Henry Thurlow—an episode director and animator on One Piece—has sparked a lively industry debate after saying Black Clover “deserves” the caliber of animation and production resources typically associated with Demon Slayer. In recent social posts and coverage, Thurlow praised Black Clover’s plot and character work while implying that a higher budget and gentler schedule could elevate the series to the mainstream heights achieved by Ufotable’s blockbuster franchise.
What he said—and why it’s resonating
Thurlow’s comment essentially separates story quality from production value, arguing that Black Clover’s script and payoffs are strong enough to merit “Infinity Castle–level” treatment—shorthand for Ufotable’s meticulous, movie-grade action and lighting that helped Demon Slayer dominate awards and discourse. The take aligns with ongoing fan chatter that animation resources—not narrative potential—often decide which shōnen titles break out globally.
The comparison point: Demon Slayer’s production bar
Ufotable’s Demon Slayer has repeatedly been recognized for industry-leading visuals, winning major “Best Animation” honors and setting a high watermark for action staging and compositing. That trophy run is a useful proxy for the “level” Thurlow referenced—and a reminder of how rare that consistency is for TV anime.
Where Black Clover stands now
Black Clover aired 170 TV episodes (2017–2021) under Studio Pierrot before pivoting to the 2023 film Sword of the Wizard King, also produced by Pierrot and released worldwide on Netflix. The movie’s reception reignited calls for a premium return—be it new seasons or film projects—with fans arguing that stronger scheduling and resources could let the series’ large-scale magic battles truly land.
Production reality: budgets, schedules, and pipelines
Thurlow’s remarks spotlight a tough reality: time and staffing are as crucial as raw budget. Sustaining sakuga-heavy sequences across dozens of episodes requires runway—storyboarding, layout, animation, and QC buffers—that weekly TV slots rarely allow. That’s exactly the advantage Demon Slayer has leveraged by concentrating resources and operating on seasonal timetables rather than nonstop year-round output. (Industry interviews in recent years have echoed similar points about scheduling and “cinematic” pipelines.)
Fan and industry reaction
Coverage and fan posts framed Thurlow’s view as both flattering and provocative: flattering to Black Clover’s writing, provocative in suggesting Demon Slayer’s phenomenal rise is inseparable from its visuals. Many agree with the core idea—give Black Clover Ufotable-grade treatment, and it becomes a different conversation—while others caution that art direction and storyboarding style, not just money, define a show’s identity.
What to watch next
- Any official movement from Shueisha, TV Tokyo, or Studio Pierrot on future Black Clover projects.
- Staffing announcements that hint at slower, seasonal production (a key signal of upgraded resources).
- Awards-season chatter and box office/streaming performance of peers, which often influence green-light priorities.
