Bones

Studio Bones' first attempt at adapting its manga counterpart begins withFullmetal Alchemist (2003). The story premise establishes the entire experience in gripping and smoothley connected plot pieces. Thus, the visual quality (which jumps) is not as necessary, yet still over-achieves at times. However, the show (not having let the manga finished) attempt to interpret their own ending. The result is a sloppy, pathetic, and hastily thrown together conclusion. Not willing to spend any runtime to develop a longer conlusion, Bones represent their incompetence at creating their own material.
Fullmetal Alchemist Brotherhood (2010) is a longer tale, adapted in full from its manga instead of Fullmetal Alchemist (and in more depth), yet remains too faithful which waters down its stylised presentation. Depending on which arc is chosen, Brotherhood is either a slow-paced Bebop-esque contemplation, or a typical Bones shonen production.

Noragami (2014) plays to Bones' strengths: colorfully animated segments. A well adapted manga, to say the least, despite its samey action-styles plotline. Charming characters roll through a literal and metaphorical garbage can of a plot.

Space Dandy (2014) uses many visual risks to employ otherwise tasteless humor into high art. After the dive in animation cuts from the first episode, the audio-visual experience doesn’t end. The show resurfaces in many styles and aesthetics, never choosing just one. Certain cliche melodrama, however, tamper the experience.

Noragami Aragato (2015) is a faster paced variant of the original. The intesnity is increased but the "cuteness" of the first season is at times lost, but returns in the final arc of the show: decently done.

My Hero Academia (2016), which would go on to be produced once every year, creates a likeable main character yet fails to place him into any note-worthy situations. The action begins to blend together into a forgettable experience.

Mob Psycho 100 (2016), from Yusuke Murata (the same writing comedy as One Punch Man), while a step-up in comedy from One Punch Man - has an incomprehensible second half. Despite this, the visual implementation used is a style rather than substance addition.

My Hero Academia II (2017) amplifies the animation yet focuses much less on Deku. Hiroyuki Imaishi of Trigger and Gainax helped produce the fight scene animations from the tournament arc. Too many characters are introduced which have minimal development or significance.

My Hero Academia III (2018) begins with a recap episode