UlasanAnime.com – The question of whether “Overlord” is merely a power fantasy, similar to criticisms leveled against “Sword Art Online” and the JSDF’s overwhelming force in “GATE,” is a complex one. While Momonga, the protagonist of “Overlord,” consistently overpowers his enemies with embarrassing ease, often despite handicapping himself, this aspect seems to elicit less criticism compared to other series.
One prevailing theory suggests this leniency stems from Momonga’s appearance and demeanor. His imposing height, authoritative voice, and skeletal form might contribute to a perception of inherent power that bypasses the typical viewer’s desire for relatable vulnerability.
However, “Overlord” differentiates itself by focusing on “world-building” as its primary narrative driver. Unlike series where the protagonist’s power is explored through a lens of potential vulnerability that allows viewers to sympathize, Momonga’s strength is presented as an inherent characteristic of his lich form. He is, after all, a fully realized lich with all the associated traits and tendencies, playing the role of a person trapped in another world.
Crucially, for the initial episodes, Momonga has very little at stake. The narrative emphasizes this by largely sidestepping the “trapped in another world and unable to escape” trope. Instead, “Overlord” invites viewers to explore this new world, much like “Log Horizon” did. This approach shifts the focus from the protagonist’s personal struggles to the broader mechanics and lore of the world he inhabits.
Consequently, viewers may not feel the same level of vulnerability or share in Momonga’s triumphs as he effortlessly defeats utterly insignificant foes. While there might be a vicarious delight in seeing “scrubs” vanquished by legitimate power, “Overlord” exaggerates this power gap to such an extreme that it transcends a simple power fantasy and becomes a tool for world-building, explaining the established order of things.
You might also be interested in : LLSIF vs. SS?
In contrast, shows like “GATE” explicitly invite viewers to enjoy the spectacle of overwhelming force. The modern army machine-gunning 12th-century footmen and knights is presented as a significant draw for the audience.
Within the narrative of “Overlord,” the focus is less on pitying or sympathizing with Momonga himself. Instead, the emotional weight often falls on his allies, such as those who were ruthlessly slain after attempting to befriend him, or even his pet hamster. If Momonga represents a god-like entity, “Overlord” places him in a context where the surrounding characters and their fates become the primary point of viewer engagement. The show compels viewers to watch and anticipate the unfolding events around this powerful, almost detached, central figure.
PS. Hara’s performance is great, and his motivations are understandable.
PPS. So-bin’s artwork is excellent.
