Dororo

The greedy samurai lord Daigo Kagemitsu's land is dying, and he would do anything for power, even renounce Buddha and make a pact with demons. His prayers are answered by 12 demons who grant him the power he desires by aiding his prefecture's growth, but at a price. When Kagemitsu's first son is born, the boy has no limbs, no nose, no eyes, no ears, nor even skin—yet still, he lives.

This child is disposed of in a river and forgotten. But as luck would have it, he is saved by a medicine man who provides him with prosthetics and weapons, allowing for him to survive and fend for himself. The boy lives and grows, and although he cannot see, hear, or feel anything, he must defeat the demons that took him as sacrifice. With the death of each one, he regains a part of himself that is rightfully his. For many years he wanders alone, until one day an orphan boy, Dororo, befriends him. The unlikely pair of castaways now fight for their survival and humanity in an unforgiving, demon-infested world.

[Written by MAL Rewrite]

Hyakkimaru Main

Suzuki, Hiroki Japanese

Dororo Main

Suzuki, Rio Japanese

Mio Supporting

Mizuki, Nana Japanese

Biwamaru Supporting

Sasaki, Mutsumi Japanese

Tahoumaru Supporting

Chiba, Shouya Japanese

Jukai Supporting

Ootsuka, Akio Japanese

Nuinokata Supporting

Nakamura, Chie Japanese

Midoro Supporting

Mutsu Supporting

Munakata, Mariko Japanese

Itachi Supporting

Satou, Setsuji Japanese

Yamamoto, Kouji Producer, Planning

Ootsuka, Manabu Producer, Planning

Matsunaga, Masato Producer, Production Coordination, Production Assistant

Furuhashi, Kazuhiro Director, Episode Director, Storyboard

Reviews

Jun 24, 2019

Stark700

Recommended

Older classics from the history books getting back to modern times seems to be one of MAPPA’s hobbies in recent years. We’ve had Ushio to Tora from Summer 2015 and more recently Banana Fish from Summer 2018. Dororo’s remake under MAPPA’s umbrella made an outstanding impression and gives more reasons to bring old classics back. What a time to be alive in this timeline.

The original series aired some 50 years ago in the late 1960s. Most of us probably weren’t alive back then to see this older timer. Manga with content revolving around demons seemed like a popular trend among children those days. The brainchild ... behind this work is Osamu Tezuka, who is regarded as a “the father of manga”. With famous franchises like Black Jack and Astro Boy, he goes down in history is a legendary figure.

Dororo is a dark fantasy adventurous tale with supernatural elements and dealing with characters’ emotional journey of discovery. From its very few episodes, I noticed an old school feeling that blends with modern quality productions. The original series had a much simpler animation style with cartoony character designs and black and white quality. MAPPA and Tezuka Productions decided to take their style to bring these characters to modern standards. Immediately, I felt as if the show had a credible outline for its artwork. Consisting of 24 episodes, the roadmap of the show also gives an easy pacing for new viewers. Do note that I have not read the manga but jumping into this anime isn’t much of a problem. We have two main characters – Hyakkimaru and Dororo traveling together during the Sengoku period. Hyakkimaru is the limbless ronin due to circumstances of his birth while Dororo is the thief who joins as his partner during their journey. The two forges a unique bond despite their contrasting differences. And throughout their journey, they face many obstacles ranging from powerful demons, saving people, and overcoming their own personal struggles.

At the heart of the show, Dororo is known for its moody and dark tones. There’s the theme of revenge born from the beginning. The episodic structure (as some fans dubs it as ‘monster of the week’) is a typical style of storytelling for this show. However, Dororo’s intriguing content comes from character development. This is especially true for Hyakkimaru as he begins to develop human characteristics, feelings, and becoming more of himself. Being accompanied by Dororo, they begin to understand each more and more with each progressing episode. At some point, we even see Hyakkimaru laughing, which is something he’d probably never expected from himself. Dororo is also a character that injects a dose of playful energy into the show. Let’s face it, Dororo is a kid but sometimes shows the mature personality of an adult. As a show about survival in a dark and grim world, the duo relies on each other every step of the way. In the latter half of the show, Hyakkimaru’s mentality contains both of a human and demon. His desire to protect Dororo may also be his greatest weakness as he is forced to rely on his demonic side. It makes the overall show very thrilling as viewers will anticipate the consequences of his actions.

In Dororo, notice how almost every character our duo encounter faces some sort of challenge in their lives. Whether it’s about personal relationships or just to survive, this anime makes it clear that it’s not an easy world to be in. There’s carnage with gory content as the show establishes itself as a dark fantasy. The monsters are characterized with a fusion between classic and modern designs while taking ideas from folklore. There’s also a question to be addressed – what really makes a monster? Is human another word for monster? There’s a sense of grey morality explored in later episodes that will no doubt be controversial. This includes the actions of Kagemitsu Daigo and Tahomaru. For their motives and actions that greatly influenced the show’s plot, they can be viewed as monsters. In other words, if we behave like beasts, we are no better than the beasts themselves.

Nonetheless, I don’t see Dororo as a complicated storyteller. The episodic nature and dark fantasy elements brings together a classic adventure. It holds itself together as a visual masterpiece with its aesthetics. Particularly, I find some episodes with the black and white coloring to fit perfectly. What also amazes me is how Dororo doesn’t make battles feel pointless. There’s action to follow, behaviors to observe, and see how each fight progresses change for characters. Hell, such a show with all this despair even has its happy moments. The show’s humor comes off naturally thanks to Dororo’s personality. It doesn’t play out forcefully with questionable dialogues and character interactions. Instead, the character chemistry between our two main leads is what does the talking. The more you watch this anime, the more you’ll feel attached to our duo. It’s not a question of how but the way they develop together in their journey.

For being an iconic classic, Dororo’s modern adaptation will easily get people into the mood for those who has a taste for dark fantasy. Even if you don’t belong in that category, that’s alright because it’s a chance to experience the artistic creativity of Osamu Tezuka. And I’m so glad to be alive in this timeline to experience it.

Reviewer’s Rating: 9

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Jun 24, 2019

CodeBlazeFate

Mixed Feelings

*Given the nature of the series itself, it’s hard for me to discuss it without at least mentioning mild spoilers. Also, there’s a RWBY spoiler in here. Proceed with caution.*

With the exception of One Punch Man Season 2, Dororo is probably the most deflating anime I’ve seen so far in 2019. That’s honestly a real shame cuz on top of being a popular retelling of an anime from the ’60s, it's a 2000s samurai anime displaced in time. Furthermore, one of the main protagonists fights demons and samurai with swords for limbs! That sounds pretty cool, doesn’t it? Then halfway through the show, you realize ... the cool moments are rendered moot and surrounded by mediocrity. Even worse, the show lost a lot of stream after peaking early on, causing the second half to become especially bothersome given the lackluster writing that permeates it.

If nothing else, Dororo makes for a generally well-produced spectacle of samurai battles and bloodbaths. Even outside of the fight scenes, there are some incredibly well-animated sequences, like whenever demonic lightning would flash or when people or demons were burnt to ashes. At their best, the battles are crisp, fluid, and decently choreographed, with lots of sakuga moments where characters clash blades and get hacked to pieces. At their worst, they’re short, barely animated, and often replaced by animation shortcuts like static character portraits flashing in one after another, or slash marks on a black screen being followed up by a lack of anything satisfying, juicy, or vivid. The production values also worsen throughout the third quarter of the show in general, with bad CGI water, unriveting choreography and barely-animated fight scenes, several awkward shots and animation cuts, and overall inferior character models and animation throughout. None of this is horrible, not even the infamous episode 15 barring a few terrible sequences, but it does show that the production is a tad uneven. As for the character designs, at least for most of the main duo, they’re fairly attractive and mostly on-model barring a few stylistic changes throughout episodes and fight scenes (which are as hit or miss as the episodes themselves). Most of the secondary and tertiary characters are not very distinct or interesting and suffer from off-model syndrome a tad more, but it’s never anything heinous. As for the designs of the demons that are slain throughout the show, the only interesting ones were the ghost foxes that appeared halfway into the show, as well as a possessed horse near the end of the show. I also like the monochrome aesthetic, as it complements the atmosphere and designs of the show, especially when the animation kicks into high gear. It’s probably one of MAPPA’s more well-produced titles, even if nothing here is especially exciting.

That’s where most of the compliments end, as the writing leaves a lot to be desired. I like the idea they were going with. It would have been interesting to see how the episodic stories impact Dororo and especially Hyakkimaru in their journey to slay demons and regain the latter’s humanity and body parts, which were robbed from him at birth. Having their escapades intertwine with the story of a falling kingdom and a family whose secrets unravel as specific members learn of Hyakkimaru’s survival could have been exciting. An overarching narrative where the characters often deal with episodic occurrences is certainly nothing bad, nor anything groundbreaking. One-off episodes are a great way of allowing for action spectacles and powerful moments that could impact character arcs tremendously. They also allow for more diverse narratives and world-building. Series such as Ghost in the Shell: Stand Alone Complex, and Moribito are excellent examples of this. Dororo fails in all regards here, as most of the stories follow the exact same narrative beats and character archetypes, causing the side stories to lose any identity and worth by the second half. The show has a disconcerting number of one-off femme fatales, ridiculous psychopaths working with demons, and rambunctious kids wandering around to find a mother or sister figure they care about, both in the main story and the one-off episodes and arcs. If the one-off characters were more interesting and varied, or if the protagonists were more engaging, this wouldn’t be a big deal.

Another major issue is how none of the side stories leave any real impact on our main duo. The only thing of note in most of these is how Hyakkimaru gets his body parts back. They did have an arc where Hyakkimaru had to deal with the shock of having ears again, forcing him to slowly and painfully adjust to the act of hearing. Had the series explored that concept with his other body parts and spaced them out better to allow for said exploration, I likely would have cared about Hyakkimaru a lot more. Sadly, at most, we get one-off lines about the differences in what he can do with his swords, only for him to still do the same things he always did, but with one less sword limb or with longer reach. Even worse, most of his developments after that point feel less gradual or tactile, and more “start and stop”. The worst examples are when in between episodes 12 and 13, he goes from barely uttering words to forming a complete sentence, or when in episode 20, he flips out due to a demon not granting him a body part back (an occurrence that has happened a few times by this point) and becomes a raging beast who wants his body and Dororo back during the final arc of the show before arbitrarily becoming more level-headed again in the finale.

Backtracking to the non-impact issue, in the fifth episode, Hyakkimaru finds himself being taken care of by someone who he ends up having an affection towards. Meanwhile, Dororo interacts with her and the kids she’s taking care of, all while giving Hyakkimaru time to recover. At the end of episode 6, everyone who took care of them there dies, and Hyakkimaru goes on a rampage, killing almost everyone who murdered them. You’d think such an event would leave an impact on both of them, especially Hyakkimaru who finally found someone else he cared about that could help him. Apart from minor flashbacks in the middle of Dororo getting angry at someone, and a scene of another secondary character comforting Dororo, it means absolutely nothing and doesn’t get referenced in any meaningful way. I’m left with flashbacks to RWBY, when in Volume 3 Ruby watches Roman Torchwick get eaten after beating her up and challenging her heroic idealism with talk of how cold and nihilistic reality is. This scene comes between the death of two of her friends for an added gut punch. This is prime real estate for her to develop as a character (the main one at that) before Volume 4 completely has her going nowhere with this outside of two scenes of her feeling scared and horrible for what happened, causing her to completely abandon this idea outside of one scene in Volume 5 where she brings up the deaths of her friends. Hell, even that had more of an impact than what happened in this arc, which is still the most emotionally resonant arc in the series!

None of this would matter too much if the characters were dynamic and colorful, cuz that would make it so even if an episode is only there for variety, it’s still engaging. Unfortunately, Dororo’s characters barely go beyond their character archetypes, and the ones who aren’t stock characters often leave a lot to be desired. I already discussed how poorly they handled Hyakkimaru’s development, which is a real shame since there are moments where he comes off as fun, even adorable with how he has to learn to really socialize with others on a level beyond that of a toddler. Dororo, by contrast, is far more lighthearted, sometimes even naive regarding “right and wrong”, as she’s a child. She’s an orphan that has watched her parents die and seen villages burn, and that completely clashes with how naive she is and how horrifying such violence seems to her in the first leg of the show, but she’s still a child. Speaking of clashing, her character trait of being a street rat who regularly attempts to swindle people or make a quick buck makes some of her more gullible actions in later episodes (15) seem entirely out of place. She has two sides to her that are fundamentally at odds with one another at times, resulting in a character that feels weak, on top of feeling shallow. That shallowness is compounded by the lack of development, a trait which only Hyakkimaru and one of the antagonists have any kind of access to (as dodgy as their development is). I know that a lack of character development is one of the tackiest, most misused complaints thrown at an anime, but when the characters are this shallow, and none of the side stories leave any kind of impact on a pair of characters consisting of a child and a person slowly gaining back and developing his humanity, I'm left begging for something, anything to change before completely checking out by episode 18.

I’m barely gonna touch on the side characters, even Hyakkimaru’s family and the people that serve them, as they’re mostly just boring character archetypes like the suffering mom, the warlord who cares about his nation almost as much as he does his reign over them, and the edgy, jealous younger brother who constantly tries to prove himself in order to not feel overshadowed. There’s also the wise, badass old man with some sense of humor. To be fair, the show does a fine enough job not screwing these characters up with dumb decision-making or erratic personality shifts, at least for the most part. It’s just that it’s hard to care about characters who are on autopilot, just as it’s hard to care about our main characters. There is one exception to the lack of character shifts, that being when in episode 12 Hyakkimaru’s brother suddenly goes from someone torn on the moral quandary of his brother’s life vs the nation that thrived off his unwilling sacrifice, to someone hell-bent on killing him after failing to end a deal between the demons who cursed Hyakkimaru, and his father who made a pact with them for the sake of power and a prosperous nation. Apart from that moment, you can predict every character’s archetype and actions the moment you see them. The only recurring character with anything to him is the guy that took care of Hyakkimaru for most of his life: Jukai. He has a genuinely horrific backstory that informs his somber nature and constant need to seek out ways for his craft to be used in ways that compliment life, something he feels he’s stuck with due to not having the right to die like everyone around him does.

At this point, I’ll just list a few other issues with the writing. The characters arbitrarily doing stupid things for the sake of the plot in the second half, such as Dororo randomly falling for a trap door in a seemingly abandoned shack in episode 15 despite her being a trickster character who would never be this gullible, or Hyakkimaru not even thinking to chisel the rock trapping Dororo’s arm to free her as she’s drowning in episode 20. The old man conveniently shows up as a deus ex machina, and his first instinct is to chisel the rock and that lets Dororo get out of there, making this problem all the more aggravating. In the second half of the show, Hyakkimaru somehow knows where an important character is and tracks them down offscreen, not once, but twice despite there being nothing presented to the audience or to Hyakkimaru himself that could feasibly allow him to track them down. In episode 15, a village is consumed by fire and it’s blamed on an underground oil spill reacting to a moth demon randomly crashing onto a watch tower with a torch which subsequently exploded, except there’s no way it could have affected the oil in order to cause the fire to consume the village. The show also constantly beats you over the head regarding how tragic things are, and it often has the narrator or character reiterating what they’re doing. Apart from one spoiler-heavy moment a bunch of characters could have easily avoided if they had any sense of urgency, these are the only real big issues I can think of regarding issues with bad writing. The episodic narratives are generally fine enough on their own. It’s just that most of them feel rather samey and end up not mattering. The overarching narrative, despite being on autopilot, isn’t necessarily badly written either. It’s just unengaging thanks to the main character arc that drives the plot not being handled well and the characters being on autopilot.

That just leaves the music, which is somehow my least favorite part of the show. The background OST has decent tone-setting tracks, but nothing memorable. Half the time, I didn’t even know there was a soundtrack. Then we have the OPs and EDs. I hate them all to varying degrees. The vocals in all of them are unbelievably grating, especially the first OP, which is probably one of my most hated anime songs of all time, let alone this year. The second OP is probably the most disappointing, as it starts off with a kickass grunge-like guitar solo for about 6 seconds before completely shifting gears and eventually succumbing to the problem of bad vocals. Unlike the EDs, the OPs stick, but it’s not out of me finding any appeal in them.

I expected Dororo would lose steam eventually given what I had heard, but I wasn’t prepared for how the show ultimately became less than the sum of its parts. Apart from a few specific complaints, both the overarching narrative and the episodic and bi-episodic narratives are fine. It’s just that anything potentially interesting or emotionally resonant is completely undermined by a lack of cohesion between these two elements and how little impact anything seems to have. The characters certainly don’t help, as those that aren’t shallow archetypes aren’t handled with enough care for their plights to matter. The inconsistent spectacles aren’t enough to carry a show that feels so bog-standard and at-odds with itself. As a result, I largely stopped caring after a while, and that’s one of the worst feelings a promising show can inflict. There are moments where it picks up and the spectacle and emotions speak for themselves, but by the second half, I was usually either bored or on autopilot. I may not hate or dislike the show, nor do I think it’s terrible, but I’m left wondering why I bothered before asking myself what could have been.

Written and edited by: CodeBlazeFate
Proofread by: Peregrine

Reviewer’s Rating: 5

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Jun 24, 2019

HellLyter

Not Recommended

Tales of samurai and supernatural beings are commonplace in Japanese culture, and Dororo, an old anime that has gotten a reboot after decades, is one such story. This anime tells your typical story of a man wronged by practically everything ever who goes on a journey to discover himself. No, not in a spiritual sense or whatever like you might suspect. This dude is literally searching for his body parts. Which, might I add, were sacrificed to demons by his dad. Yeah, it's pretty intense. Unfortunately, while the creator of Dororo thought up quite the dark and gruesome setting for his work, he failed to ... convey a significant message due to a variety of both narrative and technical flaws.

The stoy centers around Hyakkimaru and his child companion Dororo as they travel around the country slaying demons who have stolen Hyakkimaru's body parts. They also encounter both friend and foe along the way. The problem is that this anime lacks central direction. It takes an episodic approach for the most part that features a bunch of hit or miss (for me they mostly miss, bruh) side stories that don't really go anywhere. They feature new characters who are usually killed off or never seen again and the episodes don't really contribute to the narrative. I mean Hyakkimaru just comes in, kills some monsters, grows some body parts, and then moves on with Dororo in tow. There's next to no development of any character in such episodes and they have practically no impact on the overarching story. Only a few of the mid and the last several episodes tackle the the central conflict between Hyakkimaru and his family. And these episodes actually aren't that bad. They address themes such as the value of one weighed against the value of a land filled with many and feature some interesting confrontations. Had this anime been one cour and more focused, I might have actually found it to be decent. Unfortunately, it's just held back by a plethora of bland and in some cases plain bad episodes.

One of my problems is that I don't really get a lot of the traditional Japanese monsters/spirits. Call me uncultured or whatever, but when I see a dude riding sharks or a giant floating baby head thingy, I can't take the story seriously. I think the plot is at its best when it doesn't have a bunch of weird creatures that spawn out of nowhere to randomly help or hinder the protagonist. Plus most of the demons that Hyakkimaru fights are usually bland creatures with no originality. Now there are a select few that I did enjoy and thought were handled well, like the spider lady. Nonetheless, I found most of these monsters to be pretty mediocre. I get that this is a supernatural show and not some historical documentary, but I honestly think that its fantasy elements were generally utilized poorly.

Studio MAPPA obviously isn't known for having pristine animation, but their works usually incorporate eye catching color schemes and the like to make up for the generally average animation of their shows. Yet with Dororo, I just couldn't help but be bored by its visual presentation. I get that its monochrome look fits with the style of the story it's trying to tell, but its dull and uninspired visage left more to be desired. Top that off with the plain character designs and uninspired backgrounds, and you get what I find to be a poorly animated anime.

The most annoying aspect of Dororo would have to be the voice of the titular character herself. I rarely give harsh criticism on voice acting, but this seiyuu unfortunately deserves it. I would cringe internally almost every time she spoke. My poor eardrums just couldn't take it! Okay, I might be exaggerating a bit, but I just didn't like her performance. Maybe her voice sits fine with you, but I for one just couldn't wait for her to stop talking. The other voices were, uh, fine I guess? None of them were really that memorable to be honest.

Speaking of forgettable, how about dem characters! I've already mentioned how annoying I find Dororo to be, but how about everyone else? The best one to start with would of course be Hyakkimaru. He has a pretty messed up origin story, which was the sole reason as to why I bothered to watch this anime in the first place. His character is basically what you would expect from a lifeless husk of a man...you know, lifeless. And empty. He's honestly a pretty boring character who instead of developing just seems to get more angry as the show goes on. Which I guess you could call development from a certain point of view, but I don't see it that way. His stagnant nature only serves to hurt the story. The saving grace would be the bond between Hyakkimaru and Dororo. I thought their chemistry was good, and the development of their relationship was handled a lot better then the development of their individual characters.

As I mentioned before, the rest of the cast are pretty bland, though there are a few stand outs who, uh, still don't really stand out that much. I'll give some of them a brief mention. There's this old priest dude who is wise and stuff but doesn't really contribute to the story. There's a cute girl named Mio who had potential, but was grossly underutilized. Hyakkimaru's parents are ok, and they honestly fulfil their role well enough. I think Tahoumaru was handled well for five seconds before they turned him into a carbon copy of his father. The last character I'd like to mention is Itachi, who actually ended up being my favorite character in the show despite his small amount of screen time. The way the anime made him out to be so despicable yet make me actually like him by the end was impressive, and I have to commend the good writing of his character.

Since I don't want to be all edgy and depressing like this anime, let's end on some positives! Dororo boasts some pretty great music, and I do enjoy the more traditional Japanese pieces. The first opening theme song is of course the highlight of the sound department. It gets bonus points for fitting perfectly in my own vocal range, so I sing it like, a lot (to the misfortune of those around me I'm sure). As much as I bashed Dororo's execution, I do think that the premise is quite interesting and unique. Hyakkimaru's predicament really is a cool concept. I just wish it was handled more appropriately. And as much as I disliked the show's episodic approach, I did end up liking a few of the stories. Though of course the main conflict between Hyakkimaru and his family ended up being the best part of the show that kept it from sinking into awful territory in my eyes.

Being grim and violent doesn't automatically make something deep and thought provoking. Dororo tries hard to tackle dark concepts, and you know what? It succeeds. It just fails to do anything significant with its dark material in my eyes, and it ended up being quite mediocre because of it.

Reviewer’s Rating: 4

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