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While I think the protagonists are well-done, where I think this really stands out in this department is the antagonists. This is more like an
execution thing, but when Muzan Kibutsuji appeared in the anime, it was really intense, and I loved it because it suits his character, which they didn't waste any time showing us:
very powerful yet ruthless and cruel. But there are also the Twelve
Demon Moons (a group of 12 of the most powerful demons [6 'Upper Moons' as the top 6 and 6 'Lower Moons' as the bottom 6] serving Muzan - I know at least the Upper Moons appear in the OP as silhouettes). As established with the flashback of the Hand Demon in Episode 04–05, every demon used to be human. They lived a human life before becoming a demon, and their humanity was taken away from them when they become a demon. It's the exact same for these powerful, seemingly very inhumane demons. They were very much
once human - and I did find myself feeling bad for most of them, one way or another, by the end. Not just any show or manga can do that. They may have a backstory for an antagonist, but it takes quite a bit for me to actually feel bad for them. In KnY, some of them, I really can't bring myself to hate by the end, and others I just feel outright bad for. Obviously, not every single demon insinuates these emotions inside of me, but a lot of them do, and those ones do a good job! You can tell that the author has put in thought about their backstory -- in other words, the antagonists are not mere story dolls to ramp up the action.
France and Canada are especially known for cooperating with Japanese producers in
this way. In Japan itself, "anime" is a broad term for anything animated (being shorthand for the loanword "animation"), so technically, all of these
examples are "anime" whether or not they are classic Japanese-style anime. Animesque art is a case of a 'full-circle' evolution, because the Japanese anime style was inspired by classical American theatrical animation of the 1930s and 1940s. For example, the big eyes of anime characters were taken straight from such works as Bambi and the old Fleischer shorts — think Betty Boop. The father of manga himself, Osamu Tezuka, was mainly inspired by the style of Carl Barks. This style was pretty prevalent in the early 2000s due to the international rise of the anime boom in media, with many following the trend. Nowadays, not so much, now that anime is pretty commonplace, though still a design choice for some. Note that this is about a work's art style, not its storytelling. Super-Trope to Anime Opening Parody. Compare Disneyesque. See also OEL Manga and Fanime.
Ainzach pointed out hiring experienced adventurers could be problematic, so it would benefit Ainz to train amateurs. Ainz decided a
fight in the coliseum would advertise to potential trainees so Ainzach set up a meeting with a fight promoter. Ainz met with Fluder to gather information and rewarded his loyalty with a book detailing the exact nature of souls. Meeting Osk the fight promotor Ainz takes an interest in a runecrafted sword from the Dwarven Kingdom. Osk arranged for Ainz to fight the Warrior King. Now, in the present, Ainz meets the Warrior King, a troll named Go-Gin who is quite intelligent. Deciding he likes Go-Gin, Ainz offers to hire him should Go-Gin lose their fight and he agrees. For the sake of fairness Ainz uses no high tier magic and equips Clementine’s triple daggers. Go-Gin is thrilled to
have faced someone of Ainz’ strength and swears to one day reach his level. Ainz kills Go-Gin and announces to the audience his desire to train adventurers to explore the entire world and that they need not fear death in his service as he resurrects Go-Gin before their eyes. Out of desperation Jircniv requests the Empire become a vassal state of the Sorcerous Kingdom.
