UlasanAnime.com – The anime adaptation of the light novel series, known as Spice and Wolf, which was previously the traditional brand name for Old Spice, has been met with a positive reception, with many finding it to be quite accurate.
The initial episode, at least, captures the right atmosphere. Some have noted that the character art, particularly the style attributed to Tony Taka, evokes a sense of realism. This realism is reminiscent of what made certain adult anime enjoyable, not necessarily for explicit content, but for its artistic style and immersive qualities. This is similar to how Scrapped Princess was perceived. However, when comparing character designs, neither show, at this point, truly excels when placed alongside their contemporaries. Even older productions like the Lodoss War OVA set a higher standard for design and visual quality in the typical fantasy genre than many current TV productions. This observation, however, does not detract from Spice and Wolf; in fact, it can be seen as a positive attribute.
It is generally easier to convey human-animal characters in a narrative form that relies on text rather than visuals. This is because readers have the agency to imagine characters as they please, or to selectively ignore certain aspects. The freedom to choose what to focus on is a significant advantage of traditional print media. For instance, a reader can choose to downplay the werewolf-like appearance of Horo in a book, unless the author specifically emphasizes it. In visual media like TV shows or movies, the viewer has no control over the camera and thus no control over what is presented. Even if the creators intended to highlight Horo’s appearance in the pilot episode, it can serve as a considerable distraction from an otherwise well-executed episode.
In my personal experience, many fantasy authors strive to captivate their audience with a compelling hook. They also tend to be mindful of their readers’ general knowledge, avoiding excessive exposition about the setting unless there’s a particularly innovative element. It remains unclear whether the abundance of nudity and fur in Spice and Wolf is intended as a spectacle or as a means of exposition, tone-setting, and thematic development. What is certain is that it is a source of personal discomfort. Despite a general aversion to overt “furry” elements, it seems an unconventional approach to telling a serious story. While fantastical elements and nudity can certainly create a strong first impression – as seen in Sister of Wellbur, which made a positive impact unlike my feelings about Spice and Wolf – they require careful handling, a level of precision that seems questionable in this instance.
The question of how seriously Spice and Wolf intends to be taken is pertinent. The current trend of “moeblob” characters in anime has, in my opinion, been best handled by the introduction of Suppi-kun in Sutepri. The hope is that the series will not merely incorporate these “genre norms” into its characters, thereby sacrificing the sense of immersion that distinguishes truly great fantasies from those that are easily forgotten.
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