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"Tokyo Ghoul and the Trouble with Cannibalism". In Moser, Keith; Zelaya, Karina (eds. ). The Metaphor of the Monster: Interdisciplinary Approaches to Understanding the Monstrous Other in Literature. Bloomsbury Publishing. ISBN 9781501364358.He completely shattered all sense of fear and seriousness the show was going for up until that point. Further damage was done by the introduction of the Pillars, as beyond their status as top demon hunters, they are cartoony when depicting the single trait that defines them. Another problem is the very weak background stories. Nobody’s history can make you care more about them, partly because of how mundane it is, and partly because of how quickly it comes and goes. It’s especially laughable when it comes to the monsters, as their background stories are revealed to the audience literally a few seconds before they die. It’s impossible to care about any of them when there was no build up to their character. Adding to the list of simplicity we have the battles. They have amazing choreography, but the way they play out is fairly typical and predictable. Most of them are won with the good guy losing, then remembering something out of nowhere that gives him resolve, and then using some fancy looking special effect that makes him win in a second. No amount of pretty colors can hide that simple fact. Then there is a power system, a staple of most shonen, and despite being simple like every other element, they somehow managed to mess it up.
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