Stop me if you’ve heard a line like this before – “It’s just like in a manga / anime!”

Being meta is more in vogue than ever. Ever since DreamWorks took it upon themselves to poke fun at the Disney company and the Disney brand with Shrek back in 2001 and became a monumentally-successful franchise financially, animated film had more or less entered the realm of metacommentary. It didn’t take long for Disney to follow suit; starting with Enchanted in 2007 and then expanding that into the soul-sucking exercise of their live-action remakes of the recent years (if not also including choice lines in others like Frozen). If there is any takeaway from this, it’s not only that animated properties being so overtly meta is here to stay, but that it is also a highly-profitable venture. After all, no company is going to change their course if it affects their bottom line. To the company, there’s a simple credo to follow: whether it be about specific properties or about an entire genre’s convention, give the audience a wink. Let them know that you “get it.”

And in the realm of anime, metacommentary also has its home. I’m not only referring to overall productions that have been regarded as having some kind of meta remarks or supposedly-deconstructive genre assertions, but even the casual remarks that characters make in any kind of story, like the above quotation I left. These kinds of remarks get chuckles for the basic reason that we like to pat ourselves on the back for recognizing a pattern and having the thing we watch acknowledge it as such. Considering the sheer degree of prevalence the isekai genre has enjoyed ever since the early 2010s, no doubt because it provides publishers like Kadokawa a lot of money, it makes sense that isekai too would become susceptible to these kinds of remarks from its own works.

But The Eminence in Shadow makes the mistake of assuming that being meta is the same as being funny or a worthwhile piece of entertainment. Glimpsing the greater picture, or making casual reference to things that viewers would recognize, is perhaps a short-term solution. But that does not guarantee that the inner substance of the story will be able to stand on its own two feet, either. Within its audience-conscious asides, it attempts to fashion a fantastical story of Cid Kagenou, a fashions-himself-as-the-ultimate-warrior man who attempts to make the best of both worlds, so to speak. Treating his reincarnated situation as the chance to live out his ultimate fantasy, he adopts the moniker of the background everyman archetype on one hand and the “Eminence in Shadow” in the other. Getting involved, investigating, and dispensing his own form of justice when he sees fit, he treats his new environment as a playground rather than being full of actual people with consequences.

Therein lies its initial draw, and its first real gag; take the common thought that many isekai protagonists have (that they’re either dreaming / don’t take their new situation seriously enough), and have it last for the entire show. This gag quickly devolves into overreliance; The Eminence in Shadow spends so much of its time with Cid making jokes about the isekai world, drawing upon his knowledge of its conventions and general structure. But the show is confusing its meta remarks for comedic cleverness. Cid is seemingly incapable of going ten minutes without making a remark akin to, “At a time like this, X would happen!” or “Doing Y would be so awesome!” These moments are meta humor at its most flaccid, requiring no creativity to make its point. The goal is to be funny and double down by committing what’s tantamount to beating a dead horse, when being unfunny and doubling down only succeeds in compounding the problem.

The show’s insistence on its meta humor tries to function both comedically and dramaturgically. In having Cid make all these remarks, it attempts to paint him as being more keenly aware of what is transpiring, both in the heat of the moment and in the overarching saga that plays out in the overall world, bolstered by his sheer magical and physical power. In emphasizing the brooding aesthetic, punctuated by its dark colors and mood lighting, as well as the occasional action phrase (I will indeed give props to the line “I am atomic,” as it was as grand and dumbly epic as Cid himself thought it to be), Cid is portrayed as being consistently “cool” and slick. It's fine for an occasional indulgence, but to make it a part of the show’s framework is a dangerous game. Cid Kagenou is The Eminence in Shadow’s attempt to make the it personified via the main protagonist.

Yet in all that time focusing on him, most of the ensemble gets left out in the lurch. The “Greek chorus,” or the series of women who serve under Cid in Shadow Garden, are the prime example. They are caricatures rather than characters, a harem in principle and occasional sexual connotation, though not with Cid himself reciprocating. No chance is given to develop many of them into substantial beings—they don’t even get names beyond Greek letter designations, hence why I referred to them as “Greek chorus” before—because the show’s structure deemphasizes their own relevance. Throughout most of the story, they appear for brief moments and then vanish for long stretches of time, and their contributions to Cid’s shadowy operations do little more than deliver messages or background information. There’s a bizarre fixation on several of them being either competitive, protective, or envious of other members’ breasts. Even when they fight, the moments themselves do barely enough to give the women a sense of dimension. It took nearly one dozen episodes of their sporadic appearance before I finally learned who was named what.

The more-prominent side characters of each arc do not fare much better. Sherry is reduced to little more than buttshot eye candy despite the great intelligence we are told that she has, all the while the show decides to relentlessly dump tragedy upon her. Rose has her character more or less centered on her adoration of, and personal history with, Cid and an involvement with cultist Perv Asshat (yes, that is his name in-universe). Annerose, introduced as a warrior of high caliber, becomes a complete no-show for the last few episodes. Each new arc introduces more and more characters who become little more than blips on the show’s radar, unintriguing toys for Cid to use for whatever fantasy kick he’s on at the moment. They are constantly janked around by forces they don’t understand, which does little to make them compelling players in the larger game.

But within the desert of characterization stand Alexia and Iris, sisters to their own Midgar throne, as the exceptions to the material’s obsession with Cid being detrimental to everyone else. Their early introduction plot-wise and the fixation both on their personal status and relationship to one another and the larger-scale circumstances more-cohesively set off their personal journeys. Both are perplexed by both the antagonistic forces in their world and Shadow Garden’s mysterious presence, unsure what to make of them. Alexia especially acknowledges her own lack of understanding of what is transpiring since she’s not privy to her sister’s circle of information among the knights or overall skill; she takes the first step into becoming more proactive in the grand scheme of The Eminence in Shadow’s shenanigans. Her resolve, and the resulting alliance she forms, is one of the show’s shining moments for developing its intrigue.

I’ve used the word “moment” more than once throughout the course of talking about The Eminence in Shadow, and that’s because it’s the show’s ultimate flaw. Underneath the choking meta humor jokes, the occasional bits of good action, mediocre characterization, and the show’s aesthetic managing to capture the balancing act it’s trying to perfect, the show is propelled by moments, not narrative. The good moments come too few and far between; it leaves the rest of the experience pertaining to the Cult of Diabolos (or “Diablos,” depending on who’s translating it) and its actual world lumbering along until it gets to the next meme-worthy instance. It comes in both the form of emphasizing things that don’t really need to be emphasized, or blasting through things when it should stop and catch its breath. The result leaves The Eminence in Shadow as an organizational mess, which diminishes its bright points greatly.

With its second season likely to be announced, I do not doubt that there will surely be more masturbatory indulgences in its own supposed cleverness.

I would not, however, find that “atomic.”