Busamen Gachi Fighter has a promising concept. As contemporary isekai narratives are becoming increasingly formulaic they need fresh ideas and new angles to remain appealing. The series initially positions itself as a subversion of the conventional trope in which a socially marginalized man reincarnates in another world as an idealized hero. Shigeru awakens in a setting that blends medieval fantasy with certain aspects of modern life. He has an even uglier countenance than he had in his previous life. This change could have been enough to shake up the formula akin to what Isekai Ojisan attempted in its own way and interrogate the isekai genres reliance on selfinsert fantasies of empowerment. The story could have explored Shigerus isolation and inner conflict as someone who has endured discrimination for his appearance only to find himself collapsing when forced to confront the same social rejection once again. Alternatively it could have embraced the absurd doubling down on the inherent comedic aspect of the grotesquerie of Shigerus porcine repulsiveness rather than reducing it to a recurring gag of frightened bystanders mistaking him for a pig or a monster. Even a modest tale about a suspiciouslooking but benevolent character gradually achieving acceptance within a social group could have been intriguing. Sadly this potential is squandered. After a few episodes the anime abandons this premise almost entirely preserving it only as an occasional joke and retreats into the safety of drab genericity. Shigeru an unattractive but goodnatured salaryman navigated life with dignity choosing to maintain a positive outlook despite his unfortunate physiognomy. However the social structures surrounding him proved intolerant of his efforts to accept himself. His life was irreparably altered when a schoolgirl acting on the assumption that her villainy would carry no repercussions falsely accused him of sexual harassment catalyzing the collapse of his identity. The presumption of guilt based on facial features eroded the protective walls of his laboriously built selfworth. Exoneration could not erase the stigma of his appearance. Shigeru lost his job his social circle and his sense of purpose ultimately spiraling into allconsuming despair. It was at this lowest point that he discovered a website offering the chance to reincarnate in another world. Impelled by bitterness he constructed a body so hideous it would repel the fairer sex entirely even coding into it the curse to be physically harmed by the touch of a woman and instantly perish through intimacy. This extreme resentment however dissipated instantly as he found himself reborn in a house alongside two young girls and an amiable handsome man. There is virtually no conflict regarding Shigerus appearance and the party forms without issue. The rest of the cast exists only as hollow archetypes without substantive characterization. Seiji is a caricature of the conventional shounen protagonist dominated by an exaggerated moral absolutism and a performative desire to appear heroic. Despite his strength his immaturity and forced chuuniness make him a onedimensional figure whose only defining trait is his compulsion to do the right thing while looking cool. On the other hand Rizu one of the female characters initially appears more captivating but she remains underdeveloped. Her reserved and taciturn disposition is represented to such an extent that she effectively disappears from the narrative. Her most powerful ability isnt even revealed until the final third of the series and she is denied any significant battle scene to demonstrate her skills. Regardless she is the only character capable of intellectually matching Shigeru thus their bond in a way is deeper than any other. Their dynamic often positions them as caretakers who must manage the childish navet of their companions from the background. Dedicating a few episodes to this connection could have added a lot to the story but it remains secondary and is pushed aside in favor of Shigerus relationship with the other female member of the party Seika. While Seiji can be interpreted as a selfconscious parody of an archetype Seikas writing suggests much less irony. Her zaniness is employed as a comedic device but whereas Seijis childish delusions of grandeur invite derision Seikas immaturity is framed as charming and endearing. As Joshua Paul Dale notes in Irresistible: How Cuteness Wired our Brains and Conquered the World the ubiquity of kawaii has become an elemental aspect of Japanese culture. The manufactured cuteness of the clumsy anime heroine phenomenon would deserve its own investigation. Seika is a prime example of this trope: a late adolescent female character portrayed with the cognitive and emotional traits of prepubescence while retaining physical attributes that reflect a slightly older age. Her role is barely more than to be an object of affection positioned less as a romantic figure than as a surrogate daughter for the main character. Her backstory tries to justify her sheltered nature but the effort is unconvincing. She is cute silly earnest hardworking and most importantly always in need of help. She is the embodiment of cherubic purity but there is little substance beneath this radiance. The purpose of her existence is merely to evoke a protective paternal instinct both from Shigeru and from the audience. Some reviews of the anime criticize Shigerus devotion to Seika interpreting their relationship as onesidedly romantic but that is an inaccurate reading. The narrative consistently establishes Seika as a daughter figure. This is not only due to their considerable age difference but also because of the intellectual asymmetry between the two which situates Shigeru in the role of a guardian figure. He seeks to ensure that under his auspices Seika can realize the life she was denied in her prior existence. Still Shigerus treatment of Seika and everyone else really strikes me as problematic because it simply does not add up. The premise establishes that his life was destroyed by anothers malice yet after the opening scenes he never seeks justice nor displays any anger. He doesnt even seem to be careful or suspicious of the intentions of his companions. Instead he readily assumes the role of a giving friend and a benevolent guardian. He cripples his own existence so drastically that the world itself compensates him with the title of Almighty God and nearlimitless points to spend but when the journey begins the resentment prompting this vanishes entirely. From the second half of the first episode he is presented as an unwaveringly supportive figure who privileges the success of his allies over his own life and wellbeing. His decision to make himself grotesque contributes nothing beyond a tired gag trotted out each episode. He is introduced as clever and diplomatic shaped by his former life as a salaryman but his characterization doesnt seem to be less schematic than of those surrounding him. From protagonist he turns into a patron saint with his purpose reduced to shepherding the other three particularly Seika. The plot strips its lead of importance leaving him adrift in a narrative that scarcely needs his presence. A major issue with stories of this type is that the main character is effectively omnipotent thus incontestable. To compensate many similar anime turn their protagonist into an unsolicited mentor who eschewing his true power voluntarily recedes into the background while secretly guiding a group of less formidable characters. In this respect Shigerus designation as a god is highly apposite since the prcis of the animes plot would suggest a tale of a deity living among mortals and steering them in the desired direction. But regardless of what enemy appears Shigeru can defeat them with little effort which robs the tale of suspense. I will avoid revealing anything substantial not that the series offers many surprises to begin with but discussing the seriess antagonists risks stepping into spoiler territory so proceed with caution. The anime is structured around a series of short miniarcs each with its own adversary. Typically these antagonists are other reincarnated people whose grievances have been inscribed into their special notes twisting their pain into forces of destruction. This clarifies the mechanics of reincarnation and the operational logic of the special notes. These notes are essentially selfimposed rules that overwrite even the personality of the person writing them. For example a woman who after being mistreated by more attractive women in her former life wrote into her notes a desire to kill all beautiful women in the new world. She is not fundamentally malicious only consumed by her past trauma. Nevertheless she is unable to resist her violent urges which pose a threat to women especially Seika. This scenario challenges even overpowered characters like Shigeru. The dilemma is not whether he can defeat her but how he can stop her without taking her life. Other foes are simply evil or crazy. The casino manager for example is given a motive to resent the wealthy but his inadequate depiction reduces him to a trivial and pathetic figure. In the final act however the narrative introduces a far more interesting adversary in Karina who shares Shigerus Almighty God status but possesses even greater power. Every important character is connected to Shigerus past life but in the case of Karina this connection runs deeper. Both were victimized by the same person which situates her not merely as a thematic foil but as a direct counterpart to his agony. Although her portrayal is hyperbolic her traumatic past adequately explains her behavior. Karinas power derives from her rejection of fundamental desires. Like Shigeru she renounces sexuality but she also eliminates the need for sleep which she defines as another primal urge. The anime doesnt explain how she acquired knowledge of these mechanisms nor does it identify the third desire. This makes me wonder whether Shigerus decision to further mutilate his appearance was necessary at all. Frankly not needing to sleep sounds more like a benefit than a curse to me anyway. As a result Karina achieves unmatched might without sacrificing corporeal beauty. Her figure is deliberately accentuated with skintight clothing and frequent camera shots showcasing her callipygian physique. While it might have been more daring to imagine a female villain as grotesque as Shigeru the series chooses instead to deliver the climactic foe as its most sexualized character. My evergrowing hot evil anime girls looking unhinged screenshot folder greatly appreciates this decision. Although my review may sound overly critical I ultimately enjoyed much of the anime despite its mediocrity. It offers little more than its premise and a welldesigned final boss but even that is enough to make it watchable. Suwabe Junichi delivered a stronger performance this season as Keiichirou in Mattaku Saikin no Tantei to Kitara but his portrayal of Shigeru was still solid. The standout though was Karina brought to life by Anzai Chika whose voice work rose above the rest of the cast. Overall Busamen Gachi Fighter exceeded my admittedly low expectations. If pressed to assign a score I would place it at six out of ten.