The protagonist, Masaru, has just inherited a big fortune after the death of his father. However, people are trying to get their hands on it by any means necessary, even if it means killing him. Narumi helps Masaru from being kidnapped after fighting strange figures. He finds out that they're not humans, but wooden puppets with amazing strength. After a hard fight, Narumi is forced to admit that he's no opponent for them; and just when he starts to think that Masaru will be captured, Shirogane, Masaru's watcher arrives from France with a weapon, the puppet Arlequin. Here begins the story of Karakuri Circus.
-Oh, dear Lord its coming!
-A two hundred feet tall wave of sh*t!
-Its too late to run, its everywhere!
-Noo, no God please no, noooooooooooo!!!
No, I’m not talking about the review, I’m talking about this anime.
Just how deep should a brain cancer go, in order to bring a “masterpiece” like that! The producers probably had a diarrhea and by some miraculous mistake confused it with this adaptation and took that sh*t to the studio, who also happened to have a heat stroke, so they approved that. APPROVED FOR ONLY 36 F**CKING EPISODES!!!
That is the example of when the industry is in stagnation and lack of fresh
and new ideas makes an impact on it.
^ This is actually something someone wrote about the manga, but it really fits better with the anime, so I adapted it.
This is one of the worst adaptation to ever come out in recent memory. Not only it's a bad anime, but it's also an insult to the original manga by Fujita-sensei which is considered a classic in Japan.
Let's go over the biggest problem: it's rushed like hell.
How rushed? Well...
Imagine if you had to adapt JoJo part 5 into 13 episodes...
Or HxH into 24 episodes...
Or FMA into 16 episodes...
Or... Well, you get the idea.
The original manga is 43 volume long. This anime is 36 episode.
This means that even if they adapted a volume per episode, it wouldn't do it. So they had two choices: either cut whole volumes or cut small content. They choose both.
Now to the problems that this causes: it's a mess.
There is barely any characterization for the characters we are supposed to care about, and the character development is so sudden it makes no sense. Characters will do things that they would normally never do for no reason at all because of it.
The story also just keeps jumping nonstop from one point to another, dramatic moments will happen with no build-up whatsoever and sad songs will play at a sad moment that no one cares about.
Technically speaking, it's also ugly. Character movements are too stiff, actions scenes barely have any action and are just static shots of a character delivering an attack. Excessive post-effects are added to some scenes and they also look ugly (for example, the white bloom that is present through the whole hospital arc fight).
It also manages to have a terrible directing and editing. Characters will just stand somewhere or walk while talking with nothing happening on-screen (as in episode 4 when two character are talking on the side walk), some cuts are TOO SUDDEN (episode 13 cuts to the opening all of sudden almost as if it wanted to make a cliffhanger, but it just made it worse) and the narrative in general is really just too much simplified.
As I re-write this review, all of my points are still valid and the show has only gotten WORST. It's downright offensive to the viewers and to the original material.
There's not much too say. It's just a really bad and insulting show. A real waste of good source material.
TL;DR do yourself a favor and read the great manga
People evolve. We venture beyond our comfort zones, adapting and adjusting to new environments. In the end, we become better versions of ourselves. However, for the shirogane (masters of magical puppets), this is not the case. Defined by their silver hair, slim figures, and seemingly ageless bodies, they’ve been fighting monsters for hundreds of years. Their reasoning for this lies within a traumatizing event from long ago; this event permanently affected them. While the seasons change, the shirogane stay the same. It's apparent in their fighting style (the manipulation of puppets). With the issues they confront, the shirogane insist on an approach that’s not only
unreliable but is also (more or less) outdated. To me, the shirogane are frozen in time.
The same can be said of Karakuri Circus. Like the shirogane, this show is from a bygone era. July 9, 1997 was when Karakuri Circus first emerged, as the brainchild of mangaka Kazuhiro Fujita. And although it was recently adapted into an anime (thanks to Studio VOLN), the premise is typical of the era it hails from. At the outset, we’re introduced to Masaru Saiga (a timid soul with a big heart and a photographic memory), alongside his companions Narumi and Eleonore. Loyalty is established (and romance blossoms) as they voyage through a coming-of-age tale involving daddy issues, the power of friendship, and eventually saving the world. This did not catch my attention (at least, not at first). For me, the overarching story is redeemed when it connects to its various subplots, specifically the shirogane’s struggles against the automata.
Here's where the magic unfolds. Masaru’s journey may be this show’s backbone, but it’s in the feud between these two factions that Karakuri Circus comes alive. Their various showdowns are engaging to watch, mostly thanks to composer Yuki Hayashi (he’s the brains behind the soundtracks for Haikyuu and My Hero Academia). It’s because of him that, for each action sequence, viewers are blessed with a colorful array of accordions, drums, and guitars. And the fights themselves are quite impressive. The puppets that the shirogane weaponize and maneuver are rendered in stunning CGI. Gaudy explosions often follow the attacks these fighters unleash (at one point, a column of fire erupts as lightning bolts dance around it). And the battles end stylishly; it’s mesmerizing to watch the automata crumble piece by piece, under grey ooze and hissing steam.
Fight scenes are this show's pride and joy. However, what's said during these fight scenes isn't always as inspiring. As far as dialogue is concerned, there are certain areas I enjoy; the one-liners here are very much appreciated and the soul-stirring speeches are genuine highlights, especially in the final six episodes. On the other hand, this show is held back by a hamfisted sreenplay; the dialogue is both excessive and redundant, often emphasizing the most obvious ideas. Karakuri Circus provides character development but not without pointlessly detailing the process. It presents ingenious tactics but not without long-winded explanations of how they work. It features personality traits (like Eleonore's weaknesses or a hospital patient's hobbies), but not without an extended monologue about them soon after. For most shonens, infodumping is a recurring issue, and Karakuri Circus is no exception.
Ideally, these monologues would be reduced (if not removed entirely). Studio VOLN, though, were occupied elsewhere, with modifying the manga’s overall storyline. Looking to comply with the 36-episode format, they condensed the events of the source material, disposing of specific plot threads in the process. Among others, the Beast Tamer arc and the Kuroga Village training period were axed. Although it caused complaints (especially from fans of the manga), the differences, for the most part, aren’t too severe. To be clear, the editing process and the end result are by no means perfect, but they don't detract from the overall experience. By holding onto the original’s ideas and themes, Karakuri Circus remains true to Fujita’s vision.
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It’s a mess. The table is cluttered with mess; it's practically submerged in folders, calculators, pencil shavings, ink stains, and rough sketches. However, Kazuhiro Fujita and his three assistants ignore this. An idea has caught their attention instead. “Aren’t there idiots who get excited just from being on a cliff?” Fujita wonders aloud. He then rises from his chair, gesturing with his hands to emphasize the point he’s making. After doing this, a voice intones, “For Fujita-san, if he’s not talking to people, then it appears he cannot progress in his work.”
Kazuhiro Fujita is a featured guest on “Urasawa Naoki no Manben,” a 2015 documentary series about capturing a mangaka’s journey in creating their material; it’s intended to provide a glimpse into the process’ inner workings. In the documentary, Fujita and his assistants are filmed at work for four days. When this is finished, Naoki Urasawa (Manben’s host) and Fujita convene to examine the footage.
While doing so, they discuss a variety of manga-related topics. Naturally, the conversation shifts to detailing the early stages of Fujita’s career. At the age of 25, he was hired by Shonen Sunday and soon after he reviewed what they had to offer. Fujita scrutinized the magazine’s catalog, a lineup of sports stories and romantic comedies, and he wanted to invigorate the ranks with something new. In order to succeed, he derived inspiration from his childhood influences.
Ever since his days growing up in Asahikawa, Fujita loved reading manga, especially shonens. At the time, he was entranced by series like Shotaro Ishinomori’s “Kamen Rider,” Go Nagai’s “Devilman,” and Ken Ishikawa’s “Getter Robo.” However, out of all his childhood influences, there was one that towered above the rest: Rumiko Takahashi’s “Yami wo Kakeru Manazashi.”
“It was a short story with regular humans that fought the weird and won. I thought ‘Oh, I am really glad she drew something like this.’ Like, ‘This is just the kind of thing I want to read!’ It was the kind of thing that made me think ‘Manga’s amazing!’ And I think it was the thing that turned me on to doing manga”, - Kazuhiro Fujita
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This idea would define him. Throughout his career of thirty years and counting, Fujita waged war against the unknown. In his stories, he would maneuver his everyman leads into confronting opponents of unnatural origin, like evil spirits (in Ushio to Tora), fairy-tale denizens (in Moonlight Act), and sentient haunted houses (in Souboutei Kowasubeshi). With Karakuri Circus, it’s the automata that adopt this role. However, there’s a crucial difference between this show and the rest of Fujita’s works. Beneath the speeches, the references to Chinese culture and the slapstick comedy lies Karakuri Circus’s true intent: to find common ground between the shirogane and automata through their goals. For the shirogane, that goal is learning from the past. After centuries of failure, they finally abandon their age-old stubbornness, which causes them to evolve both in combat (with a wider range of styles and tactics) and outside of it (with more openness in their personal relations). As for the automata, their purpose isn’t as detailed. There’s a backstory here but it’s a strange one, almost impossible to make sense of. Regardless, this show succeeds in providing both sides a cause worth fighting for. It’s not much but having this makes it easier to understand the automata.
However, this show fails to humanize them. Excluding the Les Quatre Pioneers (the four oldest automata) and a few others, there's no reason for anyone to care about them. These guys are cartoonishly evil. They kill for sport, getting off on the worst of bloodbaths. In battle, their signature move is to take the children and slap them around before using them as bargaining chips. If children aren’t nearby, they’ll resort to removing women's clothing and gloating about it afterward. The automata are caricatures, plain and simple; they’re card-carrying villains, cruel for cruelty’s sake, cackling at the chaos they’ve created. And they’re not the only ones like this. In Karakuri Circus, almost every antagonist is written the same way. From Zenji Saiga (Masaru’s uncle) to episode 16’s suicidal samurai and even the main villain himself, they’re all reduced to stereotype, burdened with bloated egos and creepy facial expressions.
This black-and-white worldview cripples the show's storytelling. It's also an issue that's appeared in Fujita's writing from the start.
People evolve. We venture beyond our comfort zones, adapting and adjusting to new environments. In the end, we become better versions of ourselves. However, for Kazuhiro Fujita, this is not the case. Defined by his haunting imagery, two-dimensional villains, and references to Chinese culture, he’s been drawing manga for thirty years. His reasoning for this lies within a short story from long ago; this story permanently affected him. While the seasons change, Fujita stays the same. It's apparent in his writing style. With the stories he creates, Fujita insists on an approach that’s not only flawed but is also (more or less) outdated. To me, Kazuhiro Fujita is frozen in time.
The same can be said of Karakuri Circus. Like Fujita, this anime is from a bygone era. And it shows, what with its archaic sense of humor and its bright-red line between good and evil. There's little room for nuance here, the shades of grey few and far between. However, what Karakuri Circus lacks in subtlety, it compensates with heart. The stories here truly inspire. They are love letters to the human spirit, songs of triumph over our past failings and grievances. And although they're constrained by cliches, I'll always remember these tales of personal growth, especially the ones I least expected.
Over the past decade since I’ve been reading manga, there’s one author that I always felt underappreciated. Kazuhiro Fujita is the manga artist responsible for works such as Ushio and Tora and Moonlight Act. It’s not his first rodeo of having an anime adaptation. Ushio and Tora got the treatment of a 3-cour show (with a split break) based on his manga. Both series ran a large chunk of chapters before their conclusion. Karakuri Circus takes place in modern Japan focusing on a young boy named Masaru Saiga.
The story itself contains elements of action and dark fantasy while the plot revolves with three protagonists.
Masaru, Narumi, and Shirogane may all have different personalities but their roles are all pivotal for the integrity of the plot. Masaru’s inheritance from his family paints a target on his back as people are after his money. Narumi and Shirogane saves Masaru from death but also begins a complicated story as their lives changes forever. Make no mistake, Karakuri Circus is actually more complex as it seems on the surface. My original impression of Karakuri Circus felt like the anime managed to do what it could do to get the story flowing. However, several episodes in the early stages begin showing red flags.
To put it bluntly, this anime adaptation went way over the speed limit in the beginning. It’s incredibly rushed and skipping many chapters to get to certain plot elements. Just for statistical references, the first four or so episodes adapted at least 25+ chapters. With 43 volumes, this didn’t come to me as a complete surprise. The staff probably wanted to cover the entire manga but by doing so, it also damages the original product as a whole. This glaring red flag told me that Karakuri Circus is a victim of modern day adaptations. What got me curious is why the show didn’t receive more episodes in the first place. Perhaps a split double cour could even remedy this a little but instead, we get a continuous triple cour of 36 episodes. If you think about it, that’s almost 11 chapters per episode if we go with the flow. Luckily, the anime doesn’t exactly go with such numbers but it still suffers from omission. As a fan of the manga, I’m rather dumbfounded.
Onto the actual plot, Karakuri Circus seems to have a vision to dive deep into its background story. Events in the past heavily influences the present timeline with characters such as Shirogane based on past incarnations. What began 200 years ago has made powerful impact in the present story. However, the first few episodes didn’t follow such format. Instead, it focused more on our three protagonists attempting to live a normal life. Despite that, fate has linked them together with the past that’s practically inescapable. As more episodes progressed, there’s a so much revealed that it’s hard to take in all at once. This the second red flag of the anime. How can viewers be invested in so much content going on at once? Now, I do get that Karakuri Circus relies on character decisions. Some of these are so important that they change the outcome of the story. But really, it feels that the story goes into many directions rather than being focused in one direction. Unfortunately, that’s not all the problems it suffers.
When it comes to characters, the cast itself begins to show weakness. Now on the surface, I do like our main characters. Masaru, Narumi, and Shirogane shares a unique bond together that’s hard to overlook in the beginning. There’s hints of deeper feelings between Narumi and Shirogane while Masaru and Shirogane also develops a close bond. The main problem though lies with its commitment to the characters. We are shown many flashbacks throughout the show that sometimes makes me forget our main characters. The first few episodes made me invest a lot into them but by the time half this show aired, that interest has greatly degenerated. That is, I don’t want to say the characters in the past are not important. On the contrary, they play huge roles such as the case with Francine, the Bai brothers, and members of the Saiga family. Two characters of the past also greatly resemble our main characters – Francine/Shirogane and Narumi/Bai Yin. There’s also emotional value poured into the relationships between certain characters. But as the more I watched the show, the more I felt detached with them. I wanted the anime to just be more focused in one direction and not jump back and forth between every episode. That seems a bit too much to ask because the anime adaptation had other ideas.
But still, I do applaud Karakuri Circus for its expansive characters when it comes to diversity. While the anime adaptation suffers from rushed content, certain characters do make an impression. The Saiga family such as Shogi and Angelina are names that shouldn’t be forgotten easily during their arc. Members of the Midnight Circus has unique members with a variety of personalities. Furthermore, some of the antagonists in the show have impactful influences such as the Faceless Commander in later episodes. Hell, the Bai brother are responsible for causing a major story plot in the show – the Zonapha Syndrome. Known for its deadly stages, this syndrome is one of the most important elements in the entire series. So despite the story being rushed, it’s hard to deny that certain characters had great influence in the overall tone of the plot. If only the anime adaptation devoted more time on the plot to be more fluid and tolerable. Too bad.
Founded in the August of 2014, studio VOLN had previously worked on Ushio and Tora. For its visual context, Karakuri Circus blends between old school art and new school. What I mean is that the show retains a style of the manga while also able to adapting it to modern standards. Character designs are crafted with precision and uniqueness. Every character seems to stand out on their own without feeling out of place. The most unique designs are the automatas, clowns, and circus acrobats. Many of the modern circus characters have a flamboyant look while the automata gives the impression of unique old school machines. Furthermore, I think praise should be given to the character expressions for being able to sell emotional content when it’s given the chance. The main characters such as Masaru and Narumi are prominent examples of this especially in early episodes. Later on, Shirogane’s emotions becomes much more apparent too. The bottom line is, VOLN managed to make a show that managed to live up to its visual expectations.
Karakuri Circus is honestly a mixed bag of sometimes being great at what it does and other times falling short. Anyone who have read the manga will recognize how much the adaptation decided to skip content to get the main story going. That itself is a mistake and is hard to fix. If you came in as an anime original viewer, this might not be such a sour experience. As for me, this was more or less an average anime that could have been much, much more.
“What if?” is something that I have been thinking to myself throughout the second half of this series. What if the studio VOLN were able to go back and retell the story in chronological order? What if they were able to adapt the best parts of a manga with 43 volumes within 36 episodes without it feeling too disjointed? There are certainly parts where the pacing is out-of-control, and then there are other parts where it feels episodes are dragging its tail between its legs. It’s a ‘what if’ kind-of-series for sure, because you can see how promising this story is. There is so much
potential here of it being really amazing—because, even with all of these issues raised, it’s still a pretty good anime.
Adapted by the legendary Kazuhiro Fujita’s manga of the same name, Karakuri Circus is as much a spiritual successor to one of his previous works—which was also produced by studio VOLN in, “Ushio to Tora.” Karakuri Circus starts off hitting many of the same beats as Fujita's previous series, a classic '90s shounen wrapped in mystery, adventure, and the supernatural. As the synopsis on MAL doesn’t leave much to the imagination, the story takes place in a world torn by an ongoing war between Automata which are sentient puppets, and those that yearn to destroy them who are called Shirogane. Masaru, a young boy who has become the inheritor of his father’s wealth, suddenly finds himself targeted for death by strange beings who are definitely not human—the Automata. He seeks out the nearest circus, which was the advice given to him from his grandfather if his life ever happened to be in danger. Masaru manages to survive with the help of Narumi, a martial artist with a deadly disease, and Eleonore, a circus performer, and puppeteer.
Introducing multiple characters and organizations with their own purpose for tracking down Masaru while fleshing out an engrossing conspiracy that encompasses the lives of countless people, Karakuri Circus is a fast and furious ride with a macabre edge, making it one of the more thrilling action series out there. Right off the bat, you can make a distinction between Fujita’s signature style, that studio VOLN did a great job of bringing to life. Not only the art style but his gift for presenting it in a wildly entertaining fashion. The first 4 episodes are some of the best I have seen, it had this epic feel to them as it pulls you into its sensory, leaving you at the edge of your seat. It was able to establish all the main characters, have some idea of who they are, and a sense of the ‘real’ threat that is coming their way. Then the episodes after further increase the tension of the story by giving you breadcrumbs in the form of literal cues, and moments of progression between certain characters relationships.
But, in saying that, this is where Karakuri Circus also trips and stumbles momentarily. To add a bit more to what I mentioned in the intro, the production team at studio VOLN have decided to tell series of events in a non-chronological order. Whether if it is source accurate or not, there are periods where it feels like you missing something. The pacing of the second half of the first cour is frantic, burning through the source material faster than a joint at a Bob Marley concert. This is the part where I felt (and many others) that certain content was cut out entirely, it was jumping from point A to C, without showing the B part. It goes from non-stop shock and awe into being absolutely confusing. If I was, to sum up, this part of the show in one word, it might just be “whiplash.” I guess that’s a natural end-product of cramming such a massive manga into such a frankly inadequate number of episodes with the addition of other creative decisions, mentioned previously.
Fear not, because Karakuri Circus does end up answering all important questions, but in the form of flashbacks, which could be seen as a cost. This is the second part of the issue I raised earlier. I still think it might have been a better move to tell this story in chronological order. It most likely would have lost some surprise and mystery, but you avoid having the present story coming to a screeching halt while it fills in the audience about the backstory of this setting. These flashbacks are still really good but it’s the timing and order in which they happen. And the second cour is covered in them which brings the pacing down many notches. What made this bearable for me is that the show keeps reminding the audience of the initial questions presented in the beginning, tantalizing us with small and incomplete clues to the answer. These clues are the breadcrumbs that will lead a curious viewer on a trail right to the Big Finale’s front door. Making every plot point like this reinforces the audiences’ overpowering need to watch on and find the answers. It certainly did that with me.
Karakuri Circus may be a bit of a mess at times, but one thing for sure is it’s never dull. This show just keeps motoring along with its “JoJo Bizarre Adventures” type of journey, raising the stakes, inserting interesting characters along the way, its engaging and shockingly brutal battles—that are genuine fights to the death, which gave me the feeling that no character is safe. It’s a thrill ride-type series which gives you little chance to breathe and digest in the beginning – but eventually corrects this formula later on. The biggest draw for me are the characters, and this show has great characters. Too often you see shounen series reset at the end of an arc, but Karakuri Circus constantly changes the rules to the shounen template. Sometimes characters are forcefully separated and have no choice but to work with their enemies. Others are required to face harsh truths that question their very existence. And it is in these moments where they are challenged, tested, undergo a considerable amount of growth that adds complexity to the story and evolution in the character dynamics.
All three of the leads come across as intriguing and sympathetic figures, they have interesting personalities, there is chemistry between them, and they are very charismatic—they can each carrying an episode individually. A few supporting characters are like this to some extent and then, to top it all off, hands down it has one of the better villains that really pushes our protagonists to the limits. I even felt that the villain was testing my own. Every bit of development and change feels earned. But I must confess, it’s been something of a roller-coaster ride with Karakuri Circus for me. I’m definitely not in this for the photo-realism, but certain elements at times have stretched my suspension of disbelief to as far as it could possibly go. It’s mostly in a good way, but while I’m a lover of some good bombastic-ness as much as anybody, this show really takes the cake. It’s no exaggeration to say that it makes Ushio to Tora look positively tame by comparison. Even in the context of shounen, Karakuri Circus is really out where the buses don’t run. So that is something I feel you have to accept when going into this series.
When it comes to the visuals, studio VOLN delivered. From what I have seen, it’s pretty accurate with the source material’s art—the art itself is very distinctive to what you would normally see in your seasonal viewing. It has a wide range of variety in terms of character designs, especially when it comes to the Automata. They are puppets after all, and they all have this creepy and wacky look to them, dressed up in circus-like attire, hundreds of different patterns and combination of colors, etc. The background art is gorgeous, it relates visually to the subjects in the foreground, and it imbues the elements with an atmosphere. Almost all the key staff from Ushio to Tora are on the production team here: Satoshi Nishimura (director), Masao Maruyama (producer), Toshiki Inoue (series composition), and Fujita himself—who co-wrote the screenplay with Inoue. I’ve already voiced my issue with the pacing and creative decision in their method to tell Karakuri Circus’s story, but apart from that, they did a fantastic job.
Furthermore, their prowess and great work were also seen in the animation department. Most of the bigger battles have such fluidity to them and were very smooth for a series with a really outrageously over-the-top type of fights. Although some problems the show often runs into, especially in less important battles is the use of stills, and whether it was to cut cost or save time, is beside the point—its always viewed as a negative. Then there is the CGI. It’s not bad but it isn’t something worth writing to home about. But to end the technical side of the review on a positive note, two things! One, the casting is fantastic and Rikiya Koyama is irreplaceable as Narumi. Second, Yuuki Hayashi writes another great soundtrack which really hypes a lot of great individual moments to epic levels, let alone many of the shows’ climaxes. All OP’s and ED’s are excellent, but nothing can beat the original. "Gekkou" by BUMP OF CHICKEN is the theme song and it even becomes the third ED. And "Marionette" by Lozareena is just as great—these two are the kind that is un-skippable.
For an old-school story to finally get adapted and hit the airwaves almost two decades later is surely going to bring some difficulties, such as the show having an aesthetic of looking “dated”. But I really believe that Karakuri Circus is an entertaining series in its own right, and brings the shounen audience back to the genre’s roots. Many people have not given it a chance and I don’t blame them. Besides the pacing issue, the '90s appeal may not be as fascinating as it used to be, when there is a lot of more modern titles, with a lot of focus and attention to it, to consume. It’s not perfect, it pacing issues can be deal breaking but, if you really enjoy thrilling shounen with lots of twists and turns, mystery, epic showdowns, high levels of masculinity, motivational speeches, and balls-to-the-wall approach then give it a try. It is a very underrated show when considering how amazing its strengths are, which for me, ultimately outweighed the flaws in the end.