Yoshikage Shows His Hand

Ah yes, the manga where everyone is a black ops special forces commando. The manga where action scenes are short but intense instead of dragging out for 3 chapters. The manga where drama lasts for 2 panels instead of a whole volume plus 30 chapters of unnecessary flashback. The manga where the puns and comedy parts are actually funny. The manga where characters are unique, believable, charismatic, and easy to like. Do I need to continue? The answer is yes. Because no amount of praise can honor the glory that is this manga.

Golden Kamui is a story about a war veteran, Sugimoto the Immortal, from the Russo-Japanese war that ends up hearing about a hidden treasure somewhere, that was stolen from the Ainu people. He then sets out to pursue this treasure for the woman he loves. Soon he meets up with an Ainu child called Aspira that has rights to the gold, and the two join up to find this gold and split it.

If it wasn't clear already, I'm going to lay it right out. I love this manga. It is amazing, I love everything about it, it's art, it's historical background, it's puns, the story keeps me engrossed, believe you me folks, this is one of the best manga out there. One of the super rare hidden gems in the gigantic pile of garbage that is everywhere in the manga world. And on that note, lets keep it that way shall we?

Story: 10/10

Golden Kamui is one of those manga that don't try to be more than what it is. The story doesn't try to create some grandiose scheme that involves the fate of Japan much less the world. In fact, the story being set in Hokkaido, it stays that way. Furthermore, only a couple of people know about the gold.

The leader of those bandits that stole the Ainu gold is the only one who knows where it actually is, and being arrested, he devises a plan to tattoo the location of the treasure in his fellow prisoners. While being transported, all those prisoners escape and are now all throughout Hokkaido.

And that leads us to the factions involved. Basically there are three factions trying to get their dirty hands on the gold. Sugimoto and company, the 7th division of the japanese army that is considered to be the elite of the elite, and the heroes of the bakumatsu (basically old samurai dudes). And how are they going to gather all the map fragments together? Well, that is simple, they just need to hunt down the prisoners and skin them. Because apparently that is the most natural thing to do since everyone arrived at the same conclusion.

The story has a good mix of seriousness and goofy moments. Puns are original and fit the setting very well. Every aspect of the story, be it action, drama, comedy, flashbacks, etc aren't longer than they need to be. Furthermore, the story doesn't rely on cheap tricks to make it interesting.

I wouldn't be doing the manga honor if I didn't mention the amount of research the author must have put into this. Throughout the manga, there will be several parts explaining Hokkaido at the time, the Ainu culture, way of life, tools, and specially the Ainu cuisine. If you were wandering why actions and drama parts that usually take 15 chapters to complete in other manga were short here, well, that is because it is more interesting to know that the brain and eyes of pretty much every single animal in Hokkaido is a delicacy according to the Ainu.

Characters: 10/10

Here is where this manga shines like a herd of unicorns flying through a rainbow. Characters are unique, with relatable motives even if they are not the most righteous. Furthermore the contrast between the characters is superb. Lets take the first and most obvious example between Sugimoto and Aspira.

Sugimoto the immortal is a war veteran that got his title because well, he was such a badass that he would go kill russians while being shot, stabbed, you name it. He was pretty much a God in the battlefield. So you can imagine the contrast when someone like him teams up with a little girl from an Ainu village. Not that Aspira isn't badass in her own right.

Furthermore Sugimoto is the good sort of badass protagonist. Not the generic badass but boring protagonists that most authors try to create.

While we are at it kids, remember when I said at the beginning that everyone in this manga was a commando? Well that's right, everyone is badass. Even the lowest nameless grunt that would be just meat in any other manga is a badass. How badass you ask? Well guess you will have to read it to find out ;) Lets just say that halfway thorough I was questioning myself, as I am sure you will too, "why is everyone in this mange so badass"?.

Going back to the motives why everyone wants the gold, well all of the motives are actually quite selfish with Sugimoto's being possibly the most selfish of them all. So there isn't really an antagonist here in the proper sense of the word. Not even a villain actually. It really depends in the point of view.

Art: 10/10

I usually don't like to dwell much on art because it is a matter of taste. But I really find the art of Golden Kamui unique. And not just the drawing. The expression that every character makes is really one of the selling points here. No amount of explanation here can exemplify how amazing it is. Just read it for yourself.

Enjoyment: 10/10

Seriously, this is the best manga that has come out in the last couple of years, and one of the best overall. I started reading this from chapter 5 and you have no idea how happy I am whenever a new chapter comes out.

Overall: 11/10

Alright kids, this manga seriously deserves more recognition. But not much more mind you. I don't want the popularity to affect the quality. So, if you were lucky enough to come across it, go read it, it is amazing, but don't tell any of your friends.

The saying ‘’A picture paints a thousand words’’ is truly exemplified by this manga. While the amount of dialogue in-series isn’t exactly low, the main character speaks rarely throughout the whole manga; yet that is its biggest feat. While manga, like anime, is a visual medium, most works don't utilize their visuals to full extent, only going as far as to present scenarios in a very bare-bones and basic manner. That's where Kokou no Hito shines, as it manages to tell the story solely through its astonishingly utilized visuals - be it the visualization of psychological struggle or metaphorical imagery that adds a symbolic layer to the scenarios that our protagonist faces.

I think it should first be mentioned that expecting a traditional sports manga when going into it is a mistake; the series is more akin to titles like Ping Pong, where the actual sport takes a backseat to the exploration of the cast. Yet Kokou no Hito is different in a way, since the whole manga focuses on Mori Buntarou’s mentality, and his alone. Our protagonist is shy by nature, and soon after transferring schools, he gets into mountain climbing - this is a rather traditional setup, but that’s not all there is to it.

Initially, Sakamoto Shinichi was responsible for the artwork whereas Yoshiro Nabeda was responsible for the writing - a fairly common constellation for serializations; but due to, at least to me, unknown circumstances, Yoshiro Nabeda left the project after volume 3, and Sakamoto Shinichi was now not only the illustrator, but the author as well. I believe this worked to the series’ benefit - the first two volumes were rather clichéd in their structure, but once Sakamoto Shinichi took over the writing, the series evolved; turning over from a traditional sports series to an atmospheric, introspective character study.

That’s where the visuals get important - while in most cases, characterization is done through dialogue and actions, Kokou no Hito does it through the art; since Mori fails to talk back to people due to his shyness, and is reluctant to talk in general, his personality and mindset are brought forward solely by metaphors. Instead of just blandly showing us his inability to reply, his thought process is visualized; to provide an example, in an instance where a character stubbornly demands Mori’s keys, Mori fails to deny the request and simply stands there, awestruck - yet what is actually shown to us is Mori pointing a remote at her trying to metaphorically “turn her off”, followed by him sitting on the floor writing possible replies on notes. This impressively conveys his struggle to find the right words and him wanting to escape the situation. And yet Mori, in reality, just stands there doing nothing. This was just one of numerous examples, and the series truly makes successful use of this technique. Kokou no Hito also utilizes its art to create a fitting atmosphere - be it landscape shots from the mountain-top to create a sense of irrelevance and scale or small moments like Mori breathing in fresh air and simply feeling alive. Although it is perfectly utilized, the atmosphere creates an issue within the series - since the writer changes, the tone of the series alternates rather abruptly; this causes the transition from volume 3 to 4 to be rather jarring, and can break the built up immersion in the previous volumes, although I personally am able to overlook that since once you get used to the new direction it takes, it becomes a way more captivating series.

The change in author also caused several subplots to be scrapped, and some characters that were planned to be relevant later on were treated very poorly by the plot; this feels especially odd considering the level of insight the series gives Mori and its thematic exploration, creating a stark contrast between the very well crafted and almost amateurishly written sides of the series. That does not mean the series goes downhill though, as it manages to create several compelling subplots and exciting twists - since this series is about mountain climbing, an inherently dangerous activity, there are bound to be fatalities, and the way the series portrays the cruel apathy of nature is truly chilling; people die on several occasions throughout the series, yet those deaths are not dramatized in the slightest, rather, they are presented to be natural events, which makes those moments even more haunting and depressing. This ties really well into the series’ theme of human irrelevance to nature, how small and meaningless we are in the grand scheme of things. The manga addresses this in an intriguing way, presenting the mountain and the act of climbing as both a strenuous and demanding, yet desirable and fulfilling thing; throughout his journey Mori faces many challenges and cruelties in the mountains, yet he never backs down, always chasing one peak after another - he doesn’t have any concrete reason, the only thing he knows is that it gives him a sense of liberty, being isolated from the humans he does not get along with.

The aforementioned ties profoundly into the series’ symbolism, most notably the meaning of the mountain and the rope. Whereas the mountain’s symbolic meaning is vague, the rope’s is pretty simple and straightforward - human connection. Once you link ropes with a climbing partner, your life lies in their hands and theirs in yours. If one falls, both die; severing the rope means severing your connection to another human, and that theme is poignantly presented in Kokou no Hito. The mountain’s meaning deserves more focus than I can give in this review.

A big criticism this series often receives is the underwhelming sidecast, especially in comparison to the phenomenally characterized protagonist; while this criticism isn’t necessarily wrong, I feel like it’s missing the point of Kokou no Hito - it’s an autobiographical work through and through, detailing the life journey of Mori Buntarou, so I do not see why a sidecast with more focus is necessary. I agree though that a few characters could have been handled with more care, especially Yumi and Miyamoto. What is often forgotten is that Kokou no Hito did have a few side characters that, while only having a short appearance in the series, were handled in an absolutely brilliant way, perfectly showcasing what the series can achieve in terms of atmosphere and thematic exploration.

Another aspect I want to address is the conclusion - Kokou no Hito has probably the most impressive final act I have witnessed in media; the narrative shifts completely, switching between the last climb and the memories and thoughts of our protagonist, giving it a very unchronological and confusing feel. Indeed, many people need a reread of the last two volumes to fully grasp what's presented, but this makes for one of the most absorbing and cathartic conclusions I have seen, being simultaneously inspirational and cathartic.

Yes, this series is flawed, but I truly believe that its positives more than overweigh its shortcomings; it’s insightful on a very personal level, detailing the life of a fully fleshed out and explored protagonist, while presenting themes that are relevant to all of us. Kokou no Hito is a journey, for the protagonist and the reader alike, and it’s a journey I would love to embark on time and time again. It fully absorbs you into the mountains, making your crave for fulfillment yourself, and that is the greatest feat a work of art can achieve.

10/10

Great Teacher Onizuka (GTO): one of the most loved and inspirational manga in existence. Some even pursued a career in teaching after reading it! A story about a man with little in the way of education finding a place for himself in the world as a teacher; teaching kids with more education than himself lessons about life. A wonderful combination of hard-hitting drama, complete with characters with realistic, easy to relate to problems and plenty of over the top comedy. As well as being meaningful, it can inject warmth into even the coldest of hearts. Like mine.

Story: 8/10

The story is centered around a man called Eikichi Onizuka. Like near enough every 22 year old male, he wants the easy life; a life involving lots of money, women and respect. And he is determined to get it, taking a resume with him and going to job interviews at big companies. However, there are a few minor problems: he looks like a street punk, he has bleached hair, he barely managed to graduate from a fifth rate college and he boasts about his martial arts skills on his resume, also mentioning the fact he is a virgin. Needless to say, he gets rejected every time he applies for a cushy office job.

Close to giving up on the easy life, a chance encounter with an attractive high school girl, whom is having s*x with a fat and bald teacher, changes his mind. After he comes to the shocking realization that teachers are surrounded by young and pure girls, he decides to become a teacher and fulfill his dream of marrying an attractive girl younger than himself. But his goal quickly changes once again after he helps a girl solve her family problems whilst on a teaching training course, and he decides to right the wrongs of the teachers who told him he was trash by becoming the greatest teacher in the world.

While the premise is a simple one, the balance between drama and comedy and the wonderful ex*****on makes the simplicity irrelevant. Living in the storage room at the top of Holy Forest (a co-ed private school), Onizuka helps the students in his class (3-4) in numerous ways, varying from using his street smarts to stop bullies by giving them a taste of their own medicine to simply being friends with his more lonely students. Unlike other teachers who, just like in real life, only care about their job and the money, he goes the extra mile, involving himself with his students in an attempt to make them enjoy their school years in a way he never was able to. Whether it involves saving his students from getting beaten and/or r***d or helping them appreciate life by tying them to the front of his bike and driving them off an unfinished bridge (seriously), he is willing to do it. To begin with his class hate teachers in general because of a past experience, but by the end he manages to unite everyone in his class and earn the respect of all.

However, I cannot claim the story is without its problems. Some of the arcs included repeat what has gone before and appear to have only been included just to pad out the series. And, by the end, there are many subplots left hanging, and in some cases it appears that the mangaka forgot to or lacked the motivation required to finish what he had started. Although these are in truth minor problems, largely ignorable because of how enjoyable GTO is to read, I can't objectively give the story top marks when it has so many minor but bothersome issues.

Characterisation: 10/10

Nearly all of the important members of class four get fleshed out over the course of the story. Some more than others because a few get their very own lengthy arcs included, but even those who do not are usually heavily involved in the GTO proceedings. Rather than being driven by an over-arching plot, it is driven by numerous shorter stories that focus on a certain character or two, and Onizuka usually has to step in to help the character(s) involved. I think anyone who reads it would struggle not to find at least one character to add to their favourite character list: whether you are into a mommy's boy who protects his 27 year old (and often braless) mother from men at all costs (Kunio), a mentally slow but innocent and cute girl (Tomoko) or a girl with an IQ of 200 that masks her loneliness with her intellect (Urumi), there is a loveable character for everyone included.

The best thing about the cast is that they all have relatable problems real people have. Some are dissatisfied with their lives, some have family issues, some have been abused - there is something everyone can relate to. If nothing else, pretty much everyone should be able to connect with the characters when it comes to their feelings about teachers and the barrier that exists between teacher and student. And, while it is true that the solutions to the casts various problems tend to be over the top for comedy purposes, none of the meaning is lost. In fact, the addition of often hilarious humour prevents the story as a whole from being a total downer.

GTO is truly worthy of top marks when it comes to characterisation. The only possible reason I can think of to mark it lower is that not every subplot is seen through to conclusion, which is fairly bothersome for me since I became so invested in the lives of the characters.

Art: 10/10

Are you tired of seeing the same background art repeated over and over, with new character poses drawn on top? If you are, then look no further than GTO, where even small objects in rooms are drawn with detail and the backgrounds rarely repeat...or at least not noticeably so. Because of the detailed drawings and the unusually large amount of text per page, the volumes take me far longer than a 180-200 page volume normally takes me to get though.

I cannot stress enough how lovely the GTO art is. The character models are so well drawn and realistic that I actually found the female characters attractive (the mangaka deserves an award for 'Best Drawn School Girls Ever'). The expressions are spot on and everything looks as close to perfection as I can imagine a weekly manga ever getting. My only complaint is that, towards the end, some of the characters start to look like those introduced previously... But, to be fair, it is very harsh to criticize an artist for that when reviewing a 25 volume series - there are a huge amount of characters and keeping them all looking totally different is impossible.

Overall: 9.5/10

In closing, GTO is a must read for everyone. It would be difficult for anyone not to be moved by the story and/or not get any laughs out of the comedy. Sure, it is perverted and a little silly at times, but that just adds to the flavour. It is safe to say the series has a little something for everyone, and that is why the series is a worldwide hit. If you do not own the series, go buy all 25 volumes, sit back and get ready for the sort of enjoyment very little in this world can provide you with.

"Houseki no Kuni," also known as "Land of the Lustrous," is a captivating manga series written and illustrated by Haruko Ichikawa. Serialized since 2012, this unique and visually stunning work has gained acclaim for its profound narrative, breathtaking art, and philosophical exploration of identity and existence.

At the heart of "Houseki no Kuni" is a world inhabited by gemstone-based humanoid creatures, each embodying a specific gemstone and serving a unique role in their society. The protagonist, Phosphophyllite (Phos), is a brittle and fragile gem tasked with creating an encyclopedia. As the story unfolds, it becomes evident that the peaceful existence of the gems is under constant threat from mysterious moon-dwelling entities known as Lunarians, who seek to capture and harm them.

One of the standout features of the manga is Ichikawa's distinctive art style. The ethereal and luminous quality of the gemstone characters is brought to life with meticulous detail, and the use of shading and reflections adds a level of depth that is visually striking. The composition of panels is thoughtful, contributing to the overall atmospheric beauty of the series. Ichikawa's art evolves throughout the narrative, becoming more refined and expressive, enhancing the emotional impact of key moments.

Beyond its visual allure, "Houseki no Kuni" delves into profound themes that elevate it beyond a typical fantasy story. The exploration of identity, self-discovery, and the nature of existence is masterfully woven into the narrative. As Phos undergoes physical and emotional transformations, readers are taken on a journey of introspection and growth, challenging traditional notions of identity and purpose.

The world-building in "Houseki no Kuni" is both intricate and imaginative. The lore surrounding the gems, the Lunarians, and the mysterious world they inhabit is gradually revealed, keeping readers intrigued and invested in the unfolding mysteries. The manga skillfully balances moments of action with quieter, introspective scenes, creating a narrative rhythm that allows for both character development and plot progression.

The characterizations in "Houseki no Kuni" are nuanced and complex. Each gem has distinct personality traits and struggles, and as the story progresses, their relationships and interactions become increasingly layered. Phos, in particular, undergoes a remarkable transformation, both physically and emotionally, as they grapple with the harsh realities of their existence and the consequences of the ongoing conflict with the Lunarians.

The series is not without its moments of levity, often provided by the interactions among the gems. The balance between humor and the overarching existential themes adds depth to the characters and prevents the narrative from becoming too somber. The dynamic between Phos and the other gems, including the stoic Antarcticite and the enigmatic Cinnabar, contributes to the emotional resonance of the story.

"Houseki no Kuni" is a testament to the potential of the manga medium to explore profound themes while delivering a visually stunning and emotionally resonant narrative. The combination of Ichikawa's artistry, the unique premise, and the philosophical underpinnings of the story make it a standout work in the world of manga. As the series progresses, it continues to build on its strengths, leaving readers eagerly anticipating each new chapter and the revelations it may bring.

In conclusion, "Houseki no Kuni" stands as a shining gem in the realm of manga, offering a thought-provoking and visually captivating experience. Haruko Ichikawa's masterful storytelling, coupled with the beautifully rendered world of gemstone beings, makes this manga a must-read for those seeking a narrative that transcends traditional genre boundaries.

8/10

One of the problems with something being truly good is that every so often it becomes a victim of its own success, and in a sense that's what happened with the fans of Full Metal Alchemist.

Arakawa Hiromu's tale of two brothers and their adventures in alchemy is one of the most well known stories in anime and manga to date, and has spawned a horde of games, a movie (with a second one planned), numerous doujins and fanfics, piles of merchandise ranging from tatoos to chibi plushies, and two very different anime series. The story itself is very typically shounen at times, however there is a depth to proceedings that belies the initial look and feel of the manga. While things begin innocuously enough, it's not long before the reader finds themselves wrestling with moral, religious, and even philosophical motives and actions as the Elric brothers make their journey towards their destiny.

Enough waxing lyrical, on to the nitty gritty. Anyone familiar with Arakawa's other works, especially her one shot manga, will undoubtedly find some surprising similarities to certain events and situations that occur in Full Metal Alchemist. The reason for this is because Arakawa had the foresight to test out various ideas in another form and format before adapting them for use in her flagship title, and this refinement process shows throughout the story. Although this is a shounen tale in the truest sense, there's a degree of complexity and innovation which has been carefully applied in an effort to draw the reader in, and this is one of the hallmarks of Arakawa's storytelling style.

As with any work though, there are a few areas that could have been improved upon. In an effort to lighten the mood from time to time the mangaka has seen fit to apply a few doses of comedy here and there, and while stories like Raiden 18 make it clear that Arakawa has some skills in that department, the application of humour in Full Metal Alchemist is sometimes a bit haphazard. That said, it seems like the mangaka herself also had a similar realisation as the tone of the series becomes much more serious during the latter half, and the frequency of comedic moments drops quite sharply. Surprisingly, the humour is less of a distraction and more of an anodyne for the reader during the later stages of the story, which is a testament to the idea that "less is more".

The artwork is very typical of the mangaka, however once more there is that look of refinement about the characters and settings, and even some of the action sequences. One big plus is that the reader is given a more visual, and sometimes visceral, look into the author's world than one might find in other shounen manga. That said, Rumiko Takahashi's InuYasha is a serious contender in this department, but like that manga, Full Metal Alchemist also suffers from the same problem - the highly stylized characters.

The main issue with the design is that some people may find it doesn't suit their tastes, which will in turn impact upon their appreciation of the story. That said, as an advocate of more individualism in manga and anime, it's nice to read something that remains true to the author's style as there are far too many titles that look identical to each other (e.g. harem romantic comedies and about half of the shoujo manga out there).

As for the characters themselves, suffice to say that the development of the lead roles is very good indeed, and the supporting roles are given a healthy amount of space to shine as well. One of the more interesting aspects is the pace at which the characters are developed throughout the story, and a big plus is the degree of attention given to the "bad guys", especially later in the series. It's a sad fact that shounen tales are filled with shallow antagonists who serve no other purpose than to give the lead character a wall they must "beat down" in order to move the story forward, and while Full Metal Alchemist contains the basic elements of this type of progression, it manages to mask them far better than most action manga out there.

Is there a major downside then? Well, unfortunately there is, but it's one that's very much dependent on personal taste. The reason why the Full Metal Alchemist franchise is a victim of its own success is because of the original anime adaptation of the unfinished manga.

Now one of the problems that fans have is that the two versions of the tale are wildly different in terms of atmosphere, story and character mentality (basically they're like chalk and cheese). The main issue at hand is that while the manga version of Full Metal Alchemist is an excellent series, the original anime adaptation is becoming maligned and misunderstood because it deviates too much from Arakawa's story. Personally I consider both to be equally good, just not in the same way.

Here's what I mean.

Arakawa's manga is a very good story that incorporates a number of typical shounen aspects like never giving up, trusting in one's friends and allies, etc, and while the tale is excellent in both content and ex*****on, in all honesty, it lacks a degree of "darkness" that was inherent in the first anime. One of the things that struck me about this dissonance was the fact that the whole theme of obsession seems to peter out by the end of the manga, whereas the first anime actually ended with that theme still running strong.

Now, some of you maybe a little confused by that perspective, especially as both tales feature the same characters to a degree, however one look at their respective endings will begin to make things a little clearer, and pay particular attention to Alphonse Elric as he is the reason why I consider the two tales to be so very different (and if you're still unsure, then feel free to ask me about it).

It's pretty obvious that I enjoyed Full Metal Alchemist immensely, however my only real gripe with the manga, especially after reading Arakawa's other works, is that there are too many occasions where it feels like the author has purposely moved away from a theme or situation that was used in the original anime, and this can make parts of the story feel a bit rushed. That said, this is actually a minor problem as the whole tale fits together extremely well, and in terms of content Full Metal Alchemist is easily on par with Takahashi Rumiko's masterpiece.

What Arakawa Hiromu has given us is a work that is truly good, despite some minor niggles here and there, and while there are some typically shounen aspects to the tale, Full Metal Alchemist, like Inuaysha, is a far cry from what one would consider a typical shounen manga.

9/10