Anime adaptations often follow one of two paths. They are either a strict recreation of the manga, rigidly focused on directly transferring panels to the screen without adding the necessary elements to make it a compelling animated experience, or they are so preoccupied with being recognized as profound animated works that they rely too heavily on traditional film techniques and color grading, thereby losing the unique personality and flair that made the original work special. Rather than regurgitating an experience fans could otherwise encounter by simply reading the manga, Dan Da Dan exceeded expectations by boldly following the beat of its own drum with an anime that genuinely adapts creator Yukinobu Tatsu’s ongoing manga.
Describing Dan Da Dan is like conveying what an okapi looks like to a schoolchild without a picture. It’s an anomalous chimera in anime that meshes so many different genres that its episodes can go anywhere within the human imagination without feeling confined to just one thing. The 12-episode show follows the aftermath of school nerd Okarun and popular girl Momo Ayase clashing over whether aliens and yokai exist, only to find out they’re both right. Momo gains spiritual powers, while a demon possesses Okarun, and he loses his private parts (which are magically infused). Their call to action? Retrieve Okarun’s family jewels. Despite its un-serious logline, Dan Da Dan triumphs as the must-watch anime of 2024.
While the show comes off as a Mad Libs shonen anime premise with hijinks abound, the anime sidesteps become power fantasy fodder without substance by marrying sci-fi, romantic comedy, and genuinely stirring drama to make a show that’s nigh impossible to compare to anything that came before it.
Each week, Dan Da Dan provided a refreshing experience, encouraging fans to set aside heated power-scaling debates to relax instead and marinate on the show’s softer moments, which focus on romance and drama. Whether it is the emotionally mature slow-burn romance between the leads, which replaces contrived falling-outs with constructive and cute conversations, or the gripping backstory within its enemy-of-the-week formula, Dan Da Dan excels in all aspects. Even the show’s most controversial element—its depiction of risqué moments among the cast, including portrayals of sexual abuse often labeled as “fan service” in the anime community—is handled with care and respect.
Week in and week out, Dan Da Dan‘s action is equally kinetic and absurd, with Okarun and Momo combating a giant crab, golden-glove-boxing aliens, and esoteric cryptids like the Flatwoods and the Loch Ness monster. While already masterful and easy to follow in Tatsu’s manga, the sense of scale, weight, and choreography are elevated to even greater heights with Science Saru‘s flair for eccentric and provocative. The show balances its blockbuster showdowns with a captivating human drama among its leads, creating compelling angst driving the narrative. Despite the brisk pace of its intense action, charming meet-cute romance, and spellbinding drama, Dan Da Dan manages to maintain their significance within 24-minute episodes.
Dan Da Dan also stands out among its contemporaries by having a musical score that is not understated. When the anime showcases a psychedelic battle with aliens and demons, artist Kensuke Ushio cranks the show’s pathos up to 11 with his inspired musical accompaniment. Chief among them is Ushio double-dipping with his club remix of Gioachino Rossini’s “William Tell Overture.” Even the show’s opening theme, “Otonoke” by Creepy Nuts, is a catchy earworm of a bop with creative musical chop and screwing all its own.
What’s more, Dan Da Dan‘s English and Japanese voice performances—often a contentious and archaic talking point among the anime community—are phenomenal. If anything, circling the block on “Dan Da Dan Thursdays” and catching A.J. Beckles and Abby Trott or Natsuki Hanae and Shio Wakayama, respectively, as Okarun and Momo adds an extra layer of texture to the characters through their unique performances. It’s also a treat to listen to Mayumi Tanaka’s (Monkey D. Luffy in One Piece) and Barbara Goodson’s (Rita Repulsa in Power Rangers) vocal performances as Turbo Granny.
Despite only having 12 episodes, Dan Da Dan sets the stage for a potential paradigm shift in the shonen genre, demonstrating the lengths to which creatives can push the boundaries without resorting to well-trodden stereotypes. Thankfully, unlike fellow anime game-changer Chainsaw Man, fans will not have to wait long for Dan Da Dan to ramp up from its cliffhanger ending with a second season.
All episodes of Dan Da Dan are streaming on Crunchyroll, Netflix, and Hulu. Season two is on the way.
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