BEM
2019 • LandQ studios
- Format
- TV
- Aired
- 2019
- Episodes
- 12
- Status
- Finished
- Studio
- LandQ studios · Production I.G · flying DOG · Funimation
- Genres
- Action · Horror · Supernatural
The Port Town, Libra City.
Upper Town is the center of politics, economics, and culture and is where all of the wealth is concentrated. Outside is where crime and corruption runs wild where no one trusts anyone. Between those two areas is a massive canal that separates the two and is spanned by a single bridge. The way this town is constructed, is a realization of what human discrimination looks like.
Sonia is a young, female detective who has just moved from Upper Town to Outside for work, chasing after a few cases. That is when she meets three hideous beings who fight to protect humanity. ‘Just what are they…?’ she wonders...
These three monsters known as youkai ningen (demon humans) live, concealing who they really are, while each bearing their own feelings and thoughts. BEM wants to become human himself and fights against evil that would befall humans. Bela looks up to and desires to become human herself and attends school in order to understand humans better. Belo has dove headfirst into the world of gaming, taking a philosophical view of both humans and the world. With every incident, they come into contact with humans, get hurt, and worry. They fight for the sake of humanity, however, due to their horrible form, they are something that humans will never accept.
There is another who is searching for these three beings. She has her thumb on the concealed assembly that controls Libra City from the shadows. But just what is her goal as she tries to get her hands on these three?
Synopsis from AniList
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Where it came from
The 2019 BEM series was produced by LandQ studios as a reimagining of the classic 1968 anime 'Humanoid Monster Bem.' This modern iteration was developed to coincide with the 50th anniversary of the franchise, aiming to introduce the dark, atmospheric themes of the original story to a contemporary audience while updating the visual style for modern television standards.
The production sought to distance itself from previous adaptations by adopting a more urban, gritty aesthetic directed by Yoshinori Odaka. While the series maintained the core premise of three monsters seeking to become human through acts of altruism, the redesigns and narrative tone were crafted to reflect a more complex, noir-inspired approach to character development, receiving mixed feedback from long-time fans who debated the necessity of the stylistic shift.
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