Dr. Stone: Sid Meier’s Civilization Just Got a Lot More Anime

Dr. Stone is one of those manga that was in the wrong place at the wrong time. It became exorbitantly popular (deservedly so) during its initial 2017 debut, even winning itself the 2018 Shougakukan Manga Award under the Shounen category. That same year, I got into the hype months before its anime adaptation was even announced, and it quickly became one of my favorite manga of all time. The anime was also very good for a TV anime, and I—along with many other people—watched it while it aired. However, it aired alongside Kimetsu no Yaiba. And as anyone who saw that nineteenth episode go viral and single-handedly put both the anime and its source material on the mainstream overnight, Dr. Stone—while still running for a perfectly respectable period of time afterwards—practically vanished off the face of the earth as a result. As the contrarian I am, I nonetheless committed to Dr. Stone, and—you know what—it’s still one of my favorite manga of all time. Let’s find out why.

In Dr. Stone, a boy named Taiju is about to confess his love to a cute girl named Yuzuriha. However, right at that moment, a bright light covers the earth, turning all humans to stone. Thousands of years later, thanks to his testosterone-fueled drive for the girl, he manages to break out of the stone shell, awakening in a world that has been reclaimed by nature. There, he sees his classmate, Senku, who promises to use his incredible wealth of knowledge to restart all of human civilization.

Dr. Stone is a science-themed adventure manga, which is a very unusual style for the shounen genre. But hey, the manga makes science fun. There’s a lot of cool and interesting things that happen throughout the story, and it’s all very engaging. The humor is ridiculously on point as well. However, Dr. Stone is a science FICTION manga, and thus, you can’t not have creative liberties taken. As many, MANY critics on the message boards pointed out back when the anime aired, the science isn’t 100% accurate. Sure, maybe some chemical or whatever took a bit faster than what it’s supposed to in order to finish cooking, but for the sake of pacing, would you want five chapters of waiting for a thing to be done brewing? There’s also the fact that Senku is literally reinventing the wheel when it comes to all this civilization stuff, so he won’t need to waste time making the mistakes that were made a million years ago because those people already made said mistakes.

Another criticism I’ve seen ad nauseum was the fact that it doesn’t go for any darker tones when the opportunities were present, and that “Dr. Stone would’ve been better if it was seinen”. Granted, Dr. Stone would be a GREAT seinen manga, but I think it’s perfectly fine as a shounen manga because of how hard it commits to being lighthearted. When presented with one of the potential dark questions regarding if it’s actually better to NOT bring back civilization, lest the world return to its old state of corruption and war, Senku literally says that he wants to bring back civilization because he thinks it’d be fun. Fun, that’s what Dr. Stone is at its core. THINGS DON’T NEED TO BE DARK TO BE GOOD *huff* *huff*…

Anyways, the characters are what makes Dr. Stone come to life. My boy, Senku, is insanely narcissistic and I love him. His cunning, as well as his tendency to count in increments of ten billion, make him one of Jump’s best heroes (or anti-heroes) ever. “BUT HE’S WAY TOO SMART FOR A HIGHSCHOOLER! THAT’S UUUUUUUNREEEEEEEEEEEAAAAALIIIIIIISTTIIIIIIIIIIIIIIIC!” you exclaim VERY loudly. I’m not going to get into the endless debate of the limits of suspended disbelief, but if you don’t like what you’ve read about Dr. Stone in this review, then it’s clearly not for you.

But hey, there’s still your fair share of idiots. After all, Taiju maintained consciousness for thousands of years on sheer force of will (“FORCE OF WILL?! ALSO UNREALISTIC!”). He’s always hilariously dumb, and his chemistry with Senku is great. Yuzuriha comes into the mix, but I’ll admit that she’s not too interesting outside of being super cute.

Fortunately, they aren’t the only ones who survive the apocalypse. There’s the super swole Tsukasa, who serves as the first major antagonist, and the charismatic pig-Latin-speaker, Gen. But in addition, there’s a whole tribe of primitive humans (whose existence gets explained). Among the villagers are Chrome, who is literally Taiju, but with a better knack for science. There’s also Best Girl Kohaku, a cute tomboy that you do NOT want to mess with, and the cute Suika, who literally wears a fruit on her head and rolls around in it. Later on is the rich boy Ryusui, whose talent as a navigator, coupled with his all-encompassing desires, make him a refreshing take on the greedy noble trope.

Of course, with Dr. Stone being a shounen manga, I have to put out the usual warning about the ending not being what you might want it to be. I have no idea what the manga’s state was at its end (I wouldn’t be surprised if it got axed), but… I would be lying if I said they didn’t jump the shark, even by Dr. Stone‘s own standards. At the same time, they almost make fun of critics who use the “realism” card, because you’d essentially have to know all the secrets in the cosmos to be able to declare if something is realistic or not. In any case, this manga is more about the journey than the destination. 

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Final Verdict: 9.85/10

The few hiccups in Dr. Stone don’t stop it from being one of my favorite manga of all time (although I’m probably the only human on Earth who gives it this rating). It’s a cute, non-cynical celebration of humankind and its evolution that actually shows some semblance of hope for once. I can’t really recommend Dr. Stone easily because of the kinds of buttons it pushes; you’ll have to decide if this is the kind of thing you’ll like.

Frieren: Beyond Journey’s End is Exactly What it Says on the Tin (First Impressions, Volumes 1 & 2)

The combination of slice-of-life and fantasy seems to be a dream come true; basically, it’s a look at everyday life in a fantasy world, which is probably what a lot of us want. However, I’ve only seen it as a recipe for disaster. They’re slow, with boring characters, and fetishize women as much as any trashy isekai. Despite this, I had high hopes for the popular new manga, Frieren: Beyond Journey’s End

In Frieren: Beyond Journey’s End, the titular elf and her entourage have just defeated the Demon King. In the aftermath, they go their separate ways. Years later, and Frieren’s comrades die of old age, while Frieren still looks the same. 

Unlike other manga of this type, Frieren at least tries. In case you couldn’t tell, the main theme of the manga is death, which is particularly poignant through an elf’s perspective. Almost eighty years pass in the first volume alone, and the abruptness of the timeskips shows how little time that is to Frieren. More on that little aspect of the story later.

The main goal for Frieren is to head to the now-former site of the Demon King’s castle to perform a séance that’ll allow her to speak to one of her companions, Himmel, from beyond the grave. Because of this, the bulk of the manga is the typical, episodic, slice-of-life—well—slices that permeate this type of story to—well—permeate. Here comes the transparent honesty: I didn’t enjoy a lot of Frieren.

One reason is that I just simply don’t understand the theme of death. Of all the things humans have made overly complicated in this world, death remains the one, objective, simple truth. To quote what I’m sure is an old meme: “people die when they are killed.” While I do get the whole thing about Frieren not really knowing her old companions well enough during her original journey with them, I didn’t exactly care. Also, despite death being such a time-honored topic, it really doesn’t get to be as poignant as you’d think; a lot of the time, it just boils down to a running joke where someone says something in reference to a long passage of time and Frieren commenting on how it isn’t long at all. 

Something I will give the manga is that the demons are cut-and-dry cruel. They’re so cruel, that they trick people by playing the waifu/husbando card to gain humans’ trust, and then turn around to kill even more people. However, there’s a flipside to this. Once you learn this information, any plot twist to the effect of “the evil-looking guy was evil the whole time?!” is no longer a plot twist but something you’re made to expect. 

Slice-of-life is all about laid-back, grounded, nuanced characters. Even as someone who doesn’t always get hooked on this genre, part of me wonders if the cast of Frieren even qualifies by said genre’s standards (which they clearly do since people LOVE this manga). Frieren herself is basically a deadpan loli who cries a whopping one time at the beginning and then remains deadpan for the rest of the two volumes I read. She’s supposed to learn the meaning of life by watching everyone die of old age, which is another one of those weird human quirks that I don’t get at all. Also, it’s very explicitly explained that she’s insanely powerful, which makes any instances of action in the manga completely moot.

Her former companions basically have the same tired tropes, and this being their aftermath doesn’t really make them less tropey. The other lead protagonist is a fledgling mage named Fern who, well, exists. She learns magic, and gets really good at it. Say it with me: “Which means any instances of action in the manga are completely moot!”

To add to how flat Frieren feels, the art is flat as well. The setpieces are your typical Game of Thrones-type world which can easily be mistaken for medieval Europe if you take out the elves and dwarves. Also, the character designs are just… meh. Not even the demons look particularly sexy, which is really saying something.

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Current Verdict: 7/10

I really wanted to love Frieren: Beyond Journey’s End, but these two volumes didn’t sit well with me. It’s a case similar to Horimiya, where it takes a viewpoint of the human condition that I—as a man with autism—do not feel. Even with that being the case, there’s probably better you can do. 

My Dearest Self With Malice Aforethought: A Short and Sweet Identity Crisis

A lot of writers create slice-of-life dramas about identity, where a young’un has to fight the labels provided by society. But in my opinion, the theme of “identity” would be more urgently called into question if someone’s brain just decided to assume an entirely different personality within the same body. That’s what happens in My Dearest Self with Malice Aforethought, a royally messed up suspense manga.

In My Dearest Self with Malice Aforethought, the main protagonist, Eiji Urashima, is haunted by a dark past that’s about to bite him in the butt: he’s the son of LL, a serial killer. Eiji has been able to live a normal life, but he suddenly starts experiencing time-skips. The reason for this is B1, a split personality that seems to be more-or-less following in his father’s footsteps. Eiji now must find the truth behind, well, himself.

One thing to say about this manga is that it’s really suspenseful. Normally, a lot of these—such as Monster—revolve around finding the established main antagonist. That’s pretty difficult when the protagonist and antagonist share the same body. Eiji finds himself in various situations thanks to B1, and it’s engaging to see how he could possibly get out of them. 

The characters are, sadly, not too spectacular. Eiji is your typical thriller protagonist, where he starts off as super timid, but ends up becoming more and more like B1 as he’s forced to do uncouth things in order to find the truth. A more interesting case is his girlfriend, Kyoka. She seems like the super-perfect waifu, but that quickly stops being the case. The most likeable (read as: “marketable”) character is this one loli named Rei Shimyoji. She’s that weird girl who’s super big-brain and knows how to do a lot of unconventional stuff that just so happens to be helpful in plot progression.

After the halfway point, Dearest Self takes the cynical route, where B1 is on center stage for the remainder of the series. At this point, it becomes a pretty typical cat-and-mouse chase as he tries to find the true culprit of the LL murders. It feels very Western because of the whole thing where he’s “just as evil as the murderer he’s trying to catch” and it’s supposed to be an allegory to how all humans are awful. The mystery element is still good, but for those suffering from cynicism like I am, it’s not the best route for a manga to take.

At the very least, it all wraps up nice and smoothly. Sadly, the true villain’s motive ends up being the typical thing where killing is the only thing that makes them happy; the perfect “I couldn’t come up with a motive by the publication deadline” motive. I mean, how much more can you ask for?

The art, for the most part, is what you’d expect from a modern thriller manga. The eyes are very detailed, and there are a lot of instances of crosshatching and distortion effects. The faces are very exaggerated, and lips are given a lot of emphasis.

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Final Verdict: 8.85/10

My Dearest Self With Malice Aforethought ended up being a much better experience than I initially thought. It was short and engaging, without getting too convoluted (relatively speaking). I recommend it to suspense fans.

The Girl from the Other Side: Wait, How is Dark AND Wholesome at the Same Time?!

There are times when a manga is so unique and otherwordly that you can’t even come up with an intro to segue into a review about it. This is the case for The Girl from the Other Side: Siúil, a Rún. It’s no surprise a weirdo like myself would find this among his favorite manga of all time.

In The Girl from the Other Side, a curse has ravaged the world, turning people into undying beasts (which is also contagious, by the way). A young girl named Shiva is sheltered from it all, in the care of one of these creatures, simply named Teacher. She seems to be immune to the curse, but that only paints a “Kidnap Me!” target on her back.

The Girl from the Other Side is straight up whimsical. The plot is simple to follow, yet it constantly asks new and intriguing questions about what’s going on. I found myself sucked into the narrative, and always wanting more. It felt relaxing, yet suspenseful. It gets confusing fast, but everything is tied together shockingly well towards the end. There really isn’t anything wrong with the story as far as cohesion goes.

Given the fact that it stars a girl and a monster who live together, The Girl from the Other Side is incredibly easy to compare to The Ancient Magus’ Bride (also, both manga are published in the same magazine to boot). In comparison, The Girl from the Other Side is much darker in tone, and has a lot more focus on its overarching narrative. There’s also no hints of romance, unlike The Ancient Magus’ Bride, which has romance to spare. Due to the fact that Magus’ Bride has sort of devolved into a Harry Potter clone in recent volumes, I’m willing to declare that The Girl from the Other Side is the better of the two.

The characters are its only flaw, though. While Shiva and Teacher’s interactions are one of the manga’s greatest strengths, everyone else is kind of just there. Fortunately, the bulk of the story is centered around Shiva and Teacher anyway, so it’s not as consequential as something like Overlord

Something else you may consider a flaw is that it intentionally leaves some plot threads unresolved, namely, closure when it comes to the curse itself. While we learn of the reason behind it, there is no effort to lift it once and for all; the story is strictly about the relationship between Teacher and Shiva. Call it a cynical social commentary or a liberty taken to help the story flow, but that’s just how it is.

Everything comes together with the manga’s downright enchanting and mysterious artstyle. While the cover art is both dreary and quaint, using simple desaturated colors, the actual manga itself is where the art shines, or rather, where it darkens. The artstyle in this manga uses the Gestalt theory of art, and creates shapes by filling negative space with black in just the right way. It makes an otherwise generic fantasy world stand out really well. I want every page as a desktop wallpaper, please.

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Final Verdict: 9.5/10

The Girl from the Other Side is a short and practically perfect manga. It might not have waifus or pulse-pounding action, but it’s something that is very unlike most series of its kind. Hopefully the movie adaptation will be just as good!

Two First Impressions of Two Psychological Manga

I initially come off as someone who only likes happy, fluffy stuff. And while that is generally what I gravitate toward, I do get that variety is the spice of life. I love a good, dark drama; the problem is that there aren’t a lot that satisfy both conditions. But for some reason, I’ve found manga to be my most enjoyed medium when it comes to enjoying the darker facets of the human psyche. And to show how insane some manga can get, here are two examples. Note that neither of these appear on BookWalker’s search suggestions, meaning only one thing: THEY ARE NOT FOR YOUNG’UNS. For fairness sake, both reviews are based on the respective mangas’ first two volumes. 


Back When You Called Us Devils

In this messed up manga, you have the most generic-looking kid imaginable: Yusuke Saito. Apparently, looks are deceiving. He’s been coming down with amnesia, but it isn’t long before some people show up who claim that he was a very, VERY horrible person in his past. 

And I mean horrible. Basically, the most messed up things you can think of, Yusuke allegedly did. I don’t even want to write the words for them, so here’s a basic TL;DR of his crimes: Goblin Slayer Episode 1. No, that’s not hyperbole. I have a good enough grasp of reality and fiction to not get messed up by it, but that doesn’t mean it won’t mess you up.

The main conflict is to get Yusuke to remember everything he did. Fortunately, helping him is his childhood friend who also happens to be one of his alleged victims: Aizawa Yojiro. Since Aizawa actually knows Yusuke, the process is simple: go to the places relevant to his past and jog his memory in said places. The story is fun (albeit a bit messed up), and I’m curious to see where it goes.

The hardest sell of Back When You Called Us Devils is no doubt the characters. If you couldn’t tell, everyone is basically evil. It doesn’t take long for you to find out that Yusuke is indeed what his victims claim him to be, but it feels very unrealistic for a kid to just be like that without the full story. Aizawa is Mr. Ends-Justify-the-Means, and does not hesitate to commit equally bad crimes if he darn well feels like it. Even Yusuke’s favorite victim, Akari Ichinose—whom he supposedly murdered (they have yet to show her dead body, which is a classic trope in pretty much all media)—is pretty messed up as well. She had some bizarre relationship with him where she lets him do whatever he wants to her and hopes it breaks him somehow? It’s something I can’t really describe, honestly; you’ll have to read the manga to find out!

The art is what it should be for this type of manga. It has a sketchy style, and the character design gives me a very 1990s manga vibe for some reason. Thankfully, a lot of the expressions are relatively subdued; a very rare design choice in this medium. Overall, it looks great.

Current Verdict: 8.5/10


My Dearest Self With Malice Aforethought

This manga ended up being, by sheer coincidence, similar to Back When You Called Us Devils; the main protagonist, Eiji Urashima, is also haunted by a dark past that’s about to bite him in the butt. But unlike the other guy, the reason is pretty well-known: he’s the son of LL, a serial killer. Eiji has been able to live a normal life, but he suddenly starts experiencing time-skips. The reason for this is B1, a split personality that seems to be more-or-less following in his father’s footsteps. Eiji now must find the truth behind, well, himself.

Dearest Self ends up, arguably, being more suspenseful than the other manga. Back When You Called Us Devils is built entirely around the anticipation of learning Yusuke’s past, the suspense being in us not knowing information. Here, however, we are fed new information relatively quickly. After all, we’re seeing the consequences of B1’s actions in real time. And every time we’re given that new information, it has the same “Oh crap” feeling that makes suspense good. There’s also a lot more action to boot.

The characters are, sadly, not too spectacular. Eiji is your typical thriller protagonist, where he starts off as super timid, but ends up becoming more and more like B1 as he’s forced to do uncouth things in order to find the truth. The most likeable character is this one loli whose name I actually forgot… oops. Basically, she’s that weird girl who’s super big-brain and knows how to do a lot of unconventional stuff that just so happens to be helpful in plot progression.

The art, for the most part, is much more modern than Back When You Called Us Devils. The eyes are very detailed, and there are a lot more instances of crosshatching and distortion effects. The faces are a bit more exaggerated, however.

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Current Verdict: 8.65/10


Conclusion

These were both very fun, and dark manga that will probably never get anime adaptations. Of course, Naoki Urasawa can eat these for breakfast. But at the very least, these will do fine to tide you over if you’re waiting on more Asadora! to release. In fact, that’s basically why I decided to read these in the first place. Since both are finished in Japan, I should be able to put out full reviews of them sometime next year!

Danganronpa Meets… Soccer?!: Blue Lock First Impressions (Volumes 1-3)

Most sports manga tend to be the same from beginning to end (even if Haikyuu!! was VERY different toward the end but that’s only like 15% of the story). It’s the usual thing: school is in the dumps, some special kids meet up at said school, bonds form, and in an inexplicable upset, said school is fighting the world champion team. But if you couldn’t tell from the fact that the cover of today’s manga, Blue Lock, shows characters with an eerie blood lust in their eyes, along with cuffs around their necks… this one’s a bit different across the board.

In Blue Lock, Japan’s soccer team has suffered a crippling loss at the 2018 World Cup. Since sports arbitrarily govern a nation’s entire dignity, we can’t have that crap anymore. So, in an act of desperation, an eccentric coach named Jinpachi Ego is hired to lead the final charge. But if you couldn’t tell from his name, Ego’s approach is pretty unconventional. He builds a brutal training facility, the titular Blue Lock, and hires three hundred promising strikers. In this facility, they don’t train together, but against each other, and only one of these kids can graduate from Blue Lock as supposedly the world’s greatest striker. Our main protagonist, Yoichi Isagi, is one such striker. And after experiencing a brutal loss because he chose to pass to a teammate at a critical moment, he kind of picks up what Ego is putting down.

Just one thing I need to get out there first: I love and hate this premise. I love the premise because, from a storytelling standpoint, it’s a pretty awesome idea. Soccer is the perfect sport to tackle this mindset of playing, since there really is no need for anyone but someone who can score points. The manga quotes real soccer players such as Pelé, who bizarrely enough, support this idea (unless this is an alternate universe where Pelé didn’t actually say that at all). On the flipside, I hate the premise because it’s cynical. I don’t need to read another review of Blue Lock because I know people enough to know what they’re gonna say: “This manga is so much better than other sports manga because it’s darker, which is more realistic, since there is never ever any happiness in real life.” Good thing I abandoned MyAnimeList when I did!

So far, Blue Lock does a great job at building anticipation, probably better than any sports manga I’ve read. This is done in Ego’s relatively quick exposition dump on how Blue Lock is set up. It’s divided into five wings, each of which have five groups of eleven kids who are on the same team. It seems that, over the course of the manga, these teams will compete with other teams within their wing, and eventually with the top teams from the other wings. And if my context clues are correct, this will eventually lead to some kind of knockout round between the team of eleven that comes out on top of that kerfuffle. By that point, those characters will have been fighting side-by-side the whole time, and now have to turn on each other. Of course, this is all speculation, since the manga’s barely even started.

So far, Blue Lock’s weakest aspect is its characters. Normally, sports mangas’ casts start off as pretty basic, but become super likeable down the road. However, due to the whole “ego” theme, I do not see the cast of Blue Lock being very likable in the typical sports manga fashion. Of course, with me being the lunatic that I am (what with loving narcissists like Senku), I see the possibility of Blue Lock having my favorite sports manga cast of all time. Yoichi, so far, is sadly the generic character who has the ability no one else has for no reason. The others also seem kind of generic, but time could easily mend that. I anticipate the fan-favorite to be Bachira. He’s the eccentric, mysterious character who takes a liking to the main protagonist (so, basically, he’s Nagito). I also like Coach Ego, for obvious reasons.

No sports manga is worth its salt without awesome art, and Blue Lock does not disappoint. Like the cover art, it’s full of insanity and bloodlust. As with any edgy, psychological series, there is no shortage of exaggerated, creepy faces. The action shots are spectacular, as expected from a manga like this.

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Current Verdict: 9/10

As cynical as it is, Blue Lock is shaping up to be a fantastic sports manga. In fact, I’d already consider it my favorite since Haikyuu!! And if it continues to grow at its current rate, I think it could surpass even that. I recommend it if you’re a critic of sports manga and like psychological stuff.

ASHIDAKA – The Iron Hero: More Like “The All-Caps Hero” (First Impressions, Volumes 1 and 2)

I’m not one to normally read a new series just over a year after serialization. My first impressions of ASHIDAKA – The Iron Hero consist of the first two volumes, but that could end up being half or two-thirds of the story. A lot of manga, especially battle shounen, tend to get axed as swiftly and mercilessly as a Danganronpa character. But sometimes you gotta live life on the edge, and by the edge, I mean invest early in something that could easily get cancelled even after a cliffhanger. 

In ASHIDAKA – The Iron Hero, the world is full of robots called droids. Fortunately, people in this world are naturally born with two cybernetic arms coming out of their shoulder blades. However, because we HAVE to have racism, anyone who has more than one pair of arms is considered to be in league with Satan, and are persecuted. The titular Ashidaka (whose name is thankfully not in all caps like the title) is named after the Moses of this world, and he inevitably ends up on a mission to take down Mecha Satan (henceforth known as the Centipede). 

The immediate issue with ASHIDAKA is that it kind of dumps a ton of crap on you at once. It jumps right into combat when you don’t even know how anything works yet, you get a Biblical lore dump, Centipede destroys Ashidaka’s hometown that you’re expected to have an emotional attachment toward over the course of five minutes, and he’s roped into some secret Anti-Centipede resistance. Yeah, it’s a lot. 

There are also some things that seem inconsistent to me, but it could be because of either the fast pacing, or the mangaka didn’t put much thought into the story. For example, why are people racist against those with four or more arms when the specific count has to be a hundred in order to be Satanic? I feel like that was just thrown in there just to be symbolic for the sake of symbolism. There’s also someone who’s a massive jerk to Ashidaka exactly one time for what seems like nothing more than shock value. Maybe if the manga runs long enough it’ll get to flesh this stuff out.

Another sad thing is that the writing is pretty bare-bones. It’s not as copy-paste as Kimetsu no Yaiba (which I may or not be saying out of spite against Kimetsu no Yaiba but I digress), but it’s enough to where you could probably read the Japanese version and more-or-less know exactly what’s going on. It’s a real shame, since it looks like it has potential to have a pretty good story moving forward.

The big plus with ASHIDAKA is definitely the arms. Usually, only one character in a series would have robot arms, but for that to be the standard for everyone in the world makes it a bit more interesting. There are many types of arms, along with a whole bunch of rules that will likely be amended on the fly because battle shounen love doing that. At least they look cool; that’s what matters most!

Unfortunately, that doesn’t help the characters. Similar to Musashi from Orient, among others, Ashidaka is a case of a “shounen protagonist in a seinen world”. He has absolutely zero rationality, and will throw a hissy fit if anyone dies for any reason, even if it’s for the greater good. He aims to find a less costly way of fighting, but that’s definitely not going to come into play for a while.

Supporting him is Geji, who is a bit more composed, even if he is super abrasive. And honestly, that’s kind of it so far. There’s several people in the aforementioned resistance movement, but they all consist of extremely basic tropes. At least they look cool?

Speaking of looks, ASHIDAKA is decent enough in the art department. The fights are flashy, but it can be tough to tell what’s going on since everything has robot parts.

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Current Verdict: 6/10

ASHIDAKA – The Iron Hero is nothing spectacular so far. But hey, I only read two volumes. Hopefully, it’ll get better in the future.

Attack on Titan: A Mainstream Series That I… Love?

Preface: If you’re wondering how I already have a review of Attack on Titan the day after it finished, don’t worry; I didn’t pirate it! There are official channels through which to finish this manga right now, at least in the U.S. One is to read the last leg of it on Crunchyroll’s manga tab that they actually updated after the death of Flash even though most people never use it. Alternatively, you can buy the remaining chapters on BookWalker for about 2 USD each. Of course, you’ll have to have read all thirty-two currently published U.S. releases for it to work. But you know what, at least you’d be supporting the actual creator!


There are types of stories that have existed since the dawn of man. Romance, for example, as full of BS as it is, is one of the most enduring story types of all time. Stories like Hajime Isayama’s Attack on Titan are insanely common; plucky teens thrust into a world of strife against some “mysterious enemy” that the main character “happens” to be “special” enough to save the world from. However, Attack on Titan is probably one of the best variations of this story ever created. And here’s why.

The plot is nothing new. We have the Titans—the “mysterious enemy”—ravaging mankind and driving them into hiding behind some walls (“But what about the possibility of an AERIAL ATTACK?!” Squidward Tentacles exclaims). After the designated first-chapter-death, the “plucky teens” join the designated “cool fighter people” and, well, fight the Titans.

I’m gonna tell you straight. You likely already know what’s going to happen, thankfully minus the dumb romance sideplot. As much as this series excels at foreshadowing and build-up, you don’t need it. If you’ve read stuff like this before, then you can probably make several ballpark guesses on what the low-down of this manga’s world is and at least one guess would probably be correct.

But you know what, strong execution beats lack of originality. The rules of how the different units of the military work are all thought out (even if the Survey Corps are the only ones who matter), the “parkour gear” or whatever it’s called is one of the coolest things I have ever seen, and there’s always something engaging going on in terms of plot progress. Even during a later arc that is notorious for its utter lack of Titan combat, the manga consistently keeps the momentum going.

Most of the time, I’m not a fan of “human” characters. But unlike cardboard boxes such as Rimuru Tempest from TenSura, Isayama actually seems to understand the definition OF a human being in the first place, especially what it’s like to be a teenager who has to live in a world of despair, and to have their perception of their established facts of life turned upside down numerous times. Wow, that was all one sentence…

First off, the three main characters—Eren, Armin, and Mikasa—somehow manage to maintain a relatively platonic relationship throughout the whole series. Two male characters and one female character, all of which are childhood friends, is a perfect love triangle, and any [bad] YA author would’ve done it in a heartbeat and ruined the story forever. Mikasa clearly has some level of “thing”-ness for Eren, but it’s seldom ham-fisted into your face but instead shown visually merely by the scarf that she wears; a gift from him when they first met. The fourth main character is Best Boy Levi, who is raw badassery and intellect rolled into one handsome boy. What’s there to dislike? The supporting cast is also phenomenal. From gambit-happy Erwin Smith, to potato-eating Sasha Blouse, to Actual Best Girl Krista, these kids are surprisingly easy to love.

This manga warrants a reread, because re-experiencing the story by watching the anime from the beginning, after having read past chapter ninety, really shows how organically they have developed over time. I cringed at the first episode, at Eren’s incessant whining, thinking, “Is this really the SAME GUY who I grew emotionally attached to?” THIS is character development at its finest.

“Rough around the edges” is an understatement for the art in this manga. Based on the “rules of art” that have been established over the years, Attack on Titan has “objectively” bad art. It’s not smooth nor crisp, but for me, it somehow “works” (It’s as if art was never meant to be assigned rules to begin with…).

If there is one “rule of art” that it follows, it’s gesture drawing. The many (MANY) tiny strokes in Isayama’s technique helps to convey motion in a spectacular fashion. I didn’t need the anime’s sakuga to feel the force of the parkour gear as our intrepid heroes flew through cities and forests, striking Titans as they went. All this in addition to his great sense of good panelwork makes Attack on Titan a tightly paced read. Not even the dialogue-driven chapters feel like a waste of time.

For the last paragraph, I’ll touch on the one thing that always ends up being divisive for long-running battle shounen series: the final act. Don’t worry; I’ll word it in the least spoilery way possible. Late-ish in Attack on Titan, an epic battle—one of the best in the series—unfolds in spectacular glory. But the aftermath opens up a can of worms that drastically changes the entire tone of the manga. Although it is still a great arc, the biggest problem is that it introduces a metric ton of new characters that I honestly didn’t care about, let alone remember their names in the first place. It also didn’t help that this was the arc where I had caught up on the most recent chapters, and ended up playing the waiting game most often. Since I’m always pressed for time, I can’t reread volumes to make sure I still remember stuff. 

And honestly, like a lot of long battle shounen, the plot gets pretty complicated. There’s even the possibility that it was retconned at some point. But you know what, I still love this manga to death. You gotta give mangakas some benefit of the doubt, since a lot of them are forced to make this stuff up as they go along. No matter how confusing it got, I still loved Attack on Titan all the way through. Isayama knows how to make a story feel engaging regardless of what’s happening. That takes talent.

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Final Verdict: 9.8/10

Attack on Titan is one of my favorite manga of all time. Isayama draws (no pun intended) influence from the very best of Western culture, without using any of the BS, to make a fantastic battle shounen series that miraculously maintains a consistent state of cohesion for a decade-long runtime. I’d recommend it if you want a shounen series that’s light on the fanservice, but I also just recommend it in general. The biggest issue will likely be the art if it doesn’t suit your tastes, but other than that this manga is a masterpiece through and through.

Peach Boy Riverside: Not Your Grandma’s Momotaro (First Impressions, Volumes 1-3)

This was a spur-of-the-moment decision for me. Normally, I tend to have a bulk of blog posts ready to go well in advance. But at the start of this year, I really dropped the ball. I started a lot of reviews but had no intention to post until the respective series were finished, like The Owl House for instance. I decided to pick up Peach Boy Riverside for three reasons: it’s by the creator of Miss Kobayashi’s Dragon Maid (even if the artist is different), it’s getting an anime that I can hope to ride the hype of, and it’s about the legendary Momotaro… to an extent. 

In Peach Boy Riverside, Princess Saltherine (henceforth known as Sally) wants to go on a journey, despite her overprotective dad. Fortunately, a pretty-boy named Mikoto shows up and sweeps her off her feet. The thing is that he’s someone who came from a peach, and killed a bunch of ogres (yes they localized the name “oni” for some reason). 

Despite how shoujo the manga looks, Peach Boy Riverside ends up being very shounen, and surprisingly edgy. It’s pretty normal stuff for the most part, but when Mikoto gets serious, he gets all “SAO-villain-y” and has upside-down hearts in his eyes. 

To be brutally honest, the manga up to what I’ve read has been a pretty typical shounen fantasy. It starts off with being completely aloof, then Sally is suddenly like “I’m going to end all racism!” The Momotaro aspect isn’t even evident, beyond the whole “boy who fights oni” thing. The world doesn’t feel defined enough to even tell if it’s an alternate Japan or a straight-up fantasy realm.

And, of course, I wasn’t particularly fond of the cast. Mikoto is the bread and butter of this thing, because pretty-boys are popular and he’s super strong. He is kind of an ass, which sets him apart from other men of his ilk, but that doesn’t make him any more remarkable. In addition to him is Sally, who is pretty much your typical power fantasy girl, and Frau, a bunny girl who’s basically one of those tragic waifus that you’re supposed to fry buckets for. Volume two introduces a female ogre who ends up being named Carrot after going through the whole shounen “from bad to good” thing, but so far, she’s merely been the peanut gallery.

The art, sadly, is not by Coolkyoushinja, but someone else who’s nowhere near as good. The manga has a very basic, standard look with very “stock”-looking character designs across the board. The action looks nice, but even that is outclassed by other series.

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Current Verdict: 7.35/10

Peach Boy Riverside isn’t awful, but it’s not that engaging right now. Mikoto being a creep, and the unsubtle social commentary, are more-or-less what this manga is running on, and it could peter out at any moment. I recommend it if you like TenSura, since Mikoto is the same type of character as Rimuru.

Chainsaw Man: Too Seinen for Shounen Jump?!

It’s no secret that Weekly Shounen Jump has not had the best run in the late 2010s. The newest manga by Naruto’s author got axed, among MANY other 2019 and 2020 debuts. And when they actually had a good series, it would either end off on a bad note (Shokugeki no Soma), or one of its writers would end up being a felon (ACT-AGE). But one series managed to be a standout franchise until the bitter end: Chainsaw Man, published in English by Viz. I gave it a good word in my First Impressions. Let’s see if it’s held out.

In Chainsaw Man, a dreg named Denji makes a living by hunting devils, with the help of a chainsaw-dog-devil named Pochita. But “makes a living” can be read as “barely scraping by”, for he’s shouldering a serious debt from his late father. However, when he’s almost cut to pieces, he fuses with Pochita and becomes a chainsaw man, after which he is taken under the wing of Makima, a beautiful girl from an official team of devil hunters.

Chainsaw Man is, for the most part, a very straightforward manga. The plot is very traditional shounen at first: bad guy appears, kill it, then wait for the next one. Denji’s heart becomes a major MacGuffin, but we aren’t informed of why for a pretty long time. Things heat up in the second half, and by the final third, it goes absolutely berserk with insanity.

What makes Chainsaw Man a great manga is its characters. The mangaka takes common shounen tropes and puts a seinen twist on them with Denji and the people around him. Denji himself seems to be a generic, self-insert shounen protagonist, but he’s more complicated than that. He’s very attracted to women, but he at least tries to maintain his feelings for Makima, despite the amount of other beautiful women who tempt him. I don’t like using the word “human” to describe a character, but it’s done exceptionally well with Denji. He’s an innocent kid thrust into an adult world, and his simple-mindedness made me sympathize with him.

The other thing is that the women in his life subvert common conventions as well, especially with Makima. Us readers are informed very early on of how suspicious she is. But Denji doesn’t know any of it, and he’s naively in love with her. Unfortunately, she takes advantage of his love for her to essentially exploit him, which I think is a great commentary on the idea of waifus in general. 

Of course, Makima ain’t crap compared to Best Girl Power. She’s just… effing awesome. She’s like the best friend that you’re so close to that you just start busting each other’s chops. Her chemistry with Denji is one of the best I’ve seen in all of Jump. Sadly, I didn’t really care for the rest of the protagonists. For one, I forgot a lot of their names, which is a bad sign for me. Fortunately, the antagonists are as fun as they are plentiful. They have some of the more memorable character designs and personalities, especially compared to the supporting protagonists. 

Somehow, I went almost the entire review without discussing exactly why Chainsaw Man is big (or would be if it weren’t for Kimetsu no Yaiba). Weekly Shounen Jump has some cute girls with cleavage, but that’s usually about it; the magazine is for early-teens kids after all. Chainsaw Man, however, has R18+ stuff; pretty much everything except for female private parts are shown. The manga is full of extremely visceral gore, and one character just straight-up asks Denji if he wants to have sex. The fact that something like this ran in Jump is insane.

That’s where my biggest gripe with Chainsaw Man lies. Its whole thing is that it’s very mature for a Jump manga. But the thing is—and the reason why I’m posting this so soon—that Chainsaw Man is getting a part two in Shounen Jump+, home to a lot of seinen series, from Jigokuraku to World’s End Harem. As a result, Chainsaw Man loses the one thing that makes it stand out from its ilk. This was probably inevitable because, you know, minors.

Anyhow, the artwork is fantastic. It’s rough, and dirty, with some phenomenal action scenes, and a surprising amount of abstract panels late in the series. The managaka is also able to contrast such insanity with some genuinely heartfelt and emotional scenes. It’s going to be so sad to see this twisted beauty dumbed down in the upcoming anime.

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Final Verdict: 9.15/10

Chainsaw Man is one of my favorite Jump manga of the 2010s. It’s over-the-top, with a lot of quirky characters, and a very alluring charm. Seriously, how in the world did Kimetsu no Yaiba beat this?! I highly recommend Chainsaw Man to anyone who likes their battle shounen super dark and edgy. Hopefully, if Viz licenses the sequel, I’ll be doing a post or two on that!