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Shonen Jump

The Manga Review: Looking Backward

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Buckle up, dear reader; this week’s Manga Review is bursting at the seams!

The first order of business? The best (and worst) of 2022. The Comics Journal recently posted its annual list, polling thirty-three critics, artists, editors, and scholars about their favorite titles. While some of the nominations were predictable—there were a lot of folks praising Kate Beaton’s Ducks—there were also a refreshing number of contributors who discussed their manga-reading habits, among them Ritesh Babu, Helen Chazan, Austin English, Charles Hatfield, Chris Mautner, Joe McCulloch, and Katie Skelly. The Beat’s 30 Best Comics of 2022 had fewer manga entries but offered a more balanced list of mainstream and indie comics, as did The Mary Sue, which gave nods to Junji Ito and Yamada Murasaki in its list of the 30 Best Comics and Graphic Novels of 2022, and From Cover to Cover, which named Gengoroh Tagame’s Our Colors among the year’s best titles. Perhaps the most interesting list was Polygon’s 10 Best Comics of 2022, which gave shout-outs to Look Back and Yokohama Kaidashi Kikou as well as Jamilla Rowser and Robyn Smith’s Wash Day Diaries.

Readers in search of manga-only lists will find plenty to choose from, including Okazu’s Best Yuri of 2022, But Why Tho’s Top BL Manga of 2022, and Anime UK News’s favorite Manga, Manhwha, and Light Novels of 2022. Also worth a look: Asian Movie Pulse’s 10 Best Manga Releases of 2022, Beneath the Tangles’ Best Manga of 2022, Bounding Into Comics’ Top 10 New Manga Series of 2022, CBR’s Best New & Ongoing Manga of 2022, Game Rant’s 10 Best Manga of 2022, The Outerhaven’s Top 5 Manga of 2022, and Screen Rant’s 10 Best Manga of 2022. Last but not least, I posted my first Best and Worst Manga list in… (checks notes) seven years, focusing on the titles that most delighted and annoyed me in 2022.

NEWS…

Did you know the New York Times has revived its Graphic Books and Manga Bestseller List? (Me, neither.) By whatever metrics they’re using, Chainsaw Man and Shuna’s Journey are selling briskly but not as well as Dav Pilkey’s perennially popular Cat Kid and Dog Man series. [The New York Times]

To mark the twentieth anniversary of Yuricon, Erica Friedman is moving the event online and reimagining the format “as a series of presentations and panels to be held online throughout the year on Yuri Studio.” Anyone interested in organizing a panel or giving a presentation at Yuricon 2023 is encouraged to fill out an application at Okazu. [Okazu]

Publishers Weekly compiles its “top-15 most-read articles on comics” and, to no one’s surprise, “Manga Is Booming” topped the list. [PW]

Shonen Jump readers take note: the cost for US subscribers is going up a $1.00/month. Krystallina offers more context for the rate increase, and reflects on the state of the digital manga market. [The OASG]

Wondering what new series you can expect to see at your local bookstore this month? Bill Curtis has you covered with a comprehensive list of January’s manga and light novel releases. [Yatta-Tachi]

…AND VIEWS

Fatimah explains why Tenmaku no Jendoogar (A Witch’s Life in Mongol) deserves an English-language release. The title, which won a 2023 Kono Manga ga Sugoi Award, focuses on an Iranian girl “who’s a captive of the Mongol Empire and uses her education to her advantage.” Fatimah provides insight into the time period in which the story takes place, discusses one of the real-life characters who appears in the story, and praises the artwork for its graceful fusion of Japanese and Persian sensibilities. [Saffron Apple Pie Manga Recs]

In a generously illustrated essay, Leo Flemisch argues that “few cartoonists have explored what it means to exit childhood as profoundly as Japanese manga artist Taiyō Matsumoto.” [SOLRAD]

Marcel Green compares Shonen Jump‘s most recent crop of titles with older series and notices that the magazine has shifted away from stories that “center on an individual’s quest for glory or redemption” to stories that “focus on the individual’s connection with their family.” [Screen Rant]

Ana Diaz explains why fans of the Chainsaw Man anime should read the manga, too. [Polygon]

Over at Drop-In to Manga, Tony Yao uses the teacher-student dynamic in Akane-banashi as a jumping-off point for exploring mental myopia. [Drop-In to Manga]

Cy Catwell offers a thoughtful reflection on why I Am a Wall mattered to them in 2022. “Trauma is a vicious thing, and yet I Want to Be a Wall is a reminder that trauma has an opposite: healing,” they write. “This is the crux of I Want to Be a Wall’s narrative, a reminder that there are ways to be happy, ways to survive and even thrive in the world when healing is centered, when you no longer are forced to always feel strange.” [Anime Feminist]

LISTENING IN

Over at Manga Machinations, Seamus, Morgana, Darfox8, and dakazu unveil the winners of their Best Manga of 2022 Awards in categories ranging from Most Enjoyable to There’s Still Hope. [Manga Machinations]

Not to be outdone, David and Jordan hand out “the most prestigious awards in canceled manga – The Shonen Flop Awards aka The Floppies,” naming their favorite—and least favorite—titles of the year. [Shonen Flop]

Also weighing in on the year’s best manga are Ray and Gee, hosts of Read Right to Left. [Read Right to Left]

Justin and Helen close out 2022 with a look at the year’s weirdest anime and manga news. [The OASG Podcast]

For their final podcast of 2022, Elliot and Andy look at two fantasy series: Reincarnated as a Sword and Colorless. [Screentone Club]

Manga Mavericks Colton and Lum weigh in on four new series available on the Shonen Jump website: The Ichinose Family’s Deadly Sins, Cipher Academy, Ichigoki’s Under Control!!, and Fabricant 100. [The Manga Mavericks]

The dynamic duo of Ed Piskor and Jim Rugg take a deep dive into GENGA: Otomo Katsuhiro Original Pictures. First published in 2012, GENGA offers readers insight into Otomo’s approach to character design and layout, as well as rare glimpses of his work as a commercial illustrator. [Cartoonist Kayfabe]

REVIEWS

Johanna Draper Carlson explains why she doesn’t make the recipes in What Did You Eat Yesterday?, while Jaime explains why she found A Tropical Fish Yearns for Snow disappointing. On the capsule review front, the staff at Beneath the Tangles offer pithy assessments of Dandadan, My Gently Raised Beast, and SHY, my Manga Bookshelf colleagues weigh in on Captain Corinth, Skip and Loafer, and Usotoki Rhetoric, and WWAC’s Carrie McClain tackles the latest crop of manga and light novels from Seven Seas.

New and Noteworthy

Complete and Ongoing Series

The Manga Review, 11/18/22

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Last week, ICv2 publisher Milton Griepp sat down for a lengthy conversation with Dark Horse Comics’ CEO Mike Richardson. The two discussed the company’s history–particularly its early investment in manga–as well as current trends in graphic novel sales. Among Richardson’s most interesting revelations was that a significant portion of Dark Horse’s business is happening outside of comic book stores. “85% of our sales are found in traditional bookstores,” he notes. “We’ve been told by PRH (Penguin Random House) that we consistently outsell Marvel and DC in bookstores and it’s bookstores that have pushed Dark Horse sales over nine figures.” Richardson also expressed his frustration with the media’s tendency to report Diamond Distributor figures as an accurate indicator of comic book sales. “Last I checked, we had sold almost five million copies of Berserk,” he notes. “Yes, that’s what I said, and we have a number of books that have sold seven figures.  None of them are included in the Diamond market share because we don’t distribute our books through Diamond.”

NEWS AND VIEWS

Jocelyne Allen explains the appeal of Asada Nemui’s Sleeping Dead, a new entry in the growing sub-genre of zombie BL. “I honestly love every page of this,” she notes. “There’s really not a wasted panel, and while I’m not one hundred percent on board with the explanation for the zombie effect, I am here for the actual zombie action. The developing relationship between mad scientist and zombie is fascinating, especially with the bumps in the road as they each discover things about themselves, and I seriously can’t wait to see how this story resolves in the second volume, which came out only recently.” [Brain vs. Book]

VIZ has just added a new Shonen Jump title to its line-up: The Ichinose Family’s Deadly Sins. The story focuses on a middle-school student who’s reunited with his family after an accident wipes his memory. The catch? His family seems to harboring some big secrets from him! The first chapter is available online. [VIZ]

On the fifteenth anniversary of its original publication, Kara Dennison revisits the first volume of Takashi Okazaki’s Afro-Samurai. [Otaku USA]

Congratulations to SKJAM! Reviews for ten years of thoughtful manga, movie, television, and book reviews; that’s a milestone worth celebrating! [SKJAM! Reviews]

Morgana Santilli leads a spirited roundtable discussion of three shojo titles: MARS, Midnight Secretary, and Ouran High School Host Club. [Manga Machinations]

In the latest installment of Multiversity Manga Club, Walt Richardson, Emily Myers, and Zach Wilkerson recap chapters 956-981 of One Piece. [Multiversity Manga Club]

ICYMI: Hagai Palevsky deconstructs Yuichi Yokoyama’s Plaza. “Such a project is perfect for Yokoyama, as a cartoonist who is interested in the temporality and kinesis of comics and completely uninterested in narrative components such as emotion and character development,” Palevsky observes. “It is elevated by his careful balance between the overall simplicity of lines and the density of objects: he does not bother with overwrought rendering, making do with economic recognizability of objects and putting most of his efforts into a ‘clutter’ both tangible and sensory. There is a lot going on in every single panel, but there is always an order to it, a clarity that rearranges the space in the eyes of the cooperative reader.” [Solrad]

REVIEWS

Over at Okazu, Erica Friedman explains how you should read Tatsuki Fujimoto’s Look Back. “Read it slowly. Pay attention to the details,” she advises. “It’s a slim volume, and not terribly complicated in terms of concept. In fact, I’d call this a very typical ‘the second story a manga artist does after their series goes mega-hit and they need to write about creating manga’ manga. But it is loaded to the gills with feels.” Also worth a look: Sarah offers a frank (and fair!) assessment of The Poe Clan‘s second volume, while Bradathon Nu critiques Tatsuki Fujimoto’s newest one-shot Just Listen to the Song. On the capsule review front, Masha Zhdanova looks at three new VIZ titles, while the gang at Beneath the Tangles offer short-n-sweet assessments of Rooster Fighter, The Remarried Empress, and Tower of God.

The Manga Review, 11/4/22

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This week’s biggest news story: Kadokawa has purchased Anime News Network. On November 1st, publisher Christopher MacDonald posted an open letter to ANN’s readership to reassure them that the site’s “editorial independence is contractually guaranteed,” and explain that the biggest changes would be in the site itself, not the content. “KWE will be investing significantly in ANN’s software development,” he noted. “A number of new projects will be launched, and a number of projects that have been stuck in development for way too long will be prioritized.” As expected, reader reactions were mixed, with some posting congratulations, and others voicing skepticism about having a major Japanese publisher as a corporate parent. “Yeah, gonna be tough to trust reviews for Kadokawa stuff now,” opined user Albion Hero. “You can say all you want about ‘we will keep our independence’ but its [sic] been long proven that companies that own sites and magazines don’t like those reviews to be critical of their products… Seen this same song and dance plenty of times in gaming media. All the staff say how good their new corporate overlords are, and how they will keep their independence and all. Then 2 years later all the staff is gone and the site no longer has their original integrity.” They concluded: “Would love to be proven wrong but I’ve seen this story too many times.”

NEWS AND VIEWS

Earlier this week, Seven Seas unveiled a fresh crop of licenses, among them Homonculus, a horror series from the creator of Ichi the Killer; Soara and the House of Monsters, a fantasy manga; and Cat on the Hero’s Lap, a comedy about a warrior whose efforts to save his homeland from destruction are thwarted by a cute cat. [Seven Seas]

In other licensing news, Azuki announced two new acquisitions: BLITZ, a sports manga set in the world of competitive chess, and Zombie Makeout Club, a horror manga about–you guessed it–a teenage zombie. [Azuki]

The October 2022 NPD Bookscan numbers are in, and once again Spy x Family, My Hero Academia, and Chainsaw Man dominated the Top 20 Adult Graphic Novels chart. [ICv2]

Bill Curtis posts a complete list of manga and light novels scheduled for a November 2022 release. [Yatta Tachi]

If you’re an avid sports manga enthusiast, you’ll want to check out the newly launched Sports Baka substack, where you’ll find essays on Hajime no Ippo, Dive!!, Days, Ryman’s Club and more. [Sports Baka]

The Manga Mavericks dedicate their latest episode to Red Sprite, a Shonen Jump title from 2019. [Manga Mavericks]

On the latest episode of Shojo & Tell, Ashley and Asher critique Skull-Faced Bookseller Honda-san. [Shojo & Tell]

Walt Richardson and Emily Myers dissect the October 2022 issue of Shonen Jump. [Multiversity Manga Club]

In keeping with the Halloween spirit, Gee and Ray explore the highs and lows of Junji Ito‘s extensive catalog. [Read Right to Left]

Parents, teachers, and librarians interested in learning more about yokai manga will find Brigid Alverson’s latest article for the School Library Journal a helpful resource; not only does she delve into the history of the genre, she also compiles a list of age-appropriate titles for kids, tweens, and teens. [School Library Journal]

Over at TCJ, Ritesh Babu and Ari Gardner interview Juan Albarran, a Spanish artist who’s currently working with Shoji Fujimoto on Matagi Gunner, a seinen action series about “an elderly rural hunter who proves unexpectedly skilled at video game first-person shooters, and soon becomes embroiled in the colorful world of e-gaming.” [The Comics Journal]

Max explains how BL manga such as Go For It, Nakamura! offered him an alternative model of masculinity. “I could be kind, thoughtful, and cute like the boys in BL anime and manga,” he notes. “Maybe some people wouldn’t understand, but I’d always have BL to reassure me that there was nothing wrong with me, and that it was okay to be myself.” [Anime Feminist]

REVIEWS

It’s a measure of how mainstream Hayao Miyazaki’s work has become that both the New York Times and the New Yorker commissioned reviews of Shuna’s Journey, available in English for the first time this month. Writing for the Times, Susan Napier declares Shuna’s Journey “eerie, enchanting, and surpassingly strange,” while Sam Thielman observes that “Shuna’s Journey moves and surprises because of the reader’s disorientation at being dropped into a world that is both generously detailed and miserly with explanations.”

New and Noteworthy

Complete and Ongoing Series

The Manga Review, 7/8/22

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By now, if you’ve been on Twitter or Facebook, you’ve undoubtedly learned that Kazuki Takahashi died on Wednesday. Media outlets from National Public Radio to the New York Times, the Los Angeles Times, and Anime News Network have been covering the story, reporting the probable cause of death as a diving accident. Takahashi was a major force in the manga industry; his Yu-Gi-Oh! (1996-2004) spawned a veritable empire of television shows, movies, games, sequels, and merchandise, and remained popular with readers more than eighteen years after the original series ended. More recently, Takahashi published The ComiQ (2018), a supernatural mystery series, and Marvel’s Secret Reverse (2021), an original Iron Man/Spiderman story.

Since news of Takahashi’s death was first reported, there’s been an outpouring of tributes from fans, journalists, and critics. At Anime UK News, for example, Josh Stevens characterized the series as an important cultural touchstone “for children who grew up in the early 2000s.” He noted that “Sky One’s weekly double-bills of Pokémon and Yu-Gi-Oh! were a highly anticipated reward for making it through the school week, and making sure that you had packed your Yu-Gi-Oh! deck was just as important as textbooks and lunch money.” Over at The Gamer, Jade King fondly remembered collecting and trading Yu-Gi-Oh! cards with classmates: “Yu-Gi-Oh! is really fucking cool. It’s always been that simple. Your social worth was dictated by what cards you were bringing into school and whether you had a deck featuring some of the show’s most iconic creatures.” And comicbook.com’s Megan Peters rounded up fan reactions on social media.

FEATURES AND PODCASTS

The latest installment of Mangasplaining looks at two very manly manga: Kazuo Koike’s classic revenge story Lone Wolf and Cub and MASSIVE: Gay Erotic Manga and the Men Who Make It. [Mangsplaining]

The Manga Machinations gang is also on the Gengoroh Tagame bandwagon this week with a thoughtful discussion of Our Colors. [Manga Machinations]

Walt Richardson, Emily Myers, and Zack Wilkerson do a cover-to-cover review of the June 2022 issue of Shonen Jump. [Multiversity Manga Club Podcast]

Are you a regular reader of Yatta-Tachi? Do you find their monthly listing of light novel and manga releases useful? If so, they could use your support! Click on the link to find out how you can help. [Yatta-Tachi]

Jocelyne Allen takes a closer look at Itoi Nozo’s Boku wa Make Shite Miru Koto ni Shita, an as-yet untranslated manga about a salaryman who discovers the transformative power of serums, skin creams, and make-up. “This is absolutely a makeup-for-men explainer manga, but Itoi manages to imbue it with deeper meaning by adding commentary and a subplot on toxic masculinity and breaking free of that nightmare,” Allen observes. “Ichiro has internalized the message that makeup is only for women, but is trying to push past that. Meanwhile, his best friend is so completely unable to express emotion or see outside of his rigid framework of performative masculinity that he nearly destroys his relationships with the people closest to him. For a book that’s just trying to sell some men some makeup, it does a good job at confronting societal issues.” [Brain vs. Book]

REVIEWS

This week’s must-read review is Erica Friedman’s glowing assessment of Doughnuts Under a Crescent Moon. “Because this is a quiet, ever-so-gentle and tentative, slice-of-life story about emotional bonds and love, it’s easy to be fooled into thinking that nothing of consequence happens,” she notes. “But you’d be wrong. What I see here is some of the most profound manga about re-evaluating one’s entire life that I have ever read.” Also of note is Chris Ready’s brief but thoughtful critique of Witches: The Complete Collection, an anthology of short stories written by Daisuke Igarashi (Children of the Sea).

The Manga Review, 6/10/22

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After Kentarou Miura passed away last year, fans feared that they would never see his long-running saga Berserk reach a proper conclusion. Then on June 7th, artist Kouji Mori announced that he would take the reins from his friend and complete the final story arc. Ryan Dinsdale reports that Mori pledged to “only write the episodes that Miura talked to me about. I will not flesh it out. I will not write episodes that I don’t remember clearly. I will only write the lines and stories that Miura described to me. Of course, it will not be perfect. Still, I think I can almost tell the story that Miura wanted to tell.” The Fantasia Arc/Elf Island Chapter will begin serialization in the June 24th issue of Young Animal magazine.

NEWS

Over at The Comics Journal, Ian Thomas interviews members of the United Workers of Seven Seas about their unionization effort. “At Seven Seas Entertainment we never received basic benefits such as healthcare or 401ks in the first place,” organizers note. “Even with the staff roster going from 10 full-time employees in 2018 to over 40 today, we are stretched to our limit trying to keep up with the volume of work. Like workers in every sector of the entertainment industry, we are burnt out, and unfulfilled promises of “imminent” benefits have worn thin.” [The Comics Journal]

Are you following the UW7S on Twitter? If not, you should; in addition to regular updates about their unionization efforts, they’re also posting great threads about the important work that other labor organizations do. [Twitter]

Brigid Alverson takes a closer look at the May 2022 NPD BookScan chart for the top 20 Adult Graphic Novels. [ICv2]

Kodansha Comics announced that it will be releasing a new edition of Princess Knight and a first edition of Bomba! [Anime News Network] 

Kodansha is also sponsoring a Humble Bundle that includes volumes of Beck: Mongolian Chop Squad, Grand Blue Dreaming, Initial D. Peach Girl, Tokyo Revengers, and Until Your Bones Rot. All proceeds will benefit The Trevor Project, a non-profit that focuses on suicide prevention and crisis intervention for LGBTQ youth. [Humble Bundle]

New title alert: VIZ just began serializing Fusai Naba’s Aliens Area on its Shonen Jump website. [VIZ Media]

And speaking of Shonen Jump, Netflix just posted a sneak peek of its forthcoming live-action adaptation of One Piece. I’ll let you decide for yourself if this project looks good:

FEATURES, INTERVIEWS, AND PODCASTS

Shimada Kazushi profiles the late Abiko Motoo, who, with Hiroshi Fujimoto, created some of postwar Japan’s most popular manga under the pseudonym Fujiko Fujio. [Nippon]

In honor of Sailor Moon‘s thirtieth birthday, Christopher Chiu-Tabet begins an arc-by-arc exploration of the beloved series. [Multiversity Comics]

Tony Yao deconstructs a favorite storyline in Tokyo Revengers, using it to meditate on friendship, self-love, and vulnerability. [Drop-In to Manga]

The dynamic podcasting duo of Elliot and Andy compare notes on two popular romantic comedies: How Do We Relationship? and Ouran High School Host Club. [Screentone Club]

Mike Toole and Joey Weiser join the Manga Mavericks to discuss Akira Toriyama’s under-appreciated masterpiece Dr. Slump. [Manga Mavericks]

If you’ve been on the fence about reading Blue Giant, let the Mangaplainers persuade you to try this entertaining, engaging series about a young saxophonist’s quest to become the next John Coltrane. (Seriously, this series is great–something I almost never say about music manga!) [Mangasplaining]

Looking for a good read? Anna Williams recommends five underrated seinen manga. [CBR]

The folks at Yatta-Tachi just posted a comprehensive list of this month’s light novel and manga releases. [Yatta-Tachi]

Matthew Hill interviews Japanese artist Kyo Machiko about Essential: My #stayhome Diary 2021-2022. “Being a cartoonist is not an ‘Essential’ profession, but imagining, creating, talking to each other, and living an ordinary life are ‘Essential’ things that are essential to living like a human being,” she explains. “I chose the title because I have been thinking about this for a long time with the COVID-19 Disaster. Most people are not ‘Essential’ in their professions, but there is no such thing as a person who doesn’t need to be in this world. By depicting the ordinary lives of ordinary people in the city, I hope to convey the message that all people are indispensable to each other.” [The Comics Journal]

REVIEWS

At Comics Worth Reading, Johanna Draper Carlson posts reviews of I Want to Be a Wall and the “weird but strangely attractive fantasy” The Masterful Cat Is Depressed Again, Today. Erica Friedman praises the twisty plot of Summer Time Rendering. “Its 374 pages have enough twists to appeal to the most hard-core of suspense readers,” she notes. “It made me gasp out loud – more than once! – and kept me glued to the page right through the astonishing end of the volume.” TCJ contributor Leonel Sepúlveda looks at Hideshi Hino’s The Town of Pigs, praising Hino’s ability to create the “feeling of being trapped in a nightmare,” while the crew at Beneath the Tangles posts short reviews of Fangirl, Crimson Prince, Deadpool Samurai, and more.

The Manga Review, 5/20/22

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This year’s Eisner nominations have just been announced. In the Best U.S. Edition of International Material—Asia category, VIZ Media garnered five of the six nominations with crowd-pleasers such as Chainsaw Man and Spy x Family, while Seven Seas nabbed one for Robo Sapiens: Tales of Tomorrow. The only other manga nominated for an Eisner was Zom 100: Bucket List of the Dead, which is competing in the Best Humor Publication category. Also nominated for an Eisner is Eike Exner’s Comics and the Origins of Manga: A Revisionist History, which was published by Rutgers University Press last year.

MANGA NEWS

Big news from Seven Seas! The company has just launched two imprints: Seven Seas BL, which will publish works in the BL/Boys’ Love genre, and Seven Seas GL, which will publish works in the GL/Girls’ Love (yuri) genre. [Seven Seas]

The final chapter in Wataru Hinekure’s My Love Mix-Up! will run in the June issue of Bessatsu Margaret. [Anime News Network]

Brigid Alverson previews three new shonen titles that debut in July. [ICv2]

Over at Book Riot, Carina Pereira highlights eight of the summer’s most anticipated graphic novels. [Book Riot]

How do librarians respond book challenges in their communities? Shawn, Megan, and Tayla offer a variety of helpful strategies for handling complaints about graphic novels, from setting clear policies about who can bring a formal complaint to using peer-reviewed sites to demonstrate that your collection is, in fact, age-appropriate. [No Flying, No Tights]

FEATURES AND INTERVIEWS

Looking for a good read? The crack team at ANN have just posted their Spring 2022 Manga Guide. Look for daily updates through the end of this week. [Anime News Network]

Tony explores the complex friendship between Kaguya Shinomiya and Ai Hayasaka in Kaguya-sama: Love Is War. [Drop-In to Manga]

On the latest Manga Mavericks podcast, host Siddharth Gupta convenes a roundtable discussion about Yona of the Dawn with panelists from Anime Feminist, But Why Tho?!, and Good Friends Anime Club. [Manga Mavericks]

Geremy and Kevin round up the latest Shonen Jump chapters, then turn their attention to volume thirteen of Haikyu!! [Jump Start Weekly]

Why did Nobuhiro Watsuki’s Gun Blaze West get the axe after just three volumes? David and Jordan investigate. [Shonen Flop]

Did you know that Tokyopop’s Warriors fandom is still going strong after fifteen years? Patrick Kuklinksi shines a light on the fan-made comics that explore “parts of the books that weren’t detailed in canon,” re-write controversial storylines, and introduce original characters. [SOLRAD]

Megan D. jumps in the WABAC machine for a look at Rumiko Takashi’s Rumic Theater, a collection of short stories that VIZ published more than twenty-five years ago. “What caught my notice about this anthology is that they all feature something you don’t see a lot of in American manga releases: adult women,” she observes. “Every lead character is either a currently married woman (be they with or without children) or one who was married in the past.  A lot of their stories are small-scale, focused on their homes and their immediate community of friends and family. True to Takahashi fashion, though, they are also often comical”.” [The Manga Test Drive]

REVIEWS

Are you following Al’s Manga Blog? If not, you should: this review-focused website has been publishing insightful, crisply written essays since 2016. Al’s latest offerings include in-depth reviews of The Music of Marie, a new title by Usamaru Furuya (Short Cuts, Genkaku Picasso); Island in a Puddle, a thriller by Kei Sanabe (Erased); and Sakamoto Days, a new Shonen Jump series by Yutu Suzuki.

Also of note: ANN’s Caitlin Moore draws on her own experiences with ADHD in a thoughtful review of My Brain is Different: Stories of ADHD and Other Developmental Disorders, while Masha Zhdanova posts capsule reviews of three new VIZ titles.

Sakamoto Days, Vol. 1

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The opening pages of Sakamoto Days unfold with ruthless efficiency: in just a handful of panels, author Yuto Suzuki shows us how twenty-two-year-old Taro Sakamoto, once Japan’s most “feared and revered” hit man, became Mr. Sakamoto, twenty-seven-year-old husband, father, and shopkeeper. Though Sakamoto seems content being the neighborhood jack-of-all-trades, his former associates view him as a potential threat, dispatching Shin the Clairvoyant to kill him. Shin appears to have the upper hand in this contest–he’s younger, fitter, and, as his name suggests, telepathic–but Sakamoto quickly subdues Shin with a bag of cough drops and a well-timed kick, leaving Shin gasping for breath–and, oddly, eager to join forces with his old rival.

This initial encounter highlights Suzuki’s strengths and weaknesses as a storyteller. In the plus column is Suzuki’s ability to stage a great sight gag, as evidenced by Sakamoto’s MacGuyver-esque ability to transform ordinary objects into powerful weapons. Suzuki also makes the most of Sakamoto’s sangfroid; no matter how chaotic the scene or ridiculous his opponent, Sakamoto never betrays a hint of emotion, making him an excellent foil for the chatty Shin. In the minus column is Suzuki’s fixation with Sakamoto’s weight. Other characters routinely comment on how “out of shape” Sakamoto is, and express surprise at his speed and agility—Shin, for example, initially dismisses Sakamoto as a threat because “he’s gone all tubby now.” One or two comments in this vein are enough to subvert the idea that a skilled assassin needs to be fit to be lethal, but this “joke” is repeated almost every time Sakamoto mixes it up with a new bad guy. 

Art-wise, Suzuki’s style is pleasingly organic, relying more on linework than screentone to create depth and volume. Suzuki compliments this approach with an imaginative use of perspective and panel shape that suggests the controlled frenzy of Sakamoto’s attacks. In chapter three, for example, Shin and Sakamoto attempt to rescue Officer Nakase, a newly-minted cop who’s been kidnapped by a motorcycle gang. Sakamoto uses a smoke bomb to surprise his opponents, then unleashes a series of kicks, body slams, and upper cuts to overwhelm the gang members:


Suzuki presents the fight in a kaleidoscopic fashion, using panels of varying shapes and sizes to show how quickly Sakamoto dispatches his enemies. The density of the images allows Suzuki to compress the action into just a few pages, creating a reading experience that puts the viewer in the middle of the action, watching the fight unfold in something approximating real time–a welcome antidote the bloated, multi-chapter fights scenes characteristic of so many Shonen Jump titles.

If some of the later chapters aren’t as tightly executed as the first, Sakamoto Days nonetheless achieves a good balance between character development and karate-chopping, affording us enough insight into Shin and Sakamoto’s personalities to make their Laurel and Hardy dynamic amusing. Recommended.

SAKAMOTO DAYS, VOL. 1 • ART AND STORY BY YUTO SUZUKI • TRANSLATED BY CAMILLA NIEH • LETTERING BY EVE GRANDT AND SNIR AHARON • VIZ MEDIA • RATED TEEN PLUS (VIOLENCE AND GORE) • 196 pp.

The Manga Review, 5/13/22

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April sales figures are in, and manga continues to dominate the NPD Adult Graphic Novels list. Though the list includes some perennial favorites–Berserk, Demon Slayer, My Hero Academia—Spy x Family saw a big jump in sales after its anime debuted on Crunchyroll last month. ICv2’s Brigid Alverson points out that  “April marks the fourth consecutive month that manga has completely filled the chart of the top 20 Adult graphic novels in the book channel.” Manga sales aren’t quite as robust in comic book stores, but three titles made ComicsHub’s Top 20 Graphic Novels for April: Chainsaw Man (4), Kaiju No. 8 (16), and Spy x Family (20). For additional insights into the current state of the manga, check our Madeline Dunnett’s recent post at Anime News Network.

MANGA NEWS

Kodansha just announced the winners of its 46th annual Manga Awards. [Anime News Network]

With less than three weeks to go, Sam Sattin and Guruhiru’s Kickstarter campaign for Unico: Awakening has exceeded its pledge goal of $50,000. The story is “an homage to the God of Manga’s original messaging of social welfare and eco-consciousness.” [Kickstarter]

Good news for Moto Hagio fans: Fantagraphics will be re-printing the first volume of The Poe Clan this summer. While there’s no official release date for the new edition, the long-awaited second volume will be released on July 26, 2022. [Fantagraphics]

Drawn and Quarterly will be publishing Nejishiki, an anthology of short stories by Yoshiharu Tsuge. Look for it in stores in April 2023. [Drawn and Quarterly]

Earlier this week, Yen Press announced that it will publish Sho Harusono’s Hirano and Kaguira, a spin-off of Sasaki and Miyano. [Yen Press]

Brace yourself: Seven Seas just announced even more new manga licenses! Among the most promising are Polar Bear Café: Collector’s Edition and Ex-Yakuza and Stray Kitten, which is pretty much what it sounds like: a former mobster indulges his softer side by rescuing a cat from the streets. [Seven Seas]

Over at The OASG, Justin and Helen round up the latest anime, manga, and licensing news. [The OASG Podcast]

FEATURES AND INTERVIEWS

Patricia Thang takes issue with the marketing label “manga-inspired,” arguing that “To call a comic ‘manga-inspired’ is akin to me saying, ‘Here’s a painting I did! It’s art-inspired! You’d think (or at least hope) I was joking, right? Because what in the fuck would that even mean?!” [Book Riot]

On the most recent Manga in Your Ears podcast, Kory, Helen, and Apryl dissect two manga by Naoki Urasawa: Sneeze, a short story anthology, and Asadora!, his latest series. [Manga in Your Ears]

Andy and Elliot dedicate the latest episode of the Screentone Club to City Hunter and Goodbye-Eri. [Screentone Club]

Walt Richardson and Emily Myers review the April issue of Shonen Jump. [Multiversity Comics]

The Mangasplainers turn their attention to Kakegurui: Compulsive Gambler, “the smash hit seinen manga that pits trust-fund-teens against one another in battles that cause embarrassment and ecstasy, skirting the line between schadenfreude and sadism!” [Mangasplaining]

As the spring anime season kicks into gear, Silvana Reyes Lopez recommends fifteen “unmissable” manga adaptations, from Chainsaw Man to Kakegurui Twin. [Book Riot]

Wondering what to read after Black Clover wraps up later this year? Christian Markle has a few recommendations. [Honey’s Anime]

Brianna Lawrence argues that Death Note Short Stories is more than just a sequel or a companion to the original series; it’s a thoughtful exploration of “how the government would react if such a terrifying weapon was available.” [The Mary Sue]

In an interview with TCJ’s Alex Deuben, Ken Niimura discusses his latest work, Never Open It: The Taboo Trilogy, which re-tells three of Japan’s most famous folk tales. “What I like about these stories… is that they’re pretty open ended,” Niimura explains. “They can be interpreted in many different ways. For example, there’s what’s considered to be the standard version of ‘The Crane Wife,’ but there are actually different versions depending on the region, the era, with many differences to the characters, the ending, etc…” [The Comics Journal]

REVIEWS

Readers in search of “hallucinogenic” stories might want to check out Keiichi Koike’s Heaven’s Door: Extra Works. “In some of these stories, the scale is pure Akira, but the detail and fluidness of the line are absolutely Moebius,” reviewer James Hepplewhite opines. Speaking of over-the-top manga, Megan D. revisits one of the most ludicrous series Tokyopop ever published: The Qwaser of Stigmata. (No, really; this manga goes to eleven.)

Moriarty the Patriot Vols 1 and 2

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Moriarty the Patriot Volume 1 by Ryosuke Takeuchi and Hikaru Miyoshi

I was intrigued by the concept of Moriarty the Patriot, because I was curious how the manga would flip Moriarty from being the antagonist into being the protagonist of his own story. It turns out that Moriarty has an intrinsically sympathetic goal – full scale class warfare! This first volume details how the evil mastermind Moriarty is adopted into a family of nobles, with a slightly sociopathic older brother named Albert who is determined to wage war against the nobility with the benefit of his younger brother’s genius.

The chapters in this first volume often involve an episodic approach to plot, with Moriarty intervening in the lives of people who’ve been taken advantage of by so-called nobility. His focus on revenge is certainly satisfying, and by the end of the volume, he’s surrounded himself with a core group of companions who are similarly bent on striking back against the British class system.

Moriarty the Patriot Volume 2 Ryosuke Takeuchi and Hikaru Miyoshi

I found this second volume a little less interesting because it had more of the expected story beats that I’d assume would show up in a Holmes adaptation. I was a little disappointed that there wasn’t more Moriarty in this volume. Here the reader sees Takeuchi’s version of Holmes meet Watson and figure out how to deal with his landlady Mrs Hudson. While it was enjoyable, there wasn’t as much dramatic tension because other than his lower class affectation, Holmes is pretty much what one would expect. As Holmes hurdles into his next case, I’m curious to see if he’s going to be at odds with Moriarty once more, and I’m looking forward to seeing what will happen when they start clashing over cases involving spectacularly murdered noblemen.

Chainsaw Man, Vol 1

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Chainsaw Man Volume 1 by Tatsuki Fujimoto

Monster or demon hunting manga is a fairly common shonen manga scenario, but Chainsaw Man keeps it fresh, thanks to the introduction of chainsaws!? Actually Denji starts out in such a difficult situation, it is hard not to sympathize with him. He’s sold off some of his organs like his eye and he struggles every day to piece together a meager living from monster hunting, helped out by his pet demon dog Pochita who manages to look adorable despite having a chainsaw for a nose. Denji dreams of the day that he’ll have enough money to actually put jam on the slice of bread that makes up most of his meals, but it wouldn’t be the first volume of a shonen manga if there weren’t some powered up surprises in store for the hero.

There’s a level of off-kilter humor in Chainsaw Man that I find endearing. I found Denji heading into the woods to cut trees with his dog’s chainsaw nose extremely amusing. When Denji tells Pochita that if anything happens to him, the demon is free to take over his body and live his best life, his dog unexpectedly answers saying “I’ll give you my heart, in exchange show me your dreams.” Denji wakes up with his wounds from a recent attack healed, and a chainsaw pull sticking out of his chest. In some illustrated action sequences that show an impressive command of body horror, Denji cuts his way out of a pile of demons do to his sudden ability to manifest chainsaws on the top of his head and one of his arms. An attractive girl accompanied by additional agents suddenly appears and gives him a hug and introduces herself as a devil hunter for public safety. Makita offers him the choice to be slain as a demon or live as her pet, and she’s willing to provide incredibly yummy breakfasts.

Denji has difficulty integrating into his new Public Safety Demon Hunter squad, with some altercations with a new rival, and some funny slice of live scenes that showcase his unending devotion to jam at breakfast. There’s also plenty of juvenile humor as once Denji has the basics of food and shelter secured he promptly decides that his next mission in life is to touch some boobs. Overall, I found the monster fighting, buckets of gore, and humor in Chainsaw Man plenty amusing. Denji is an incredibly damaged but potentially powerful hero, so I’m definitely intrigued by seeing him chainsaw his way through further adventures.

Jujutsu Kaisen, Vol. 1

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Jujutsu Kaisen Volume 1 by Gege Akutami

Fending off supernatural threats is a shonen staple, so how does Jujutsu Kaisen stack up? It very much felt like an early effort from a mangaka, which it is, but the first volume has a few flashes of humor and a central premise that is both disgusting and entertaining.

jujutsu kaisen volume 1

Yuji Itadori is a teenager who enjoys hanging out with the occult club despite his superhuman strength and speed. He’s being targeted for his athletic abilities by the track coach, but manages to maintain his new supernatural hobby by winning a bet about his shot put abilities. Megumi Fushiguro, a student from another school with actual occult abilities, is investigating the presence of a cursed object when he encounters Yuji and his new friends. It turns out that the occult club has gotten their hands on an artifact that is actually quite cursed, and Yuji and Megumi have to team up to save his friends from demonic destruction. Along the way, Yuji casually eats a demonic finger in order to get cursed energy to fend off the evil spirits. This ends up giving Yuji a semi-manageable case of spirit possession, but also makes him useful to demon hunters because he’s basically a walking container for cursed objects, as long as he eats them. There’s a particular demon who is the source of the cursed digits, and Yuji is going to join a team hunting down the relics of the evil Sakuna.

The art throughout this volume is serviceable but a bit rough, there’s little mobility in the characters’ facial expressions and while the action scenes are easy to follow they’d be a lot more entertaining with some shifts in perspective or more dynamic paneling. I’m curious to see if the art improves more as the series continues to develop. The demons do look appropriately freaky and scary.

Yuji’s motivations for fighting demons are introduced with a lack of subtly. Then again, I guess one does not expect delicately and subtle plot points from a Shonen Jump manga. There were a few moments that I thought were hilarious enough to be engaging. When Yuji is figuring out how many digits he is going to have to consume, the total number is high due to a surprising reason which is tossed off in casual conversation. I also enjoyed Yuji’s low-key approach to performing dramatic physical feats. The end of the volume sets up the new occult fighting team and their sparsely populated high school that has a curriculum dedicated to fighting evil, and it’ll be interesting to see how that develops. Ultimately this first volume reminded me that sometimes one has to give a manga two volumes before deciding to follow a series or not, and that is what I’ll be doing with Jujutsu Kaisen.

Chainsaw Man

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There comes a moment in every manga reader’s journey when they’re no longer dazzled by the sheer variety of genres, styles, or outrageous storylines that an issue of Weekly Shonen Jump or Big Comic Spirits offers—the moment when a manga about killer goldfish or a warrior with lethal nose hair sounds more exhausting than awesome. I reached that milestone around the time I read The Qwaser of Stigmata, a manga so lewdly preposterous I felt uncomfortable even summarizing the plot in my review. So when I heard about Chainsaw Man, a series whose premise is pretty much summed up in the title, I was pretty sure I wasn’t interested in reading it. Then I saw this image:

My first thought was whoa. And then: cool. And so began my Chainsaw Man read-a-thon, an attempt to understand the appeal of this blood-and-testosterone-soaked battle manga.

The character atop the shark is Denji, who begins the story as an ordinary young man struggling to pay off his father’s gambling debts. His only friend is the sweet-faced Pochita, a dog demon with a chainsaw blade where his snout should be. After local mobsters brutally attack Denji, Pochita transfers his demonic powers to Denji, thus enabling Denji to transform from scrawny teen to chainsaw-wielding menace with the pull of a cord. His remarkable abilities attract the interest of Makima, a professional Devil Hunter who recognizes Denji’s potential value as a weapon. Through a mixture of flirtation, cajoling, and threats, Makima recruits Denji for the Public Safety Council, dispatching him to kill monsters.

Going into Chainsaw Man, I was fully prepared for carnage and mayhem and three-eyed sharks. What I didn’t expect were moments of genuine pathos. The interactions between Denji and Pochita, however, are sniffle-inducing, underscoring the poignancy of Pochita’s decision to sacrifice himself for Denji. Later chapters set up an interesting parallel between Denji’s relationship with Pochita and his relationship with Makima, who refers to him as her “dog.” When Denji chafes against the conditions Makima has imposed on their partnership, it spurs a moment of self-reflection about his own treatment of Pochita, making him realize just how much he took Pochita’s companionship for granted.

Of course, no one is reading Chainsaw Man for these kind of emotional beats; they’re hoping for outrageous displays of gore and violence, and on that front, Tatsuki Fujimoto does his utmost to push the boundaries of good taste. Every time Denji reverts to his demonic form, chainsaw blades burst through his chest and head with great clouds of arterial spray, a preview of the even bloodier manner in which he kills his enemies. Though some of the demons are uninspired—how’s a giant bat grab you?—Fujimoto’s most memorable creations are clearly designed to elicit an appreciative “ewww”; the first monster Denji kills, for example, is an enormous tomato devil who looks like something that’s been moldering in the crisper drawer for weeks.

Between the action scenes, Fujimoto peppers the script with crude jokes to remind us that Denji is a teenage boy whose primary motivation for fighting demons is to impress Makima and earn enough money to eat junk food. In that respect, Denji is a more honest shonen hero than the typical Jump lead; he thinks and acts like a real teenage boy, right down to his self-absorption and total objectification of women. (There’s even a chapter called “A Way to Touch Some Boobs.” Yes, really.) I can’t say I ever warmed to Denji as a lead character, but I finished my read-a-thon with a grudging respect for Fujimoto’s excessive, ridiculous creation, which entertained and repelled me in equal measure. Your mileage will vary.

Chapters 1-53 of Chainsaw Man are available at the VIZ website. 

CHAINSAW MAN • STORY AND ART BY TATSUKI FUJIMOTO • VIZ MEDIA

 

The Right Way to Make Jump

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Most books about the manga industry fall into one of two categories: the how-to book, which offers advice on how to draw proportionate characters, plan a storyboard, and buy the right pens; and the how-I-became-an-artist story, which charts the emotional ups and downs of breaking into the manga biz. The Right Way to Make Jump takes a different approach, pulling back the curtain on the production process.

Our guide to the manga-making process is Takeshi Sakurai, a spazzy, anxiety-ridden thirty-year-old who traded his dreams of becoming a professional manga-ka for a more predictable, less demanding life as an onigiri chef. Out of the blue, Sakurai receives a call from his former editor Momiyaxx-san about a once-in-a-lifetime opportunity to “create a non-fiction manga” that explains “how Jump is made.” After much hand-wringing and angst—and a friendly nudge from his cheerful, patient wife—Sakurai accepts the assignment, embarking on a series of factory tours and interviews to learn the nuts-and-bolts of publishing an issue of Weekly Jump. His odyssey takes him to a paper mill at the foot of Mt. Fuji, the editors’ bullpen at Shueisha headquarters, and VIZ’s corporate office in San Francisco, where Sakurai gets a first-hand look at how Jump is localized for different markets.

The book is cheekily divided into ten “arcs,” each of which focuses on a specific production step. The most interesting sections focus on the manufacturing process, explaining why Jump uses colored paper and how the magazines are cut, assembled, and bound. For readers who love the Discovery Channel—and I count myself among them—these early chapters are a blast, as they are studded with weird, wonderful facts about paper and machinery. (Among the most interesting: Jump paper dust plays an important role in Tokyo’s sewage treatment program.) The later chapters, by contrast, are less effective, as the editorial staff’s answers to potentially interesting questions are couched in polite, vague language that offers little insight into what they do; you’d be forgiven for rolling your eyes when a Jump staffer offers an essentialist justification for not hiring female editors, or chalks up the order of each issue to ‘intuition.’

Where The Right Way really shines is in Sakurai’s use of clever visual analogies to help the reader grasp the most  intricate parts of the manufacturing process. In “Platemaking,” for example, Sakurai creates a muscle-bound figure who represents the resin plate, a key element in the printing process:

The figure’s transformation neatly embodies the basic principles of creating a positive from a negative by comparing the process to suntanning—something that readers of all ages can relate to from personal experience.

As informative as such passages are, The Right Way can be a frustrating reading experience. Some chapters are briskly executed, achieving a good balance between education and entertainment, while others focus too much on slapstick humor, unfunny exchanges between Sakurai and Momiyaxx-san, and shameless plugs for Weekly Jump. Sakurai’s sardonic tone—expertly captured by translator Emily Taylor—helps mitigate some of these issues, but can’t always goose the tempo when Sakurai frets and fumes about meeting his deadlines; joking about your own shortcomings can be an effective strategy for ingratiating yourself to the reader, but not when you’re using those jokes to pad your weekly page count.

The overall structure of the book, too, leaves something to be desired. Though the first chapters focus on how the magazine is printed, the later chapters tackle a seemingly random selection of topics—Jump Festa, recycled paper stock, cover design, reader contests—suggesting that no one anticipated how long The Right Way would run in Weekly Jump. A topic-of-the-week approach is fine when readers wait for each new installment, but it makes for a chaotic, sometimes repetitive reading experience when collected in a single volume. The most logical strategy for organizing the tankubon edition would have been to start with the editorial process and end with the printing; not only does sequential presentation have obvious explanatory value, it also lends the material a compelling narrative arc, something that The Right Way to Make Jump sorely lacks.

Despite these shortcomings, I’d still recommend The Right Way to Make Jump, as it offers an all-too-rare glimpse of manga publishing’s less glamorous aspects, highlighting the contributions of professionals whose efficiency, creativity, and diligence have made Weekly Jump into a global phenomenon.

THE RIGHT WAY TO MAKE JUMP • ART AND STORY BY TAKESHI SAKURAI • TRANSLATED BY EMILY TAYLOR • VIZ MEDIA • 208 pp. • RATED T, FOR TEENS

Dr. Stone, Vols 5 and 6

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Dr. Stone Volumes 5 and 6 by Riichiro Inagaki and Boichi

Dr. Stone’s science-infused shonen post-apocalyptic story continues to be amusing. The fifth volume works through the shonen staple of a tournament fight in order to decide the chieftain of the small village that Senku intends to use to build his Kingdom of Science. There are opportunities to expound on the benefits of optics in battle, both for improving eyesight and setting things on fire. The tournament doesn’t last overly long though, and Senku turns his attention back to manufacturing basic antibiotics in order to save the life of Kohaku’s sister.

Dr Stone 6

I was glad to see this series take more of a detour into the backstory of the event where everyone turned into stone, with an appearance by Senku’s father who was an astronaut. The decisions he made up in space during the event ended up ensuring that Senku would find allies once he woke up. The contrast between a crew of castaway astronauts living in Senku’s past and building the idea of oral traditions with Senku’s contemporary science-based approach was interesting. The looming possibility of conflict between Senku’s Kingdom of Science and Tsukasa’s growing empire continues, as a raiding party attacks and Senku’s allies narrowly escape. Boichi’s art is always dynamic, but I particularly enjoyed the scenes in this volume where a poisonous wind is portrayed as a terrifying giant looming over the landscape. Occasionally seeing the characters portrayed as tiny against the immense backdrop of nature just brings to home how difficult it is to cobble together a society with only a few resources.

I’m still getting more impatient for another appearance by Taiju, but I’m hoping as Senku and Tsubasa race towards an epic confrontation he shows up again. This is still a fun series because I never know what type of invention will be featured next, and Senku’s cerebral enthusiasm makes him an entertaining shonen protagonist for anyone wanting a slightly different slant on fight scenes.

Dr Stone, Vol. 2

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Dr. Stone Volume 2 by Riichiro Inagaki and Boichi

The second volume of Dr. Stone featured fewer scenes of crazy science action, but it did spend a more time on world building and setting up the conflict between the friends Senku and Taiju and newly revived but reactionary classmate Tsukasa. Senku is determined to push technology forward by manufacturing gunpowder, in order to give his group an advantage. The gunpowder sets off a plume of smoke which is answered by another smoke signal, indicating that the teenagers might not be alone in their post-apocalyptic world where everyone has been turned into stone.

Dr Stone 2

There was a flashback chapter showing Senku, Taiju, and Yuzuriha when they were young and pursuing Senku’s childhood dreams of rocketry. It was nice to see a glimpse of this mini friend group as little kids, and it played in well to how they work together to survive a hostile environment. Taiju and Yuzuriha have to figure out how to rescue their mad scientist friend, and we also get a glimpse of what Senku went through on his own, when he was the only human to wake up. There’s still plenty of dynamic science action in Boichi’s art, and while the second volume was a little less entertaining for me than the first simply because I was no longer as diverted by the initial premise of the manga, I’m curious to see how the conflict between Senku and Tsukasa is going to play out over the long term.

Female characters who exist mainly to be decorative and supportive is one of my shonen pet peeves, and at the end of this volume Dr. Stone seems to be heading in that direction. I’m not sure if all the genuinely enjoyable yelling about paleolithic science will be enough to offset those sort of plot developments, but I’ve liked the series so far.