We could risk delivering an axiom that is a bit provocative, but probably not so far from reality with a little hindsight: the history of Dragon Ball has never shown a constant decline in quality. Let’s explain before poking the fans’ ire:
The great era of Sangoku petit is cleverly punctuated and packed with inventiveness (red ribbon army, martial arts tournaments, Grandma Baba and the Karin tower …);
The different parts of DBZ sometimes run in length: a third more volumes for only 4 real narrative arcs (Sayens, Namek, Cyborgs / Cell and Boo);
The 64 episodes of GT left only a mediocre memory in the memories of those who managed to follow it to the end.
Dragon Ball Super comes like a phoenix, 18 years after the last unreleased animated film in its history. At the time of writing, about fifteen episodes have been broadcast and, if the mainstream media mostly retain a graphic production scandal crystallized with great noise by episode 5, there is however the tree that hides a gloomy forest.
In addition to its artistic and technical touch barely drinkable in particular for 2015 (which emphasizes a completely sclerotic production market in Japan), Dragon Ball Super turns out to be soporific and quite uninteresting. And for good reason, of the 100 planned episodes, nearly half are struggling to rewrite the two unreleased films recently released in the cinema: Battle of Gods (2013) and The Resurrection of Freeza (2015).
Update: In the end, this first Super arc will end after a little over 130 episodes.
Waiting for the unpublished
Since the original mangaka Akira Toriyama is supposed to oversee this new series, and while the DB Kai synthesis has gone through it, more was expected for the thunderous return of such a legendary saga.
So far, Dragon Ball Super has mostly portrayed itself as the totem pole for all that goes wrong in 2000s Japanese anime, and in particular Toei as a completely pick-and-drop publishing company: hermetic to the simulcast, thus creating a hack of mass, and taking a license for the goose that lays the golden eggs (which it is, of course) without trying to respect it.
Result: this “creation” terribly tarnishes the image of a founding work of the 21st century shonen: Kishimoto and Oda, respective mangaka of Naruto and One Piece, logically devote a cult to Tori who has probably played a role in their careers. .
Yet its latest iteration drags on, sorely lacking in charm, and desperately tries to revive its former glories without a hint of inventiveness. The market is quite different: 20 years exactly after the end of the manga, while the landscape of Japanese animation has evolved with other standards, we can no longer serve Dragonball as in the 90s. worn by a Club Dorothée audience. The cooking episodes with Vegeta, as such, deliver moments of discomfort that we would like to forget as soon as possible.
We can bet that this interminable introduction will give way to a real scenario (the third and already named “Chanpa arc” located in a parallel dimension) for Dragon Ball Super from spring ? 2016. Otherwise, in the age of social networks, the he aura of the saga risks taking an even more resounding blow to the head than the DBGT soufflé.