RGR

RGR

Published May 2026

INVINCIBLE: S4

77

Its best plot lines and content arrives, but lacks the tension and intensity needed to elevate it to greatness

From:

Alinea Games

Robert Kirkman

Year:

2018

2026

Genre:

Strategy, Text Based

Sci-Fi

Played:

Watched:

200+ hr

1x

Creator:

Robert Kirkman

Years:

2026

Genre:

Sci-Fi

Watched:

1x

Published Feb 2025

Published May 2026

The long anticipated confrontation with the Viltrumites has finally arrived, but does it live up to expectations?

My two favorite moments across all Invincible seasons so far have been the Omniman fight at the end of S1 and the Conquest fight at the end of S3. To me, they might be the best superhero fights ever brought to screen, in part because of the unforgiving and realistic portrayal of carnage, but also because they successfully produced a feeling of jeopardy and shock through its backdrop of high-character stakes and moments of dramatic, unique, and emotional dialogue.


For example, both fights see the Viltrumite aggressors go off on their diatribes about the futility of resistance, and Nolan’s internal struggle with his son came through perfectly. In the S3 Conquest fight, we had this dynamic battle, starting with Conquest’s supreme arrogance and ending with his confession about his profound loneliness, all of which made for an unexpected and memorable conflict. It's worth reading Conquest’s speech again:


“Pay attention! I am so lonely. All the other Viltrumites are scared of me. No one talks to me. No one wants to be my friend— they think I am unstable. They send me from planet to planet committing atrocities in their name. And as I get better at it, they fear me more and more. I am a victim of my own success. Conquest. I don't even get a real name, only a purpose. I am capable of so much more, and no one sees it. Some days I feel so alone I could cry, but I don't. I never do. Because what would be the point? Not a single person in the entire universe would care. Take it to your grave.”

I loved that, but felt like some of this magic was absent from Season 4. I struggle to think of moments of emotional dialogue, and character interactions could be one-dimensional and lacking personality. I had this same feelings with combat, with its frequent space battles missing opportunity to showcase interesting carnage or battle choreography. Some swagger definitely returned when Thragg entered the fray, but too often it was a set of basic fighting animations, with last-minute punches and kicks that fly in off-screen to save characters in trouble.

So some of that jeopardy and high-stakes atmosphere felt off to me. You never really believe anyone you care about will die, or that the problems they face are hopeless or insurmountable. Death and its consequence are missing in general, and often handled inconsistently, with characters taking incomprehensible damage yet never dying, with a main cast that is always spared when they could easily be dispatched for good.

Thragg choosing to let Nolan and Mark (and everyone else in that space battle) live comes to mind, and you’ll also see a 15-year-old girl in a robot suit going toe to toe with various Viltrumites without receiving a scratch, which seems at odds with everything else we’ve learnt about their strength and ruthlessness. When I see characters get obliterated, I’ll always assume that five minutes later they’ll be up and about again, and 9 out of 10 times that will be the case. Arguably, it’s only Mark’s recovery after his battle with Conquest that is treated with the realism it deserves.


There’s also inconsistency with the power scaling. For most of the series, the Viltrumites are shown as essentially impenetrable, yet during the Talescria battle and Viltrumite civil war scenes they have the durability of paper, each one easily decapitated, ripped in half, or gutted with a single punch. That really undermined those events for me, and the action felt somewhat generic.

Later, we see Viltrumites take hundreds of savage hits with nothing but a nosebleed, or choose harmless grapples and tosses as their choice of “attack.” I also remember Nolan killing a massive alien instantly in S1, but now see him struggle against a bug half the size with Oliver. He can lift a mountain in one episode, but can barely handle a piece of spacecraft debris in another. Maybe you'd consider all this to be nitpicking, but for a show whose entire story and identity is built around battles and strength, it really is all over the place.

I was a big fan of the 2014 Tom Cruise movie Edge of Tomorrow, which is based off the same light novel as this new anime adapatation. The die-wake-repeat motif is what makes both these movies so good, giving us that video game premise in real life and, with it, the opportunity for satisfying concept design, cool action scenes and interesting explorations into an evolving character and the psychological ramifications that comes with such an experience.

I’ll start by talking about the visuals, as it’s the biggest selling point. I was surprised to learn that despite the film’s very 2D feel, Studio 4°C’s approach was almost entirely created from a CG workflow. Impressive! They’ve definitely captured an authentic, hand-drawn aesthetic, but one that still has plenty of fluid movement and perspective-shifting action that feels natural and pleasing to view. There's also some fantastic concept design, giving off Evangelion vibes at times, and a vibrant color palette for some trippy, flora-based sci-fi designs, which I thought were an amazing direction to take the Mimics in.


Director Akimoto discusses a few of the techniques he and his team used to achieve his “limited” approach to animation. If the 3D models contain too much surface detail, your eye “sticks” to the object and the motion stops feeling snappy or stylish. Their response: strip the model down — “as few textures as possible,” leaning on color planes and linework instead, and even dropping frame rates to as low as 8 frames per second, which Akimoto describes as “satisfying” and giving a “certain flair — a touch of theatricality” to the final product. It puts more emphasis on the viewer completing the gaps in motion, and for whatever reason, that just works visually.


In my opinion, CGI has been a total disaster for animation in the last two decades. Anime feels more mass-produced and generic than ever, and has undergone a complete artistic regression. Although there have been occasional moments of CG brilliance, the soul and charm that made you revel in the beauty of the medium have almost completely vanished. It’s been almost 40 years since Akira, and despite all the technical advances and effort, nothing has since surpassed it.


So the question remains: can CGI eventually reach a level of quality and technique such that it can successfully reproduce the same conscious and subconscious delight the brain experiences with real hand-drawn animation? All You Need Is Kill gives me confidence it might — it’s a genuine step forward for the industry. It’s one of the best-looking animated films in a long time, but as beautiful as it is, I’m still not sure if it’s as goosebump-inducing as what your average anime series was producing in the 80s. One has to wonder whether the purists will continue to wait and watch studios make marginal gains for another decade, or if AI is going to step in and start outperforming them aesthetically through its ever-growing skill of replication.

You come to learn that characters are as strong or weak as the story needs them to be, and that takes away from the suspense. Things can feel even cheesy because of it. There were definitely moments of cool animated combat and genuine terror with Thragg, and the Conquest fight with Mark was crazy in its own right, showing some interesting sequences and with that brutal ending, but generally speaking it all felt like a step down compared to what we’ve had, and what’s possible.


Thragg was even a little underwhelming too. His pudgy face and soft-spoken tone felt off, but did begin to grow on me. Lee Pace is a great actor, and he played the role of Galactic Emperor in Foundation perfectly, but that character is more regal, arrogant and narcissistic, with Pace less suited for portraying the aura of the hardest leader of the most genocidal warrior race the galaxy has ever witnessed.


As a huge fan of animated films and shows, I can be snobby when it comes to judging animation, but I seem to be more forgiving than many in the Invincible community, who, in my opinion, will wrongly claim the output as “trash.” That’s way too harsh, and personally I enjoy the clean, flat, westernized style of the show, even if it can be economical and limited. Everything is staged like it’s a panel lifted directly from the comic, and it’s very readable. Some scenes are indeed rudimentary, static, even cheap, but the baseline is solid and the show delivers moments of true dynamism in select action sequences, mastering its instances of force, speed, collision, and violence.


I was left wanting for more grit and rawness, which is in abundance in the comics, and that charm, swagger, and fluidity that's so common in animated works from Japan is nowhere to be found, so it’s disappointing that as technology and audiences have grown we are still having animation in 2026 lagging behind content produced as far back as the 90s. Watch some of the action in Samurai Champloo, Berserk, Fullmetal Alchemist, or Attack on Titan, and it’s just on a different level. Considering Invincible has a budget that dwarfs many of those shows, I do expect more.


In fairness, creator Robert Kirkman has discussed how they deliberately strive for consistent annual seasons, and that delivering a schedule like this is demanding, and a huge achievement for the team. I agree, and appreciate the sustained momentum of the journey, but if you asked me to wait an extra year for a more polished experience, I would probably say yes. The Atom Eve special episode, for example, really flexed fluid and creative animation, and if that was the norm here we'd be singing.


I’ve been fairly critical in this review so far, but actually I did enjoy my weekly watch. The dialogue may leave much to be desired, but the voice acting is mostly great and elevates everything, with the show’s signature quirky humor still shining. The world and characters are also amazing, particularly when focusing on Nolan’s redemption and Mark’s suffering, and the deep dives we had into the world of the Viltrumites was exactly what we've been waiting for. The story is now deep within its most interesting content, and I still enjoy the continuous exploration of family dynamics and the everyday personal struggles of what it means to both human and hero. I care about Mark, Debbie, Eve, and Earth’s plight.


Finally, that last episode, with Mark’s trauma, the dread in that confrontation with Thragg, and the implications of what’s to come, was fantastic. They’re continuing build intrigue and make you care, even this deep into the show, and I’m really looking forward to see what we’re in store for in Season 5.

That visual experience is enough to make this movie worth a watch, but I would have liked to be more engaged with the story, which doesn’t bring the same intensity. To make a comparison with Edge of Tomorrow, it doesn’t have the same psychological impact of what it means to repeat the day, and the conflict with the Mimics is more generic. Rita’s inner struggles are represented just about enough, but her trauma backstory feels random and underdeveloped. The broader context and implications of the characters in the world are also lacking, with few interesting character interactions to bring that depth. Introducing Kaiji helped, but I think the very short runtime of 80 minutes hindered some of the potential to go deeper more broadly.


Japanese anime also has a tendency to go way too far with expositional dialogue, and this film is no exception. That lazy writing really dials up in the last act, where the head scientist infers astonishingly complex insights and plot points from very little, artificially adding jeopardy by forcing in new rules that limit the repeating-day mechanism and the characters' relationship with Darol. The final battle, while looking amazing, is also a bit too easy and unearned. These are not deal breakers, but they certainly demonstrate why this movie is a step down when compared to Edge of Tomorrow’s writing, which, to be honest, already had a touch of generic Hollywood sci-fi to begin with.


This all said, I liked the first act and how it paced through the journey and Rita’s learning curve. The romance dimension was nice too. I enjoyed myself throughout the movie, and when the animation and best story moments combine with what can be a beautiful atmospheric soundtrack, it felt like peak anime — making me smile in my seat as I watched it on the big screen. I likely wouldn’t watch it again, but I am glad it exists and will certainly be enjoying some screengrabs of those wide atmospheric shots when the digital copy finds its way online.

VERDICT

Despite struggles with meaningful tension, Season 4 still succeeds because Invincible’s core strengths remain intact: compelling characters, a richly developed world, strong voice performances, excessive gore and an emotional throughline that keeps you invested in Mark, Nolan, and the fate of Earth. The story is more interesting than ever, but the lack of interesting and dramatic dialogue, and it's struggles with power consistency, have robbed some of the memorability and tension found in past arcs. The animation often settles for competence rather than greatness, but there are still flashes of terror, spectacle, and genuine heart to be found.

RATING BREAKDOWN

Story

78

Directing:

72

Visuals / Production

77

Acting / Dialogue:

74

Music / Sound

65

BONUS

concept design

gore

FINAL

77

Thanks for reading

Thanks for reading

Thanks for reading

CONTACT

contact@ratersgonnarate.com

CONTACT

contact@ratersgonnarate.com