Monster

Dr. Kenzou Tenma, an elite neurosurgeon recently engaged to his hospital director's daughter, is well on his way to ascending the hospital hierarchy. That is until one night, a seemingly small event changes Dr. Tenma's life forever. While preparing to perform surgery on someone, he gets a call from the hospital director telling him to switch patients and instead perform life-saving brain surgery on a famous performer. His fellow doctors, fiancée, and the hospital director applaud his accomplishment; but because of the switch, a poor immigrant worker is dead, causing Dr. Tenma to have a crisis of conscience.

So when a similar situation arises, Dr. Tenma stands his ground and chooses to perform surgery on the young boy Johan Liebert instead of the town's mayor. Unfortunately, this choice leads to serious ramifications for Dr. Tenma—losing his social standing being one of them. However, with the mysterious death of the director and two other doctors, Dr. Tenma's position is restored. With no evidence to convict him, he is released and goes on to attain the position of hospital director.

Nine years later when Dr. Tenma saves the life of a criminal, his past comes back to haunt him—once again, he comes face to face with the monster he operated on. He must now embark on a quest of pursuit to make amends for the havoc spread by the one he saved.

[Written by MAL Rewrite]

Liebert, Johan Main

Sasaki, Nozomu Japanese

Tenma, Kenzou Main

Kiuchi, Hidenobu Japanese

Liebert, Anna Main

Noto, Mamiko Japanese

Grimmer, Wolfgang Supporting

Tanaka, Hideyuki Japanese

Lunge, Heinrich Supporting

Isobe, Tsutomu Japanese

Heinemann, Eva Supporting

Koyama, Mami Japanese

Dieter Supporting

Takeuchi, Junko Japanese

Reest, Martin Supporting

Ikeda, Shuuichi Japanese

Reichwein, Julius Supporting

Nagai, Ichiro Japanese

Roberto Supporting

Katsube, Nobuyuki Japanese

Maruyama, Masao Producer

Tamura, Manabu Producer

Nakamoto, Kenji Producer

Yoshimoto, Satoshi Producer

Reviews

Mar 24, 2026

elumizu

Recommended

Monster is set in motion by a single decision that appears morally obvious in the moment but slowly unravels into consequences no one could have predicted. At its core lies a paradox where an act of compassion slowly reveals itself as the origin of countless tragedies. The narrative follows Dr. Kenzo Tenma, a brilliant Japanese neurosurgeon working in Germany whose career is steadily rising. Everything changes when he defies the hospital administration and chooses to operate on a critically injured boy instead of a politically important patient they wanted prioritized, and so that moment reshapes Tenma’s entire life. The child he saves named Johan disappears ... after a string of mysterious deaths, only to resurface years later as a figure surrounded by rumors of manipulation, violence, and destruction. From there, the story gradually transforms into a pursuit that stretches across cities, borders, and fractured memories. Tenma abandons the life he once built, and begins searching for Johan, convinced that the life he once saved has grown into something dangerous. Even so, Monster never frames this pursuit as a simple hero chasing a villain. It explores how fragile human morality can become when confronted with fear, trauma, loneliness, and influence.

One of the series’ most compelling qualities is the way its narrative constantly widens its perspective. Not solely focusing on Tenma and Johan, entire episodes follow ordinary people whose lives intersect with them, sometimes only briefly. These stories often feel like intimate character studies, portraits of individuals struggling with regret, ambition, guilt, or quiet despair. Initially they appear disconnected, but gradually they reveal how far Johan’s influence spreads. The result is a story that feels less like a single conflict and more like a ripple moving through countless lives. Johan himself remains one of the most unsettling figures in anime storytelling. He rarely relies on direct violence, instead, he studies people, understands their hidden fears, and subtly guides them toward their own destruction. His calm composure makes him even more disturbing. He remains eerily untouched while chaos unfolds around him. Visually, the series adopts a restrained realism that suits its psychological tone. Produced by Madhouse, the animation avoids spectacle in favor of atmosphere. European streets, apartments, hospitals, and train stations are depicted with grounded detail. This understated approach allows the tension to emerge from the characters and their decisions. The music also plays a significant role in shaping the experience. The opening theme is undeniably iconic, immediately establishing a haunting atmosphere before each episode begins. Throughout the series, the soundtrack often elevates emotional moments, intensifying scenes of tension, reflection, or dread. The musical score rarely dominates the narrative, but its subtle presence makes key moments resonate more deeply.

That said, the series occasionally leans into drama in ways that can feel slightly exaggerated. Certain emotional scenes such as Nina breaking down in tears or freezing in shock and struggling to speak can stretch a little longer than necessary. There are also moments where the dialogue becomes deliberately fragmented. Recordings of Johan’s childhood voice appear distorted and incomplete, and some conversations end abruptly just as they begin to reveal something important. A particularly striking example occurs when Johan looks at a photograph of his mother and simply says, “Now I understand,” before the scene cuts away without explanation. Moments like this feel almost designed to make someone restless with curiosity. Even knowing they are clearly intentional, these choices can be frustrating at times. The series frequently withholds answers, forcing everyone to sit with uncertainty and piece together meaning from scattered clues. That haunting sense of mystery becomes part of the experience. There are also moments where the story invites a bit of practical skepticism. Tenma, after all, is a highly trained doctor, which is someone with deep knowledge of medicine. Occasionally it raises a question. If he couldn’t bring himself to shoot Johan in the first place, why not simply incapacitate him with anesthesia? A carefully administered sedative could have ended the pursuit without killing anyone. The thought becomes ironic when remembering that some of Johan’s early victims were killed using poisoned candy. In a strange way, a child’s method of poisoning proves effective, whilst a seasoned doctor never resorts to something far less lethal just to stop him. But of course, if Tenma had solved the problem with a syringe early on, the series would probably have ended several dozen episodes sooner and we would lose the depth that defines the story. At some point it becomes easier to accept the narrative on its own terms… or jokingly assume anesthesia simply doesn’t exist in this universe.

Even with those small quirks, the psychological and thematic strength of the series remains remarkable. The character writing, narrative patience, and moral complexity give the story a depth rarely seen in long-form thrillers. Each character carries their own emotional history. Even minor figures are treated with unusual care. Johan, in particular, feels less like a typical human character and more like a symbolic presence. The series acknowledges the trauma and neglect that shaped his childhood, however he rarely behaves like a conflicted person. Instead, he resembles a philosophical embodiment of manipulation and emptiness. Such a representation of the idea that evil can exist without visible emotion. In reality, most people exist somewhere between good and bad. Humans are contradictory by nature and capable of kindness as well as cruelty. Johan, however, sits at the far extreme of that spectrum. He feels less like an ordinary man and more like the concept of a “monster” given human form and strangely, that interpretation fits the story perfectly. Ultimately, Monster is not just a psychological thriller but a meditation on morality, responsibility, and environmental forces that shape human behavior. By the time the story reaches its conclusion, the most unsettling realization is not that monsters exist, but that the boundary separating them from ordinary people may be thinner than we would like to believe.

Anyway, keep in mind that no opinion is ever purely objective, and every perspective remains open to discussion. Even so, each viewpoint still holds its own value. If you happen to see things differently, simple mutual respect is more than enough. That same respect is the spirit behind this reflection as well. Wishing everyone a peaceful day ahead, and thank you for taking the time to read.

Reviewer’s Rating: 9

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Aug 5, 2025

YamiCC

Mixed Feelings

One of the best mysteries anime i've watched, i loved how Tenma still stand for his own idealism till the end, also the fact that Nina didn't become another monster while she's capable to replaces Johan. almost every characters has depth, but i don't like the way they got introduced, it feels too rushed and somehow we were forced to understand that "this character is connected to another character."
The last thing i hate about is the cliffhanger, idk but probably that is the author's way to make us dying of curiousity.
If you enjoy Banana Fish, then you'll enjoy this one too.

Reviewer’s Rating: 9

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Nov 11, 2025

Kirvan

Not Recommended

Funny

Monster is incredibly overhyped. There is some charm to be had here and there but the characters are not believable, plot points get repeated constantly til your ears bleed, and the writing is overall very simplistic and cliché.

The only reason I managed to finish it is because I was watching an episode or two while eating or while too sick to watch something good which requires focus, and I kept hoping that the ending would be good and redeem the show, but unfortunately I was finally let down months after I started it.

There is some charm in that the characters eat almost every episode(watching characters ... eat is cool, ok?), the setting and era is nice. But none of that can carry the show.
The plot had much potential, and if it had a better ending or more believable writing throughout the show it could have been great.

If you don't like it after 20 episodes you won't like it after 74.

Reviewer’s Rating: 5

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