I loved Drifters for about one episode. The distinct visual style, gritty action, and commitment to bloodlust had me sold. Then the comedy started and I recoiled in disgust. Why? Why do this to me?
Drifters opens in the midst of a clash between samurai armies during the Battle of Sekigahara, year 1600. Bodies litter the muddy fields as screams echo through the trees. Amongst this carnage stands Toyohisa, blood crazed and hungry for battle. Upon spotting an enemy commander, he charges the cavalry line as one soldier against many. This foolhardy act goes as well as expected and he finds himself on the receiving end of a dozen spears. He cuts down several enemies before oblivion takes hold.
However, instead of the afterlife, a white corridor lined with doors and a solitary office clerk awaits him. At a mere gesture from the clerk, one of these doors opens and sucks Toyohisa to another world, a world where knights of the human Orte Empire reap the land and oppress other races such as elves and dwarves. Toyohisa, almost involuntarily, comes to the aid of elves and makes it his mission to free them of tyranny. The fact that he gets to wage war and taste more blood is a coincidence. It should be an easy matter, after all, with his superior combat prowess and the famed Nobunaga – also ripped from his time alongside other historical figures – on this team. He didn’t anticipate that whatever supernatural being the clerk was fighting against would summon fighters of his own. Nor did he anticipate they would be so twisted by malice at the manner of their deaths that they developed powers beyond imagining.
If you told me all of the above, I would say, “Sold! I will watch Drifters.” What you would have failed to mention was the damned humour.
Have you seen Hellsing Ultimate (same manga author as Drifters)? Remember those jarring cuts to comedy in a caricature art style that punched all dramatic tension out of your gut? Remember how the few times they used it in Hellsing was bad enough? Yeah, well, now imagine it first happening once an episode, then once an act, until is ramps up to once per scene and more. If you haven’t seen the like before, I want you to imagine cartoon sound effects added to any dramatic scene you like. It is intolerable.
I cannot impress upon you enough how much they overuse this technique. How is anyone supposed to take the slaughter of innocent elves seriously when it’s going to cut to Nobunaga honking some woman’s boobs at any moment? That joke makes an appearance once per episode – at least – after the woman joins the party. Joan of Arc is on fire, literally, in perpetuity out of spite for how the Church betrayed and burned her alive. She now has the power to incinerate others. But that isn’t as important as using the same moronic cut away reaction as last episode. The opener doesn’t give any indication of this.
One could improve Drifters by simply editing out these cuts. It wouldn’t be difficult either because they are almost forgotten when we return to the actual scene. The only humour that made me laugh was Toyohisa telling Nobunaga what happened to Japan and his legacy after his death.
This negative was enough of a detractor to me that I was sick of Drifters halfway through. I found it so bad that the stylish action, harsh visuals, and even the introduction of many interesting historical figures bringing their specialities to the battlefield barely made a difference. I mean, a WWII pilot joins mid battle amongst a squad of real dragons. If a meeting of Nobunaga, Hannibal, Butch Cassidy and the Sundance Kid, Rasputin, Joan of Arc, Anastasia Romanova, and the machinations of Adolf God Damn Hitler can’t save a series, nothing can.
The action is good in all of its gory stylishness and insanity. But that unfunny humour every damn time! Look, I need to stop here before I think of it any further and dwell on how it ruined a fun action series.
Art – Medium
I am torn on Drifter’s art. On one hand, I love the harsh style, thick outlines, and high contrast shadows. On the other hand, I hate the CG characters (crowds, I can understand, but principal characters?) and how lazy the art is come characters in profile. It’s most noticeable with the elves’ ears – they look the same from the front and side, which is goofy.
Sound – High
In contrast to the low effort of the elf ears, their fictional language is well done. You feel like you can understand it, though not quite. Similarly, the samurai era speech (or a good representation of it) imitates the serious and forceful mannerisms of samurai films. And the OP is dope as hell. The real letdown is the poor timing and overuse of random comedy in the script.
Story – Low
Various historical figures find themselves dragged into a fantasy world to fight a war for supernatural beings. A fun concept brought down by insisting we suffer through lame comedy every five seconds.
Overall Quality – Low
Recommendation: For action fans only. Drifters is a lot of fun and would be an easy recommendation if not for the bad humour.
I love historical pieces. I particularly love it when anime takes a crack at it in a non-Japanese setting. Gankutsuou and The Rose of Versailles are two of my favourite anime, both based on historical France, interestingly enough (France is the favourite foreign county amongst the Japanese). Le Chevalier D’Eon, set in 18th century France during the reign of Louis XV, is another such historical anime. I saw middling reviews for this one and hoped, as I always do with anime outside the popular genres, that the reviews came down to it simply not being a fit for popular preference. While that is somewhat the case here, D’Eon still isn’t great.
Lia de Beaumont, favourite of the nobility including the king himself, floats down the river with her veins full of mercury and blood scribbles on her dead body. Her brother Charlesd’Éon de Beaumont, spy and knight to the king, makes it his mission to find the truth of her death. This single murder soon unravels into a plot against France. However, the greatest twist in this tale comes from Lia herself. Her spirit, unable to crossover, returns to the living and inhabits d’Éon’s body. With her combat prowess and his espionage abilities, they plunge into a world of the dead and the treacherous.
I can best describe Le Chevalier D’Eon as a Three Musketeers tale with a dark supernatural angle instead of the usual fun swashbuckling. Many people die, blood splatters ceilings, zombies (called gargoyles here) rise from the dead, and ritual sacrifice of beautiful women is in high fashion.
The immediate issue is how this story fails to grip you from the beginning. Lia’s spirit possessing d’Éon is an interesting twist for a story that gives no indication of being anything but an authentic(ish) historical piece until that point, but the grander conspiracy isn’t clear for several episodes. It doesn’t give much reason to care. I would have started the story with the focus just on Lia’s death. Make it seem like an isolated incident personal to the protagonist, though nothing of greater import. Then, once he seems close to solving the case, he learns this is much bigger than a single death. Now we are in for a ride.
What we have is too vague. “Something is going on – can you give me more detail?”
“Nah, I don’t feel like it.”
If a writer holds back every little detail for so long, then one needs to draw in the audience with another element. And in a historical piece, the easy answer is through atmosphere and authenticity – transport the audience to 18th century France. Make us walk the bustling streets, catch the scent of a bakery around the corner and feel the chill in the air. Le Chevalier D’Eon looks like France, but doesn’t feel like it. The script in particular has no historical touches. Now, the characters haven’t come straight out of My Hero Academia or say, “That is wack, yo!” yet they don’t sound of their time.
I would go so far as to say that had they gone more authentic in every aspect, it would have inverted my opinion on the series. See, in order to convey more of the politics, society, manners, and life of 18th century France, they would need to cut scenes to make room. And what would they likely cut? The boring scenes. Only the action feels strong.
I can forgive a story not paying much attention to authenticity as long as it’s entertaining – several Robin Hood films come to mind. Sadly, that won’t apply here. The pacing is too slow, the conspiracy, even once rolling, doesn’t hold you tight like a beggar on the streets of Paris saves for a few scenes, and the characters never flourish.
On the flipside, some of the historical story details are great. Take the siblings, for example. D’Éon – or if you want his full name of Charles-Geneviève-Louis-Auguste-André-Timothée d’Éon de Beaumont – was a real person and a real spy for France who disguised himself as a woman – one Lia de Beaumont. He was apparently so convincing that people had no idea he was a man for years. His life was truly fascinating. I love how this anime takes his identities and works them into the supernatural.
If only the execution were better.
Le Chevalier D’Eon will likely only draw the attention of history fans. Such fans though love the details that this anime is lacking. Go for The Rose of Versailles instead.
Art – Medium
The art would be rated higher if not for the muddy backgrounds and blurring of detail. It feels like they tried to emulate a Renaissance painter’s style by using a Photoshop filter sometimes. I’m just grateful they didn’t copy the manga’s art. Action feels good thanks to weighty animations.
Sound – Medium
The acting is good. However, the script makes little effort to sound period accurate, which is a critical factor in the success of a period piece.
Story – Medium
A knight of France takes in the spirit of his powerful sister to uncover who murdered her and reveal what secret threatens the nation. The story is in dire need of an editor to sharpen the corners and tighten the edges so that it may bring out the potential.
Overall Quality – Medium
Recommendation: For history fans only. I don’t know if I would even recommend Le Chevalier D’Eon to history fans when it doesn’t feel historical enough. It may not bother you though.
Take the Red Ranger from Power Rangers, make him an arse leeching off his girlfriend and surround him with a muscled chicken, two Team Rocket grunts, a werewolf, the creature from the black lagoon, mecha rabbit, and Galactus. With all this combined, you have Astro Fighter Sunred. It’s the humour of One-Punch Man mixed with the Justice Friends from Dexter’s Laboratory, and structured as poorly (or as brilliantly) as Pop Team Epic.
What an odd anime.
Astro Fighter Sunred is a retired superhero story in the vein of One-Punch Man and The Incredibles, only more vulgar and animated far more poorly. Sunred is a bum, while the evil villain is really a grandmother whose greatest worries are about cleaning up after his minions.
Each episode consists of several shorts of varying lengths. As alluded to by the Pop Team Epic comparison, anything goes. Sometimes it’s a cooking show with the lamest recipes, at other times it’s a slapstick cartoon.
I don’t have much to say on this one. It’s one of those anime where you need to see it to understand what I mean. (You can find it on YouTube, I believe.)
This is a peculiar kind of humour for a much older generation. It’s parodying anime most of us have barely heard of. If you are part of the target audience, this may be the most hilarious thing you have ever seen. For everyone else though, I think it takes too much “effort” to figure out the references for a show meant to be dumb simple fun.
Art – Low
Technically, the art sucks. However, it does save itself from the pits by working with the style of humour, similar to how King of the Hill is a fit to its sensibilities. It’s clear many characters weak masks to avoid mouth animations.
Sound – Medium
The acting is quite good – nothing great, but serviceable to the script, which itself is snappy as it rolls from one joke into the next.
Story – Medium
A superhero bickers with his arch nemesis, a motherly fellow surrounded by his sensitive minions, as they stave off everyday life. The overall story lacks direction, but the episodic scenarios are a humorous little exploits.
Overall Quality – Medium
Recommendation: Try it. One episode. One episode – less even – is all you need to know if Astro Fighter Sunred’s peculiar humour is to your taste. It probably won’t be, yet you won’t know until you try.
The Rising of the Shield Hero is infuriating from the very first episode. Should you embark on this isekai journey, know that you will want to pluck your eyes out at the stupidity of the characters before long.
Like all MMO isekai, this story is about an ordinary guy transported into a fantasy world that follows the rules of a video game. The difference here, however, it that he is one of four summoned to save this world from the impending apocalypse against their will. Each hero wields a legendary item – sword, spear, bow, or shield. For some reason, seemingly everyone in this world hates whoever wields the shield. So, of course, Naofumi is bestowed with the power of the Shield Hero.
Matters immediately turn against him when the king ignores him before the court, the one woman who joins his party (fighters flock to the other heroes) robs him like the sucker he is and falsely accuses him of rape. No one believes his denial.
See, this setup sounds good on paper – much of the story sounds good on paper – but the execution doesn’t just fail, it infuriates. Let’s take the trial, where the king and the other heroes determine what to do with the Shield Hero for “raping” the woman. First, everyone believes her without question as if they are dumbest people to have ever lived. No, not as if – they are the dumbest people to have ever lived. Furthermore, Shield Hero can’t even remain consistent. One second he’s accused of rape, which holds an instant death penalty, with the other heroes saying he’s scum and should die, but when he demands to be sent back home, some dipshit says he’s giving up at first sign of trouble? Ah yes, facing death is just “a sign of trouble”. What kind of garbage dialogue is this?
You want to know what happens next? Do they kill him? Do they at least lock him up? Nope, he just walks out.
The purpose of this incident was to strip him of all allies and resources, starting him at the lowest point for maximum conflict in the story. This is good. Executing it in this manner is not. And as I said, Shield Hero can’t keep its story straight. It forgets he’s supposed to be put to death. Yes, word does spread of his “actions” and people shun him at every turn, including merchants ripping him off, but the fact that he supposedly raped a princess (the woman was a princess) may as well have been as serious a crime as pissing on a postman everyone liked.
Let me talk about the whole “the Shield Hero always sucks” device for a moment. We never receive an explanation for why everyone thinks the Shield sucks. The king holds a personal grudge against all Shield Heroes, sure, but why would anyone else go along with it? The peasantry doesn’t give a toss about a king’s feelings.
Then we come to the idea that the Legendary Shield itself is weak. Has this guy not seen 300? It quickly becomes apparent that the Shield has great power, including the ability to summon an iron maiden to crush opponents in a spiked tomb. Furthermore, he’s not the first Shield Hero, which means previous incarnations would have demonstrated its power. Do I need to explain further?
Another weird point is how blasé the four guys are about suddenly teleporting to a fantasy world. The story tries to explain it by saying that three of them played an MMO matching this setting in their alternate versions of Japan (Naofumi read about it in a book). Look, if I ended up in World of Warcraft or Guild Wars one day, it would still be a shock regardless of how many hours daysmonthsyears I put into those games. It’s as if the isekai genre has become so overdone, so trite that there’s no point trying to sell the premise – the audience will eat it up either way.
Anyway, after the rape trial that everyone forgets, Shield Hero buys himself a slave tanuki-girl called Raphtalia to be his sword since the Legendary Heroes cannot wield other weapons. Raphtalia is probably the best character of the series. After a training curve and going from loli to adult overnight (“game mechanics”), she’s tough, competent, and justifies her presence. I wouldn’t call her great, but it’s a surprise to have a female character of her quality in an isekai harem.
One point of conflict arises when Bitch Princess learns of Raphtalia. She yells about how the Shield Hero is reprehensible for keeping a slave. To nobody’s surprise, everyone sides with her in wanting to lynch him. Doesn’t this kingdom have rampant slavery of demi-humans without checks and don’t all humans, royal family included, treat demi-humans like trash? Why would any of them care he has a slave?
You want to know what happens next? The Spear Hero challenges him to a duel, where the princess cheats for him (everyone sees this, but she says she didn’t cheat, so they believe her [just kill me]), the conflict is explained away by someone finally agreeing that she cheated, and then forgotten like the rape before it.
The presence of these two characters in particular, Spear Hero and princess, tanks the quality of Shield Hero.
A big chicken/loli girl joins Naofumi next in an episode that defies belief. Dipshit Spear Hero and his Bitch Princess are extorting a village with ludicrous taxes that will starve the people. When the Shield Hero objects, they challenge him to a chocobo race for ownership of the village. Naturally, Bitch Princess cheats the whole time. This episode makes Shield Hero feel like the comical Wacky Racers rather than the grim fantasy it so desperately wants to portray. He wins, they bugger off.
Do their actions give them a bad reputation? Take a guess.
It’s like this over and over again. When not on a filler grinding episode (obviously the most interesting part of an MMO…), someone – usually the princess or Spear Hero – accuses him of a crime that warrants death (or equivalent), everyone believes the accuser, he defends himself miserably, the situation resolves because someone says so, and there are no lasting consequences. The only consistency is that everyone hates the Shield Hero. Yet even that only continues by raising idiotic scenario after even more idiotic scenario to have everyone hate him. He saves the world? Doesn’t matter – someone said I should hate him, therefore I do. The way they treat him, even during the apocalyptic waves, you’d think they didn’t want saving.
The stupidest of all conflict points has to be the brainwashing shield. Later in the series, a third loli girl joins Shield Hero’s harem, who turns out to be the other princess and first in line for the throne. Bitch Princess is on her trail to kill the competition. When she catches up to the Shield Hero’s group and sees loli princess with him, what can she do to separate sister from protector? I know! How about accuse him of kidnapping the girl? What? She’s saying she wants to be with him? Hmm, what to do…what to do? That’s right! His shield has a brainwashing power. Does it really? Yes, because I say so. And with that evidence to go on, everyone believes her. (Just tear my eyes out and feed them to the chickens already!)
Execution is wrong at every turn. For instance, the other heroes are more interested in feeding their egos with glory and adoration of the masses. They will sweep into town, solve whatever problem the people are facing, and ride off like champions without consideration for the larger problems created. This is an interesting idea, to have heroes be the cause of problems. Poor execution sadly saps potential. Naofumi rocks up and solves the problem in an episode or two with no lasting effects on the story. Instead of using the “monster of the week” formula, it’s a “problem of the week” structure and just as disposable. Action scenes also follow the “you made me use my trump card” battle structure, which rarely performs well at the best of times. When the trump card does come out, there’s no reason they couldn’t have used it right away to end the fight without injury.
The conflict owes its stupidity to the characters above all. I’ve talked a lot of Bitch Princess (the resolution to her arc is so moronic that you’ll want to blow your brains out to forget it), but she is just the start. Spear Hero, dipshit supreme and useful idiot-in-chief; the other heroes, may as well delete them for how much they bring to the table; loli princess, complains that Shield Hero doesn’t get along with her father, demanding he apologise to the king; the king, why is he king; the populace, none should be saved; and worst of all, Queen Chicken.
Late in the series, the queen of chocoboschickens filolials comes to the Shield Hero and says that if the four heroes don’t learn to work together, they won’t be strong enough to conquer later waves of the apocalypse. She will kill them to summon four new heroes who can do better, should it come to that. Remember how I said that all conflict resolves through hand waving? This threat resolves the hatred from other heroes – never mind the stupidity of not making this clear from the beginning, you absolute. incompetent. imbeciles!
That’s not the worst of it. She says the following to him, in regards to his conflict with other heroes: “Did you every try to get along with them? Did you ever try to defend yourself? If you don’t defend yourself, it will be seen as an admission of guilt.”
Not only was he the friendliest on arrival and not only did he try to defend himself from the very beginning, this logic is utterly moronic. For one, they want him to be guilty. This logic reminds me of those teachers who say to a bullied kid, “Have you tried being nicer [to your bullies]?”
Stupidity just doesn’t stop. Look, just because you make fun of light novel tropes in your first scene, doesn’t make you any better than the rest of them. In fact, you turned out worse! The season ends with consequences for some of the biggest idiots. However, as I said at the start, the execution is wrong every step of the way. The story can’t decide if it’s a grim fantasy, one hero against the world, or some dumb loli harem for idiots. It’s certainly not the former with its inability to kill characters for good.
The Rising of the Shield Hero was the biggest isekai in the first half of 2019. If this is the best the genre has to offer these days, then there is no hope.
Art – Medium
The animation, though inconsistent at times, is good and the world has plenty of texture. Early episodes show promise of high production values, but they drop over time to a decent level.
Sound – Low
I like the OPs with their electro vocals and the acting is good (except the Japanese loli voice, as always), but the writing is another story. It is just so moronic. Every episode brings your head into your hands as you question the mentality of these characters.
Story – Very Low
A guy summoned to a fantasy land unfortunately receives the power of the weakest hero weapon – the shield – and faces endless discrimination as he tries to protect the world that hates him. Good on paper, bad in execution, The Rising of the Shield Hero is a painful train wreck.
Overall Quality – Very Low
Recommendation: Avoid it. The Rising of the Shield Hero is an infuriating experience I don’t recommend to anyone.
Nobuyuki Fukumoto has spoiled me. He pioneered a manga genre (later adapted into anime) that manages to take the ridiculous and turn it into a tense battle unlike any battle anime. Oh, he has nothing to do with No Game No Life – just wanted to start on something positive about the genre of extreme gambling.
No-life virgin siblings Sora and Shiro find themselves sucked into another world when they accept a challenge online. In this new world called Disboard, games rule everything. Everyone settles disputes – no matter how petty – through games, which can vary from something as minor as rock-paper-scissors to as grand as VR showdowns in a stadium. Ten rules govern these games. These rules are law, bindings created by the God of Games. The genius gaming duo accept the god’s trial and set out to conquer this bizarre world and challenge his might.
No Game No Life is another isekai with a gamer protagonist sent into a world where their seemingly useless skills IRL are the ultimate talent. This anime takes it to an extreme. These two are apparently unbeatable at games. The opening scene has them taking out thousands of players in an MMO using just their four characters. Yes, they can control more than one character at a time and still beat anyone without a sweat – Sora even controls all four at one point (uses two mice with his feet) when Shiro passes out.
Of course, this level of skill is ridiculous. However, with an intention to go big, to go ludicrous with the comedy, it works…for a time. With the ten commandments of Disboard laid out, one expects nonsensical contests in this idiotic world. And you get that…for a time. A game of rock-paper-scissors just about determines a kingdom’s monarch. According to the rules, it is binding! Even cheating is permitted, as long as you’re not caught.
The first cracks in the narrative appear when you see how basic the games are in these challenges. Poker, chess, blackjack – is that the best you can do?
You can tell the author has no understanding of the likes of poker or chess because he never makes use of their rules and metagame, not even in a creative way. During the chess match, the only similarity with chess is the names and number of pieces. There is nothing chess-like about the contest. May as well not even call it chess.
I wager that he picked chess at random because chess is something everyone has heard of, requires less work explaining the game and he hoped no one would notice the chess reference is irrelevant. It would have been more logical and more engaging to come up with something original that drew inspiration from chess. Or better yet, since these kids just play video games all day, why not draw on some popular real time strategy game? (Answer: The author knows even less about RTS.) If Nobuyuki Fukumoto were here, there would be some actual tension, perhaps even a few missing fingers? (Please?) Sora could do with a few life-threatening games of mahjong. I’m just sayin’.
No Game No Life thinks it’s a lot smarter than it really is, which is to say, extremely dim. It only succeeds on a prayer that the audience doesn’t ask questions.
I return to my earlier point though, that this would be fine if it all served the comedy. It wouldn’t matter that this chess game has no chess in it or that this FPS match is moronic if it were all a means to great jokes. Lamentably, No Game No Life begins to huff its own farts and think the games are of genius-level strategy, refocusing on the serious rather than the humour. Making the characters overpowered to a laughable degree works for comedy, but once you do that, you can’t go back. You write yourself into a hole. You can’t expect people to take it seriously when you want to be dramatic and serious all of a sudden.
As you have likely guessed as well, the “genius” of these characters only stems from the author saying so, not because we ever see any actual genius strategy on screen. The rules bend in convenient service to these geniuses and worst of all, their opponents are all idiots (by author decree, naturally). The author also made little effort with the characters. For instance, why is it that two socially inept kids, as labelled by their introductions, face no social problems except when an ecchi gag calls for it?
No Game No Life is at its best in the first few episodes, when you don’t know that the author has nothing up his sleeve, when the outlandish world is all about delivering jokes, when the coronation of the cheating queen is a parody of Phoenix Wright: Ace Attorney with the archbishop as the judge and Sora plays the game’s theme tune on his phone. I genuinely laughed for the first act.
After that, it goes downhill. The premise dies when it thinks it’s actually clever. The humour dies when excessive fan service takes over after running out of jokes. The once funny-in-a-creepy way relationship between Sora and Shiro becomes plain creepy.
With how No Game No Life ends up, I’m surprised there was anything good at all in the beginning.
Art – Medium
Colourful and vibrant, the art style suits a game world created by a childish god. That said, it lacks creativity in design. For a world run on games, it doesn’t look like a world of games. And no, plonking down giant chess pieces on the landscape doesn’t count. Like the chess event itself, this was done at random, it seems.
Sound – Medium
I cannot stand forced moe voices, so the original Japanese track is torture to me. I find the dub does a much better job with comedic timing and even tightens up some of the jokes. The ex-princess is particularly better in English. This is a preference, so go with whichever suits.
Story – Low
Genius gamer siblings must rise up in a fantasy world run on games to unite the people and challenge the God of Games himself. After an entertaining start, No Game No Life loses track of what works – the comedy – and begins to take itself too seriously.
Overall Quality – Low
Recommendation: For isekai fans only. No Game No Life runs on its premise and no one asking questions. If you can do that, you may enjoy it. But if you want to see what could have been instead, watch Kaiji or Akagi.