Dan Da Dan Review

The production is the draw and it is extraordinary. Science SARU throws out standard shonen grammar for smeared limbs, hand-drawn distortion, aggressive lens work, and a palette that switches registers between the occult and the extraterrestrial without ever muddying a shot, and the Turbo Granny chase and the Acrobatic Silky sequence are the sort of thing studios usually reserve for a film. Kensuke Ushio's score and the Creepy Nuts opening give it a texture no other current series has.

The material underneath is thinner. Tatsu's structure is a monster-of-the-arc loop, and the default move is to escalate a fight until it turns absurd, which works as comedy and drains tension. The horniness is constant and occasionally derails scenes that were working. What holds it together is the central relationship, since Momo and Okarun are written with unusual specificity, embarrassed, loyal, and terrible at saying anything directly, while Aira and Jiji broaden the cast without diluting it. A dazzling object built on a slight story.