I don't think anything felt rushed at all. I think they cleverly shortened many scenes, also removed some of the greed's internal dialogues to save more time.
Yeah we miss out on some more additional banter between side characters sometimes I think (I watched it with korean subtitles so im not super sure about every dialogue but i think they didnt adapt all of it.) Many scenes that are identical to manhwa are way shorter but gets the point across.
Nothing major was skipped and all fights are adapted. Animation is great as we expected. Humor actually landed lmao Greed is funny as fk especially his Voice Actor my god dude is going crazy with this role.
I think anime is in very good hands.
Animator name - Yutaka Nakamura
His cut/sequence starts from 0:48 and ends at 1:18 in this clip
To me this looks good, this is more or less how they looked in the Manhwa at the beginning. Ofcourse they'll simplified some designs since its an anime. I would wait for a proper trailer before making a solid judgement on it.
Also keep in mind these are character designs so they are supposed to look neutral. They are there as a referece for animators, in the anime they'll be much more expressive.
This episode was essentially avengers assemble for Black Clover where soo many talented web gen animators participated and helped to complete it but still wasn't enough. Still the ep is filled with soo many different styles of animators and soo many cool shots that i can't help admire it.
JJK faced a similar situation in s2 where the directors called every animator they knew for Sukuna vs Mahoraga, some of the biggest talents in the industry to make an ep and put it out on time.
I wish this ep also got to completed in the Bluray just like how JJK team got chance to do it.
Part of the interview -
"Maruyama: I’ve been around since the time Japanese animation first began expanding overseas, particularly into the U.S., so I’ve watched the entire process unfold right up to today. We worked hard to promote “Japan’s animation is amazing” in the U.S. with 'Jubei: The Ninja Scroll' (1993), which influenced overseas creators and spread into the live-action world—leading to projects like 'The Animatrix', the animated anthology for 'The Matrix'—while Hayao Miyazaki made his mark on the world in a different way— —As someone who’s lived through this era of repeated challenges, seeing 'Demon Slayer' and 'Chainsaw Man' gain such acceptance made me feel, “We’ve finally made it this far.” Young people in the U.S. are watching these works, aren’t they? I’m deeply moved by the very fact that Japanese anime culture has reached such a wide audience.
It wasn’t just a single work that broke through, there’s a trajectory and history leading up to this point, and today’s success is built upon that foundation. I think it comes down to having material that was able to respond to the right timing in this era. We kept creating works that, while they may not have been hits, were destined to go down in history—we worked hard to cultivate that field, and then Otsuka-kun sowed the good seed of 'Chainsaw Man', watered it well, and the flower bloomed. Feeling that made me very happy. I’d have no regrets even if I died tomorrow (laughs).
Otsuka: I think the strength of 'Demon Slayer: Kimetsu no Yaiba', which was just mentioned, lies in the fact that it’s suitable for all ages. Rather than taking on the challenge using the same approach, I feel like we followed in the footsteps of 'Jujutsu Kaisen' and 'Chainsaw Man' by adopting a style where creators in their 20s and 30s simply poured whatever they found cool onto the screen.
I think the youthful energy of these young people has been transformed into a source of charm. The creators themselves never set out to make “niche” works. In the same vein, the marketing and rights teams never gave up either. While it’s easy to fall into the trap of thinking, “Maybe it has a lot of male fans?” or “Maybe it’s mainly fans of the original manga?”, they refused to rule out any possibilities—believing that “even female fans and high school students who’ve never encountered *Chainsaw Man* before will watch the ‘Reze Arc,’ and we have to make sure they do.” I think that’s precisely why we’ve been able to get this far.
No one, myself included, could say, “We’re aiming for 10 billion in box office revenue.” But deep down, none of us had given up; we believed this work had that kind of potential. It’s about the mindset with which you approach a project—I feel like the “Reze Arc” has given us the confidence to move forward.
Maruyama: My motto is “a charming flawed product.” Personally, I don’t aspire to a perfect finished product, my theory is that as long as there’s one aspect with overwhelming charm, people will follow. Directors, by their very nature, tend to strive for perfection, but I personally think that if you have the money to make fixes, you’d be better off using it for your next project (laughs). What’s wonderful about Otsuka-kun is that while he’s inherited that kind of boldness, he doesn’t go about it as recklessly as I do. He took over MAPPA at the same age I was when I started MADHOUSE, and I think the “Reze Arc” is the kind of project that can only be done by someone young. My first impression when I watched it was, “I could never do something like this anymore! It’s so frustrating!” (laughs).
Otsuka: But conversely, when I watched 'In This Corner of the World' which Mr. Maruyama planned in 2016—the year I became president—I felt, “I couldn’t make something like that right now.” I couldn’t even imagine myself producing that film and seeing it come to completion. I suppose we both share the same sentiment.
Maruyama: I’m sure everyone who watches the “Reze Arc” will dream, “I want to do something like this too,” but I think it’s a work—and a success—that was only possible because of the 10 years of experience MAPPA has accumulated since Otsuka-kun took over as president.
Otsuka: In fact, I don’t think we could make it again (laughs). It’s a work that was only possible because of that moment and that specific team.
Maruyama: That’s true. That burst of energy in the moment is what matters. If you start tinkering with it halfway through, thinking, “Let’s make this even better,” it won’t work. You have to just go for it. I could really feel that they understood that and crafted it that way, and it made me very happy to watch it.
In our era—the works of Mamoru Oshii, Hayao Miyazaki, and Yoshiaki Kawajiri—I feel like they had a strong authorial voice. While they all created them as entertainment in the sense that they wanted “everyone to see them,” they leaned more toward art. But from a certain point onward, I feel there was a shift toward a kind of anonymity—a move away from relying solely on the individual artist’s style and toward creating something that truly functions as entertainment by incorporating various elements. While the source material’s elements are still strongly present, the focus is on presenting them in a fun and entertaining way. I think this trend, where entertainment value has taken precedence over artistry, aligns with the expansion of Japanese animation worldwide. Overseas audiences who used to have an aversion to “Japanese animation being a bit too intense” no longer feel that way."
When I heard a new anime by the Full Metal Alchemist author is coming out and it is being done by the SAME studio that did FMA, I was soo hyped. And I saw a decent amount of hype and anticipation in community too.
Its a great story filled with soo many interesting characters and mysteries. It doesn't rush into things and takes its time building to develop things. It also has fantastic action scenes with very well animation, the fight scene are much more grounded and you're easily able to follow every move.
It had everything i thought it needed to blow up like FMA or at least become semi popular like Kaiju no 8 or even Sakamoto days but for some reason, I saw soo many just drop this after few episodes. A lot of ppl had issues with it's slow nature i think. I remember when Gachikuta was coming out, that also faced complaints regarding its pacing earlier.
I wonder if this is because current battle shonen fans prefer much more faster paced anime like JJK, CSM or demon slayer where every other ep there's something happening either as a fight or a reveal, "climax" of things are much faster and direct. I noticed pretty much every action show that blows us in recent memory has a fast paced story.
IMO it is genuinely one of the best shows airing right now, the plot is extremely interesting, there are soo many mysteries, the characters are really cool and the fights are awesome. In this time where people reduce battle shonen/action shows to just aura and hype, this show stands out. That's why i was a bit surprised to find how little buzz its making, it genuinely deserves to be far more popular and talked bout.
"Television brand TVS REGZA recently released the results of its Anime Data Awards for the Summer 2026 broadcast season. According to the survey data, men aged 35 to 64 demonstrated a strong preference for isekai over other anime genres. A total of 11 unique isekai titles dominated the rankings for this demographic, securing 21 out of 24 spots.
The survey reached this conclusion after analyzing viewing data collected from 620,000 REGZA-brand televisions and recording devices across Japan, tracking audience engagement across 80 anime series that aired during the Summer 2026 season. This allowed the company to highlight titles that stood out disproportionately in the viewing metrics within specific age groups when compared to the general population."