Okay, so the good thing about the fast pacing here is that we’ll get through the building up parts more easily. The bad thing is that with this, the scenes don’t have time to play themselves out. And because of that this episode didn’t really work. Good lord, the cheese!
I am glad that the training arc was very short. Gon, Killua and Leorio had to train to get stronger, and a training montage later which shows the three of them building up their strength later, and they’re strong enough to pass through the door. It was quick and concise and didn’t drag out like the 1999 series did. I liked that. Then however, they got to the black servant, and that’s where they really blew my suspense of disbelief. The same fast pacing now made the following scene really cheesy.
It’s the same syndrome where this show just refuses to spend any effort into anyone who isn’t a main character. It spends so much time with shading Gon, Killua and Leorio, and yet it puts in no effort whatsoever at the portrayal of this servant, making he big change moment look silly more than anything else.
With the shading, I also think that madhouse is putting the emphasis on the wrong things. Either shade, or don’t shade at all. Right now, it just looks weird and really forced whenever these shaded scenes appear. It’s like the producers scream “this scene is important! Pay attention to it!”, while all it does is limit the actual animation because it makes actually animating these shaded shots so much harder. It’s a shame, because the director actually used this technique well when he was dealing with adapting Rainbow. There the shaded scenes were at the end of each schene, rather than in the middle. In these scenes it’s much more effective to focus on some extra detail here and there.
On top of that, he also really doesn’t seem to know how to use Hirano Yoshihisa’s soundtrack. That guy’s soundtracks aren’t just something that you can randomly play everywhere. What really baffles me is how at the end, when the black servant gets shot, he immediately decided to play out the choirs. In a show with so many nonchalant deaths, that one deaths suddenly brings in the really cheesy choirs from out of nowhere without any account in timing whatsoever.
The thing with Hirano Yoshihisa’s soundtracks is that you need to use them to build up an atmosphere. Here though, the creators use them to enhance the dramatic scenes. That difference is subtle, but if you blindly use the over the top scenes at the most dramatic scenes you miss the entire point of build-up. Compare that to Himitsu: the best track there was that clapping tune (and what a great track it was!), and instead of waiting until the last possible moment each episode, the creators used it when the characters were investigating each murder. And after that, they could complement the actual climaxes with a wide variety of other tracks, instead of being way too limited by the obvious choice.
Rating: – (Disappointing)



