Marriage Toxin boasts animation and revives the debate over the treatment of One Punch Man
Bandai Namco revealed a new trailer for the anime Marriagetoxin. The animation, produced by the prestigious Studio BONES, It immediately stood out for its very high quality. This unleashed a storm of reactions on social networks. In x, fans of One Punch Man They expressed their frustration. Many questioned why the production company did not assign a study of that caliber to the third season of the series. The annoyance increases because it is a much more popular and profitable franchise.
This disparity reveals a strategy that is as widespread as it is controversial in the anime industry, known as the franchise effect. We analyze why production companies tend to bet heavily on the visual with new IPs such as Marriagetoxin to position them and generate prestige, while in consolidated titles such as One Punch Man apply a more conservative cost logic, starting from the idea that the loyal public will consume the product regardless of the level of animation. This contrast explains much of the current discontent in the fandom and opens the debate about how successful franchises are managed in the long term.
When success guarantees an audience, but not excellence
For a production company like Bandai Namco, a new series like Marriagetoxin You need an outstanding visual impact to stand out in a saturated market. bet on Studio BONES It is a way to generate immediate credibility and position the work as a careful product from its presentation. In the case of One Punch Man the logic seems to be reversed. As it is an already consolidated Intellectual Property, The producer starts from the idea that the audience is guaranteed. This opens the door to more conservative decisions regarding the animation studio and the level of technical ambition, under the implicit premise that the popularity of the franchise will sustain public interest.
Within the anime industry, this dynamic is one of the fandom's main sources of frustration. When a series reaches the status of a cultural phenomenon, It is common for operational stability to be prioritized over visual excellence, which ends up being perceived as a punishment for the loyalty of the most committed followers.
The standard that created the franchise itself
The strength of One Punch Man was based on an animation that marked an era, especially during its first season with Madhouse. That visual level not only elevated the story, but defined the audience's expectations. When that standard is not maintained, The feeling among fans is not simple comparison, but disenchantment. Seeing that the production company is betting on a high-profile studio for a new IP, while opting for more conservative decisions in its most recognized series, is interpreted as a sign that artistic care is no longer a priority.
From a fandom perspective, this perception fuels the frustration that is expressed on networks like x. It's not just about animation, but about respect for the work that built its prestige. In action series where the visual impact is central, A drop in quality can erode enthusiasm and make the audience more critical and distant, affecting the conversation and cultural weight of the franchise in the long term.
The Verdict
The contrast between Marriage Toxin and One Punch Man shows an industrial trend where new series receive elite resources to “sell themselves”, while established ones suffer quality cuts. It is a reminder that, for production companies, the popularity of a series can, ironically, be their biggest enemy when it comes to receiving a budget.
We maintain that underestimating the visual demands of the One Punch Man fandom is a strategic mistake. Quality should not be a luxury reserved for new releases, but rather an obligation to maintain the Authority of the great legends.
Do you think the production companies are right in thinking that fans will see One Punch Man regardless of the quality of the animation, or will this oversight end up sinking the franchise? Leave us your opinion in the comments.
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