Top 15 Worst Quality Issues in Anime

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Every long-running medium has its rough patches, and anime is no exception. From off-model characters to unfinished cuts and emergency recap episodes, production snags have occasionally slipped onto broadcast TV before fixes arrived on streaming or home video. Below are some of the most talked-about quality blips, with simple context around what aired and why it stood out at the time.

‘Dragon Ball Super’ Episode 5 (2015)

The early TV run included an infamous episode where fight scenes looked unusually flat and off-model. Key frames of Goku and Beerus circulated widely because proportions and facial details didn’t match the series standard. Corrections later appeared in home releases after Toei Animation had more time to revise the cuts.

‘Naruto Shippuden’ Episode 167 (2010)

This climactic episode drew attention for wild deformation and loose linework during the Pain confrontation. The broadcast emphasized extreme motion over consistent model sheets, which surprised viewers expecting the usual style. Studio Pierrot stabilized many drawings in later distributions while keeping the original action beats.

‘Berserk’ (2016–2017)

The TV revival leaned heavily on low-frame 3D models that struggled with facial nuance and camera motion. Crowd shots and walk cycles often appeared rigid, with frequent screen blurs to mask limited poses. GEMBA and Millepensee adjusted assets between seasons, but the core CGI approach defined how it looked on air.

‘EX-ARM’ (2021)

Character models and camera tracking often failed to sync, creating scenes where 3D figures floated against flat backgrounds. Lip flaps and lighting passes frequently missed, leading to mismatched shadows or empty streets. Visual Flight handled the full-CG pipeline on a tight schedule that became obvious in early episodes.

‘Hand Shakers’ (2017)

The broadcast relied on constant post-processing that clashed with character animation. Deep depth-of-field effects, reflective floors, and motion filters produced jitter and artifacting around hands and props. GoHands’ stylistic choices pushed compositing hard, and the strain showed in crowd and dialogue scenes.

‘The Seven Deadly Sins: Wrath of the Gods’ (2019)

A key duel aired with still frames, blurred smears, and visible roughs that became memes. Action continuity sometimes jumped between cuts, pointing to last-minute assembly. After A-1 Pictures handled earlier seasons, Studio Deen managed this run and later improved material for discs.

‘One-Punch Man’ Season 2 (2019)

Some impact cuts arrived with simpler layouts and fewer in-betweens, a clear shift from the first season’s spectacle. Effects animation and camera staging were trimmed during multi-character brawls. J.C.Staff took over production from Madhouse, and the on-air version reflected new timelines and resources.

‘Wonder Egg Priority’ (2021)

The late stretch included a recap special and a finale with uneven draft levels in dialogue scenes. Background paintings and character layers occasionally misaligned, revealing rushed composites. CloverWorks addressed some cuts after broadcast, but the delivery made the schedule pressure easy to spot.

‘The Promised Neverland’ Season 2 (2021)

Large arcs were condensed into quick montages, and several episodes reused long narration sequences over stills. Layout density dropped in travel scenes, with limited acting and static shots. CloverWorks’ TV edit differed sharply from the manga’s pacing, which magnified the shortcuts on screen.

‘Neon Genesis Evangelion’ Episodes 25–26 (1996)

The televised ending relied on pencil tests, stills, and recycled shots to finish on time. Dialogue played over storyboards and textual cards instead of full animation. Gainax later produced the theatrical conclusion, but the original TV air dates preserved the lean materials used.

‘My Sister, My Writer’ (2018)

Multiple episodes aired with missing shadows, broken perspective, and off-center eyes that fans captured in frame-by-frame clips. Corrections landed in later releases, but the weekly run showcased unfinished line cleanup. NAZ and Magia Doraglier shared credits while episodes shipped under visible crunch.

‘Kingdom’ Seasons 1–2 (2012–2014)

Early seasons mixed 3D crowds and leads with minimal animation on dialogue shots. Battle scenes reused loops, and armor deformation rarely matched camera turns. Pierrot’s pipeline improved in later years, and subsequent seasons under Studio Signpost shifted toward fuller hand-drawn cuts.

‘Psycho-Pass 2’ (2014)

Gunplay and chase sequences often cut around action with brief flashes instead of full motion. Effects layers clipped through props and characters in crowded scenes. Tatsunoko Production handled this season following work by Production I.G on the first, and the weekly broadcast preserved the differences.

‘Märchen Madchen’ (2018)

Episodes near the end aired with half-finished drawings, uneven coloring, and placeholder backgrounds. The final two installments were delayed and later reworked for home video. Hoods Entertainment issued fixes after the TV slot, but the original run documented the production hiccup.

‘Azur Lane’ (2019–2020)

As the schedule tightened, two episodes were postponed and the series inserted recaps. Some shipgirl battles showed simplified effects and static compositions to bridge gaps. Bibury Animation Studios completed the remaining episodes for a later broadcast window with additional polish.

Share the moments we missed or the ones you remember seeing live in the comments.

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