story painted in blood and guts. I wouldn’t be wrong in expecting to see these two appearing in various eras throughout history, perpetuating the unhealthy cycle of their relationship, one of those affairs where the best decision would be to end it now, in a moment of happiness, but they can’t help themselves from trying again, slaves to their love.
Instead, the story plants itself in the future city with extensive use of flashbacks to dole out bits of the past, of the “middle” of the story for us to figure out. This does not succeed. At all.
The structure is disjointed as all hell. When we flashback, we aren’t sure of which period we are in half the time. This is intentional, as revealed later. Worst of all, the idea of having an amnesiac Kurou on a quest to find Kuromitsu removes her, the most interesting character, from much of the story and turns him into a blank slate. I’ve said it many times: be careful of using amnesia as a plot device. The two most important characters have the least agency. The resistance fighters feel more important to the day-to-day of the story and the main villain, a Joker-like laughing maniac, grates one’s nerves within a single scene. (I would be remiss in mentioning that the horror goes down as the sci-fi goes up too.)
So, why structure the story in such a manner? It is all for the twist that reveals why he has amnesia, why he doesn’t wake up in the future beside her and why the Red Army wants him. The writer sacrificed everything to deliver such a mediocre twist. Worse yet, the twist is a fine piece of vampire lore that could have created plenty of great conflict along the way, if we could have seen it throughout time. I can’t wrap my brain around the insistence upon nailing this twist. It just doesn’t make sense.
I don’t want to give it away, in case you do watch Kurozuka, so allow me to craft an example instead. Imagine if you took Code Geass, as is, but you hid the fact that Lelouch had the power of mind control (don’t worry, Kurozuka’s twist isn’t mind control). You therefore removed any scene that shows his power because it would give away the twist. Sure, it’s an interesting reveal that he was mind controlling people all along (only once per person as well, to further the twist), but at what cost? You’ve now removed most of the compelling scenes and conflict, all because you wanted a big surprise.
Kurozuka is this hypothetical version of Code Geass. It has the components for a fantastic story. I can point to several elements I love, yet leaves much to be desired once brought together. Forget the twist. I want their relationship. Give me their turmoil, damn it!
I am more positive than negative over Kurozuka, though this has much to do with it being the type of story and aesthetic that I like. The ideas and possibilities that made me ponder interesting questions captivated me more than the product itself. As such, if you aren’t into vampires or cyberpunk, it is unlikely to work for you in the face of its structural and character issues.
Art – Medium
In its heyday, Kurozuka would have looked great. Age hasn’t been kind, ironically, as certain animation techniques and elements like CG blood do not hold up. The visual tone, however, is still strong in conveying atmosphere and several action scenes have great animation.
Sound – Medium
I like that they kept the kabuki narration in Japanese even for the English dub – not the sort of thing that works in another language. The acting is good, probably the strongest element of the entire production. The soundtrack is an intense electro death metal collection that, though not to my taste, is a perfect fit to the cyberpunk tragedy when you think about it.
Story – Medium
A samurai falls in love with a vampire woman, sparking a romance destined to last over a thousand years. A brilliant start filled with promises of a dark romance through the ages soon falters with a leap to the future, all in favour of an unsatisfying twist.
Overall Quality – Medium
Recommendation: For dystopian fans only. I was going to suggest trying Kurozuka, but as the opening few episodes are deceptive to the overall experience, I can’t do so. The paranormal dystopian aspect is the draw.
It is finally done. Naruto Shippuden (and The Last Movie) is no longer on my backlog. It gives me a mix of emotions – relief at having such a giant off my back, nostalgia from thinking 16 years into the past, and a tinge of sadness that it is over. It wasn’t an easy journey to reach this point. 500 episodes of Shippuden – after 220 episodes of Naruto – isn’t an afternoon’s viewing experience, especially once you hit The Wall that is the Great Ninja War. More on that later. Let’s go back. There is a lot to talk about here, so forgive the ramble and tangents.
Naruto ended with two central threads: Sasuke has betrayed the village to seek out the arch villain Orochimaru’s help and the criminal organisation Akatsuki has revealed itself to the ninja world. Shippuden jumps ahead two and a half years as Naruto returns to the hidden leaf village after a long training adventure with his perverted teacher Jiraya. The anime (unedited version) opens with a flashforward of Naruto and Sakura finally catching up to Sasuke in Orochimaru’s lair, giving the audience a taste of the major event to come. It fails to mention that we don’t reach this until Shippuden episode 51 and that it’s the most anti-climactic moment in the entire franchise. Not a great start.
Shippuden also disappoints in how it handles filler. Where Naruto padded the episode count after the main story concluded while we waited for the sequel, Shippuden inserts extensive filler arcs every second or third season.
To drag out the series further, canon episodes regularly have artificial lengthening techniques. Battle anime are notorious for static pans across a battlefield or characters’ faces. Shippuden takes it to another extreme of time wasted. I particularly remember an episode where Naruto confronts Orochimaru and only a minute of real content occurs between dramatic pauses, slow pans, and repeated lines. Replaying scenes from the previous episode is more rampant that ever, unjustified in their presence. They often repeat within the same episode in case we have Alzheimer’s. The absolute worst padding you will ever see is when Naruto’s allies remove the seals on Akatsuki’s hideout.
Let me set the scene. Akatsuki have sealed themselves inside a cave while they perform a ritual to extract a powerful demon beast from within a ninja. Outside, several of Naruto’s allies split up to remove five seals scattered around the area. Before that however, a trap summons an exact clone in ability and strength of each ninja, which they have to 1v1 before they can proceed (I thought this was the dumbest fan service idea only for it to be outdone later). These fights are just moronic. It’s repetitive and devoid of any depth – don’t forget stretching out every single shot. So, if they are fighting their exact equals, how can they win? Well, by fighting harder than themselves from before! What…? This makes one facepalm so hard that my friends and I still bring it up each time Naruto is mentioned.
Anyways, after that comes the seal removal. Each character grabs one and counts down to pull them in sync. What begins is the longest countdown in cinema history. It takes several minutes off the end of an episode, ending in a cliffhanger, only to repeat from the beginning of the next episode and take forever again.
You know what it’s like? Daytime soap operas. If you’ve ever seen an episode of Passions, Days of Our Lives, or the likes of The Bold & the Beautiful then you will know exactly what I mean.
With how much Shippuden wanted to waste my time, I opted for the “Kai” edit this rewatch. When originally watching this while current, I made it early into the Great Ninja War (Shippuden episode ~250), so I had plenty of experience with the broadcast edition. No way was I sitting through all of that unedited. Little did I know the worst was still to come.
From here on, I will be reviewing Naruto Shippuden under the assumption of the Kai edit, which follows the manga closer [almost] free of filler. There’s not much to say about the filler. It’s trash – don’t watch it.
So, Naruto Shippuden proper, how is it? I can best summarise it thusly: old is good while new is bad.
In essence, the direct continuation of story threads from the original series is successful, while new elements introduced are just crap. Interestingly, the story structure almost alternates between old and new threads, throwing you from one end of the engagement spectrum to the other.
The first arc sees Akatsuki venture into sand country to capture Gaara for the demon beast within him (their goal is a combine the power of all demon beasts). We get to meet a couple of new members, including former sand ninja and puppet master Sasori. Naruto loves to have villains that are former citizens of the place they’re attacking to add that extra emotional connection. Sasori works here, not only for giving us a great fight between three generations of puppeteers – and the only good fight involving Sakura – but also in emphasising the damage ninja life can have on oneself. It’s a good complement to Gaara’s story arc. Where Gaara fell through maltreatment from his family, Sasori lost himself when his parents died. Both grew twisted because of ninja society. A little care and consideration saved one from evil, while the other could never be human again.
Naruto’s execution of theming and tying heroes to villains is among the best in shounen anime and it makes you care for the conflict. Sure, they have a variety of interesting powers and fighting styles that make for great action – action is important to keep it exciting – yet without that emotional core, it wouldn’t stay with the audience once the battle is over. We see this time and time again. Think Lee vs. Gaara (untalented hardworking nobody vs. effortless prodigy gifted with immense power) or Naruto vs. Neji (unloved yet free outsider vs. popular and powerful slave). There are many such examples in Naruto that pack an emotional punch. The same is true for Shippuden in the better fights. The perfect example of the opposite is in the grand finale, but let’s not jump ahead just yet. My rant has some way to go.
Sasori’s partner – Akatsuki always travel in pairs – is Deidara, a loudmouth with mouths in his hands that chew special explosive clay. I hate this character. His backstory is so lame, likely thrown in place at the last minute when the author had to hit a deadline (it doesn’t come up until much later, when his story is already over, by the way). His backstory is the edgy teen who wasn’t allowed to blow things up so he went and joined Al Qaeda in protest. That’s it. And he never shuts up. Plus he ends each sentence with a “yeah” or “hm” grunt. I understand that with such a large cast you need to get creative with differentiating characters, yet you don’t need their quirk in every. god. damn. sentence. The actor never makes it sound natural by the end.
His fight with Gaara is quite good though. More of a visual spectacle. It works by contrast to Sasori’s fight, which has more story and is on a smaller scale in a confined environment. Keeping Deidara going after this arc was the mistake.
Overall, this arc is a good start and gives the [false] impression that Shippuden will maintain the same qualities that made the original series good.
Next arc introduces Sai, the replacement for Sasuke on Naruto’s team. Here we have the first example of “new” failure. His trait is being socially barren. Raised as a spy and assassin since infancy, he has no understanding of emotion or relationships. It’s a classic sad Naruto backstory, which is fine, but his arc doesn’t contribute much. He was forced into the team by the head of ninja CIA with the secret mission of killing Sasuke once found, rather than bringing him back alive. This doesn’t lead to anything. He grows a heart by becoming friends with the others before they find Sasuke, pre-empting the conflict before it starts. To top him off, the story forgets about him a third of the way through. If you were watching this week to week, his return would come as a surprise. “Oh hey, I remember that guy! What was his name again?”
That said, Sai is one of the better new additions. Most newcomers are indistinguishable from filler episode characters. The story leads Naruto to the other ninja nations, each presenting their own crew, none of which is interesting. The most important of the lot is another demon beast ninja who speaks only in rap. It is as annoying as it sounds.
After my praise for Naruto’s supporting cast in the original, it saddens to have to report on how forgettable the new guys are. Worse still, the original cast are little more than background images. Why bother creating new characters when you had such a strong cast to work with already?
This arc concludes in that flashforward I mentioned earlier. They find Sasuke, he leaves, and we are back to square one. Pointless.
Next arc shifts focus back to Akatsuki on the hunt for the next beast, two different members taking helm. Here we have one of the best fights in Shippuden: Shikamaru vs. Hidan with the scythe. I won’t go into detail here, as I don’t want to give anything away for those who haven’t seen it and there isn’t much in the way of story to dissect. Any fight with Shikamaru on stage is great for the focus on strategy over flashy abilities.
By contrast, we have the fight against his partner Kakuzu, who is a Frankenstein’s monster-style ninja with the power to stitch himself back to life. Here we see a major crack in the walls caused by one of battle anime’s worst tropes: protagonist power progression. Battle anime need to keep going bigger and more powerful to avoid stagnation with the audience. I don’t think that is necessary, if done right, though the core audience does. The only time you can deescalate is by starting a new series. A power reset each arc, like Bleach, isn’t enough. The audience still wants something bigger.
Dragon Ball Z is the classic example of why this is such a problem. Remember how when they were fighting Frieza the story impressed upon you his power and importance? Now remember how when the next villain came along, making him look like a joke, and the heroes had to grow so much stronger to beat the new guy that they could now kill Frieza with a single flick? And remember how this power was concentrated in a few main characters, making most of the allies useless in the process? Well, Naruto reaches that point. The fight against Kakuzu, which was a struggle for the team fighting him, ends with the arrival of Naruto, fresh off his latest mind-numbing training arc, who takes him out with ease. Because he’s the protagonist, the genre dictates that he must be the one to do this.
It’s not as bad as Dragon Ball Z’s issue, but it doesn’t prevent the groan-worthy ending to a fight, especially off the back of the intelligent fight against Hidan.
Next, we switch to Sasuke’s perspective as he assembles a new team. When I say new, I mean the bad new of Shippuden. He recruits a Jekyll & Hyde sort with no personality, shark boy, and yet another Sasuke fangirl. Sasuke manages to get away from his fangirls back home only for the author to go back to the same overdrawn well and give us another. You want to know the real kick in the nuts? She’s the worst of them all. Her only gimmick is being a fangirl, something the “comedy” reminds us of in every scene with her. She will have a fangirl moment (and another sort of moment, if you catch my drift) any time she sees Sasuke, even in the middle of a dramatic scene. Anyone with her as a groupie would want to shoot themselves.
Everything with these three characters is just a waste of time in the lead up to an event we’ve all been waiting for: the reuniting of Sasuke and Itachi. We can’t have this happen right away, er…125 episodes in, of course. We need another arc first.
Regardless, once it does come to a head, what can I say – it’s fantastic. Built up from the early episodes of the original, the conclusion to Itachi’s story is excellent. Surrounded by filler and padding, it is noticeable that this story was likely planned from the beginning. Its emphasis on character and emotion to deliver the final piece of the puzzle is the polar opposite of The Great Ninja War. (We’ll get to that. We’ll get to that.) This is the best of all Shippuden to me.
This great conclusion leads into another strong arc where the heroes must face the leader of Akatsuki, Pain. Similar to other great Naruto villains, Pain and his close companions follow the theme of how harsh ninja life truly is and how it can break even the nicest kid. An accident from the “good guys” created one of the most powerful villains. While a moment of love almost saved him, as it did with Gaara, it wasn’t enough to keep him from the path of pain.
He makes for a great villain. Not as good as Orochimaru or Itachi, in my books, but great nonetheless. His abilities and those of his companions are interesting. We have action, story, character, and emotion rolled into a satisfying package.
This should have been the end of it, barring the resolution of Naruto and Sasuke’s arc as a capstone. However, if you looked away from your screen at this moment and checked the episode count, you would realise we are only halfway through Shippuden.
Welcome to the Great Ninja War.
Where to begin with this one. It could warrant an entire review of its own. You know what? Let’s do it. I’m on a roll, so what’s another 1000 words?
After Pain. comes the revelation that there was another bad guy behind everything all along. (It hurts just writing that sentence. That’s the real pain.) This new villain was mentioned a few times as a backstory, though never as a relevant character to the current day. After a rubbish politicking plot that I won’t bore you with, the great nations decide to set aside their differences to team up and defeat this villain and his army of Power Rangers putty monsters. Toss aside character-focused storytelling and engaging combat in favour of two masses of bodies throwing themselves at each other.
When you think it can’t get any less interesting, the author pulls out the ultimate fan service card and episode count extender. He brings back every known character from the dead using the Reanimation Technique rediscovered by Orochimaru in the original series. A technique that barely managed two reincarnations can now summon a hundred of the best ninja with ease (remember what I said about power escalation earlier).
It was fine the first time to have two Hokage from history return to give us some lore and a bit of the “rule of cool” factor. This time, however, is just ludicrous. Outside of two or three cases, all it does is stage rematches for fan service. Even the Akatsuki members that just died come back. My level of bafflement at this entire arc is difficult to put into words. I can’t believe any self-respecting author would be okay with this.
The Great Ninja War makes up one-third of all Naruto episodes and feels like filler at least 75% of the time. This is canon filler. Even when watching this in the Kai edit, it feels as if there is no end. I get the sense that whoever was making this fan edit was also losing interest, only finishing the project out of obligation. The editing gets sloppier as you go – one episode has a scene repeat in succession (was the end of one episode and the start of the next in the broadcast release). More and more pointless flashbacks make it in. Don’t get me started on how much Shippuden uses flashbacks to pad runtime. Flashbacks should be banned from anime. The fan editor no longer bothered cutting down those slow dragged out scenes most of the time anymore. I don’t blame them. I would have given up long ago.
The Great Ninja War reaches almost Dragon Ball Z levels of terrible. As if in homage to Goku’s idiocy, Naruto also has a “Don’t interfere with my fight!” moment. Never mind that thousands of lives are on the line.
There are some good moments in this abomination. Kakashi has a good episode against a villain relevant to him, Naruto’s emotional moment meeting that character is quite touching, and Itachi is good, as always. Don’t let that give you hope though. It is small consolation for what you have to sit through.
So, despite all indications, the war does eventually come to end. And just when it seems the chute has no crap left to expel, it squeezes out one final turd. The reincarnations are dead, the masses of fights are over – surely, there is nothing left. The plumbing can’t take anymore.
How do I put this? Shippuden starts to become Evangelion – specifically, the End of Evangelion. Character and story is thrown aside for end-of-the-world lore and a ninja origin story. Naruto becomes the Child of Prophecy (barf); the goddess of chakra revives to wipe out the world. At one point, even the moon gets involved. A character you never cared about reveals himself as the true villain behind everything. Yeah, the guy I mentioned earlier? He wasn’t the true true villain.
What the hell does any of this have to do with anything?
Naruto loses focus, going from character driven conflicts to lore vomit with bigger and bigger abilities, constantly escalating, merely dragging it out. The supporting cast, new additions included, are relegated for bad lore.
The reasoning for any of this crap to be a part of the narrative is so flimsy you can see tape barely holding it together. It is utter shite.
Once that’s over, it wraps with the finale of Naruto and Sasuke’s conflict. After the Great Ninja War and the End of Evaruto, it’s a bloody blessing that this doesn’t fail. It’s not great, though it’s not bad either. The finale is of much better quality, particularly in visuals, though it feels weird coming after so much filler and in how it ignores much of what just happened.
Some might say that The Last Naruto Movie is the true end to the series. It isn’t. The movie’s sole purpose is to sell you on the idea of the Naruto and Hinata relationship. Remember when that was a thing they never developed at any point? Naruto goes from ignoring Hinata like always to suddenly confessing undying love after a stint through this extended filler episode they call a movie. There is no foundation to this relationship. I don’t care for it whatsoever.
And that’s it. That’s Naruto concluded with my far too long tirade, a few thousand words over the limit. What do I think of it overall? Well, the parts I like are great, notably the original series. It has some of anime’s greatest fights, most complex villains, and best supporting characters. But there is also a lot of baggage weighing it down. Shippuden should have just been a conclusion to Itachi, Orochimaru, Sasuke, and Akatsuki (as first established, not what it became to justify the Great War). 150 episodes, maximum, to cover the golden content in this 720-episode bloat.
I don’t regret my time with this series. I do wish I could recommend it though, but in its current state, I can’t ignore the problems that come at the end. At most, I would recommend watching from the original series until the conclusion of Pain’s arc, in the Kai edit. No one should have to go beyond that.
The real question is whether finishing Shippuden has motivated me to start on Boruto. No. The answer is no. Naruto is done in my life.
Art – Medium
Like most long-running shounen anime, Naruto: Shippuden is inconsistent in its art. You can have episodes with brilliant, fluid animation and proper cinematography. You can also have episodes filled with static shots and character cutouts sliding across the screen. Character designs have lost detail to make them easier to draw and animate.
Sound – Medium
The music still shines as one of the best collections amongst shounen anime. The dub isn’t much of an improvement over Naruto classic. Those that were great before are still great – Naruto’s English voice is still bad to me. The writing has taken a serious dive, particularly in the new plots.
Story – Medium
Naruto and co. continue their search for Sasuke as they fight foes old and new. The old ongoing threads are good, while new introductions to the story are filler.
Overall Quality – Medium
Recommendation: For Naruto classic fans only. Even if you watch the Naruto Kai edit, this is still a gargantuan anime that I can’t recommend to anyone not already invested from the original series. There are several satisfying conclusions for fans, however.