Review of The Rising of the Shield Hero
***Stares at medieval, full-bodied armor*** “I don’t think it’s my style…” — Naofumi Iwatani “Yeah, it will strip Naofumi-sama of all his individuality.” — Raphtalia “Did these mother f—ker’s just insult the Goblin Slayer?!” — Krunchyman Summoned to a world he knows not. By a group of medieval aristocrats, whom wish to avoid a calamitous event known as the “Wave.” Naofumi Iwatani — along with three other “Heroes” — embarks on a quest to refine his skills in preparation for the fateful day when the “Wave” finally arrives. Unfortunately for Naofumi, his role as a “Hero” is starkly different than Ren, Itsuki, and Motoyasu (the “Sword,”“Bow,” and “Spear Hero,” respectively). Because while their skills are geared toward an offensive mindset, Naofumi’s shield requires him to accept a defensive role that is seen by the majority of the characters as being useless (including himself). Combine this with the betrayal of the bitch — otherwise known as Malty — and you have a recipe to alter the insouciant main character into a dejected, spiteful loner who wanders the countryside with rage in his heart and not a single companion to aid in his adventure.
Normally, this would be the part where the metaphorical player would rage quit or reset the game in hopes of gaining more favorable circumstances. But for Naofumi, he is forced to deal with the disadvantaged situation by making concessions (i.e. cheap meals) and buying a sickly slave girl — Raphtalia — to function as his “sword” to hasten his ability to kill more monsters and level up. And, really, that’s all Raphtalia aspires to be throughout the series — faithful slave, whom wishes to please her master (get you head out of the gutter!). As a side note, there has been a considerable amount of controversy regarding the integration of slavery in a modern anime, but given the medieval time period, and the fact that “Amurica” had slaves up until the 19th century, it’s a foolish complaint by “do-gooders” who have entirely too much time on their hands.
In terms of Naofumi as a character, he lacks emotion when Raphtalia and him begin to roam the countryside in search for stronger “beasts.” Besides his seething anger for the individuals that wronged him, Naofumi seems relatively vacuous as the main protagonist. It makes sense given the Louis C.K. treatment he’s been subjugated to, but seems obvious that the writer’s intentionally dragged Naofumi down (below the other three “Heroes”) to set the stage of an eventual underdog story. Hence, it was much expected that the level of antipathy directed at Naofumi would dissipate as he methodically gained the trust of those around him. This also entailed a shift in Naofumi’s cynicism and “anti-hero” role toward an idealistic one when his selfless deeds become more well-known.
But does this predictability deter from the overall enjoyment?…Yes, yes it does.
Most of the monsters were typical run-of-the-mill cannon fodder, only serving to perish in droves to accentuate the skills of the “Heroes.” The characters were quite lacking, with everyone falling into familiar tropes. Also, the show quickly devolved into a harem with the introduction of Filo — Naofumi’s side “chick” — and Melty (the second princess). By the way, not only was Filo a loli and a chocobo, she’s not even ONE—YEAR—OLD. F—k!
The art was pedestrian throughout the series, with an abundance of static shots and bland character aesthetics (off model shit and whatnot). Enjoyment wise, Shield Hero was far too predictable and tropey to have any staying power. Relying on the good versus evil dynamic — without further exploration — is just lazy writing. Speaking of which, the whole premise of the show was inane after Naofumi became the strongest, most popular hero in the show. Which makes “The Rising of the Shield Hero” a doppelgänger of the Isekai genre, that is already littered with clones aplenty.