If this were a boys’ love manga adaptation structured like a shoujo manga, especially one written by an author like Jun Mochizuki, then the answer would clearly be Noé. At the end of the day, you experience most of the story with essentially the same information he has, and most of the internal monologging we get is from his perspective. Shoujo protagonists are typically introduced living very reserved, plain, innocent lives, and the story begins with a dashing, mysterious, domineering older male love interest suddenly appearing out of the blue, spicing up her mundane life, and sweeping her into a new world of wonder and passion. This handsome heartthrob would of course be Vanitas. Initially, the plot usually focuses on her arc of self-discovery, and the story usually then moves on to her new boyfriend’s hidden past and the melodrama that comes with resolving it. The problem with this understand of the story, though, is Vanitas and Noé don’t fit these roles.
The author is merely shoving them together to make the audience ship them and draw yaoi doujins. The real love interests are Jeanne, who Vanitas just sexually harassed until she liked it (which is actually great, but don’t pretend it’s anything more than a fanservice device), and Domi, who’s whole existence is frustrated by the author’s deliberate refusal to explain why Noé hasn’t fucked her yet. They both like each other, and they have seemingly no reason not to hook up. The result is an awkward story with no real protagonist, but rather two “main characters” who compete for the right to undergo even the slightest bit of a character arc. To top it all off, despite the shoujo-style characters, the actual plot progresses much more like a weekly shounen manga, with no well-defined goal and endless meandering between tensionless fight sequences, tactless exposition dumps, and meaningless reveals to nebulous mysteries which could’ve come at any time.
The term “comedy relief” is a literal phrase; if executed correctly, jokes add levity & help scenes flow. This show, however, uses chibi regardless of the tone or atmosphere, even cutting into life or death situations. This art style is obviously being abused so Bones can put as little effort as possible into the drawings. The overuse of chibi screams laziness, and considering that whole incident back in part one where just episode nine itself needed eighteen different animation directors working on it just to stay afloat, the state of the production is obvious. People were impressed when they saw a show that didn’t immediately and outwardly look like total trash and then overpraised it before they could realize it was just any other inconsistent, otherwise decent-looking romp. Ultimately, the visuals continue to look mediocre at best, and despite all the show’s actual attempts at comedy, that CG book continues to be the funniest, most memorable thing on screen.
Thank you for reading.
