There’s a lot of back and forth going on in the MAL thread for this episode about how White Fox is fucking up the adaptation. They are, don’t get me wrong (oh god, the stills used for the fight scenes), but rearranging events isn’t one of the bad decisions I’d file in regards to the studio. I said this before, but I’m very against direct adaptations of source material. If I wanted to see the author’s real vision or whatever, I’d just read the manga. And since I don’t like the manga, I have no intention to do so. Granted, I don’t like this anime either, but whatever.
Anyways, not much to really say other than anybody who was expecting something grand from this anime should have had their collective optimisms shattered by this episode once we got to see Akame in a bathing suit, if even at that. It’s just a flavorless shonen setup where we get introduced to the typical shonen cast (complete with gay and boob jokes, hahaha), have the main doofus join and kind of suck at first, only to prevail in the end against a bad guy. Except unlike other shonen, the bad guy is dead. Wow, way to stand out from the crowd Akame ga Kill.
To tell you the truth, there is a little more to my snarky summary. Amongst all the crappy comedy, the characters go into rants about how they’re murderers who will eventually pay for their sins, how women prostitute themselves for money in order to pay them for hits, and whether you have the resolve to kill and whatnot. But man does it clash badly with the light-hearted tone it frequently indulges in. It reminds me of Princess Jellyfish and how when it indulges in black overstylized comedy with the Nunz, it’s pretty great. But when it makes you want to sympathize with them because they’re misunderstood people, you’re suddenly supposed to forget that they’re the unlikable douchebags that rejected the world. Akame ga Kill isn’t nearly as funny as Princess Jellyfish when it’s not taking itself seriously, but I can at least pay attention when it doesn’t. Not so much when it does though. This show may have “everything for everyone”, but it’s more Black Bullet than Patlabor.
Oh, and there are brief flashbacks to his dead friends from last week, only to be cut short by comedy. You know, at least Angel Beats had an excuse for why death isn’t taken so seriously in that universe, and for fuck’s sake did not have tonal shifts this bad. I don’t think it was this rushed in regards to major impacts either.