This is the first of Tezuka’s works I’ve read. I’ve known about his work since I was very small, thanks to Astro Boy and Kimba The White Lion television reruns. But this is the first unquestionably adult text of his I’ve engaged with.
Ero-guro or Edgelord: The Manga? YOU DECIDE!
That, in essence, covers the realm in which Suehiro Maruo works. His stock-in-trade is beautiful violence and sexualised despair, presented in a manner that borrows from older German and Japanese art.
He presents abhorrent content in a lovingly-rendered format that would, in the hands of a lesser-skilled artist, be probably considered little more than pornography. (more…)
So after a bit of a break – a couple of these in a row is more than enough candy popcorn for anyone – I’m back into the world of imprisoned, superpowered teens, and the creepy overlords that love [to experiment on] them.
As expected, it’s more of the same. By which I mean INCREDIBLE VIOLENCE and some creepy fan service for boob-focused shut-ins.
Same same then, eh?
Well, it’d seem I’m cutting through these collections the way prison-toilet wine cuts through intestinal lining. Time for some thoughts on another hilarious collection of lost moments from a horrific human research facility masquerading as a prison.
Y’know, with DEATH GAMES. (more…)
It’s always a good sign when a collection begins with the potential execution of a main character.
It’s not so good when you then remember there’s about another hundred volumes of the story to go, so chances that they’ll be successfully poleaxed are probably slim. (more…)
Back on this again. Deadman Wonderland remains a decent break from more taxing literature, given that you’ll always be assured of some grimly violent fighting and some embarrassed-teen interchanges in ready supply.
Frankenstein is a story that most people are familiar with. Whether you’ve read Shelley’s original or no, you’re probably aware of the general thrust of the story thanks to films modern and classic. You know: creation, exclusion, and that it’s his Dad’s name, not the monster’s. So what can be brought to another adaption of the work?
I guess this volume is where the story decided to kick itself up a notch. Yes, we’re still in a prison masquerading as the world’s goriest version of It’s A Knockout!, but there’s some deeply mysterious shit going on. Rebels are introduced! There’s another big fight! Backstories are unveiled!
Oh, and that. Which, I’m sure, will be explained properly later.
This review’s going to be pretty short. I mean, I could recap a bunch of what I said when I looked at the first volume, but let’s not do that, eh? It’s pretty safe to say that as we’re only on the second of thirteen total books that there’ll be a bit of confusion on the reader’s part.
I kind of know what happens here.
I mean, I’ve come to read this manga after I’ve seen the anime. So I know more or less how the story goes.
But I’m interested to see what else there is on offer, knowing that adaptation can sometimes squeeze the life out of a property. I guess I was interested in seeing what more is hidden here. Because let me tell you, if you have no idea about this series, it’s a trip, involving inhuman murder, shady government research, weird blood-based powers, a fatal version of It’s a Knockout! and a fairly major character who may or may not be real.
Oh, and it all takes place in a devastated Tokyo, after an earthquake obliterated 70 per cent of the city. In a prison that also doubles as an amusement part, where death row prisoners die if they don’t get a ration of special candy. (more…)