Takemitsuzamurai

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Inglés

Historical manga generally have to be spiced up with fantastic or supernatural elements to capture attention (or at least it is a recurring feature among the most recognized) and while this could be included in such a qualification, there is a key deterrent limit, the way in which is presented. If those fantastic elements can be introduced through a sober documentary narration, there is no reason to deny them, they merge with the context as if they were an extension of it, precisely the effect that Issei's work achieves.

The setting, tonality, characters and how they are related, attack that naturalness of medieval Japan, but a ... particularly special one, not precisely at the time of the end of the samurai, more if on the fine line between the end of the magical era towards the modern age. The "extraordinary" situations have that mundane touch of intimacy as if they were every day, however, they are increasingly rare, of old pieces of a past world.

The story can also be extrapolated to the same definition, nothing too convoluted, it is a simple approach that gains interest the more we know about it, the more it is sustained in the atmosphere that it builds at the point of the characters it introduces in a few words, but significant moments. Not an experience in which to search the general themes, but to focus on the characters that inhabit it.

His compendium can be eccentric, but being various allows him to reflect different ways on how to live and think, the interesting thing about the protagonist is the mystery that surrounds him, how he maintains interest the more we understand his motives, about each dimension, each history, every encounter.

However, that same ambiguity is what I consider plays against him, despite all the questions he proposes, I feel that he could have taken his links a step further, the world with its secondary stories would have built something more solid and portentous. The one that remains in merely this fable may like or dislike some, on my part it leaves me wanting more, yes, my perspective may improve over time.

Now, the artistic style is mentioned by all, and I must agree with the other reviews, in the middle of its simple and apparently ugly strokes, there is vitality and description. It can take some getting used to, more over the course they compensate you, it evolves, changes, strengthens, until finally being, without a doubt, one of the best presentations I have seen. Please, the critics who say that he does not know how to draw, clearly did not read the last episodes, immense gem.

Likewise, it perfectly captures the essences of the story in the way in which it passively manages its rhythm and revelations, scenes of evocation, of interaction with the stage, several times they were where he took a screenshot, the composition of the box and what they evoke, it is very special, really. You shouldn't be discouraged by how it may seem at first.

A short story, one of those that stay for a long time, of returning from time to time to feel comfortable and discover new details, to further contextualize their messages, to immerse themselves in their world of mundane fantasy.

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Los mangas históricos generalmente tienen que ser aderezados con elementos fantásticos o sobrenaturales para captar la atención (o al menos es una característica recurrente entre los más reconocidos) y si bien este podría incluirse en tal calificación, hay un limite disuasorio clave, la forma en como es presentado. Si aquellos elementos fantásticos pueden ser introducidos a través de una sobria narración documental, no hay razón para renegar de los mismos, se funden con el contexto como si fuesen una extensión del mismo, precisamente el efecto que logra la obra de Issei.

La ambientación, tonalidad, personajes y el cómo se relacionan, arremedan a esa naturalidad del japón medieval, pero uno particularmente especial, no precisamente en la época del fin de los samuráis, más si en la fina línea entre el fin de la época mágica hacia la edad moderna. Las situaciones “extraordinarias”, tienen ese toque mundano de intimidad como si fuesen cotidianas, sin embargo, son cada vez más escasas, de viejos retazos de un mundo pasado.

La historia también es extrapolable a la misma definición, nada demasiado enrevesado, es un planteamiento simple que cobra interés mientras más sabemos del mismo eso sí, más se sostiene en la atmósfera que va construyendo a punta de los personajes que va introduciendo, de pocas palabras, pero significativos momentos. No una experiencia en la que rebuscarse las temáticas generales, sino en enfocarse sobre los personajes que la habitan.

Su compendio puede ser excéntrico, más el ser varios le permite que reflejen distintas formas sobre cómo vivir y pensar, lo interesante del protagónico es el misterio que le rodea, el cómo mantiene el interés mientras más vamos entendiendo sus motivos, sobre cada dimensión, cada historia, cada encuentro.

No obstante, esa misma ambigüedad es lo que considero le juega en contra, pese a todas las preguntas que propone siento que podría haber llevado un paso más allá sus vinculaciones, el mundo con sus historias secundarias hubiese construido algo más sólido y portentoso. El que quede en meramente está fábula puede gustar o desagradar a algunos, de mi parte deja con ganas de más, eso sí, puede ir mejorando mi perspectiva con el tiempo.

Ahora, el estilo artístico es lo mencionado por todos, y debo coincidir con las demás reseñas, en medio de sus trazos simples y aparentemente feos, se encuentra vitalidad y descripción. Puede costar acostumbrarse, más en el transcurso te van compensando, evoluciona, cambia, se fortalece, hasta finalmente ser, sin lugar a dudas, de las mejores presentaciones que he visto. Por favor, las críticas que dicen que no sabe dibujar, claramente no leyeron los últimos episodios, inmensa joya.

Así mismo, capta perfectamente las esencias de la historia en el modo en como administra pasivamente su ritmo y revelaciones, escenas de evocación, de interacción con el escenario, varias veces fueron donde tomaba un pantallazo, la composición del recuadro y lo que evocan, es muy especial, de verdad. no debería desalentarse por el cómo puede parecer al comienzo.

Una historia corta, de esas que se quedan durante mucho tiempo, de volver a regresar de tanto en tanto para sentirse a gusto y descubrir nuevos detalles, contextualizar más sus mensajes, sumergirse en su mundo de mundana fantasía.

A story of life. A wandering man, the people that intertwine with him, and the strings of fate and time. All come together for a satisfying and truly amazing manga.

Never have I ever been able to just feel the wind from the pages and the warmth of smiles. I literally could not get enough of the composition the way the literal frames seamlessly flow. A standing shadow casted on your lovers crouching frame, the reflection of a pondering man in a pond, tears over the river bridge, rage of death, combing anothers hair. I am amazed.
There is a reason abstract art conveys stronger ... emotion- how do you convert intangible feelings into a visual form? Matsumoto figured it out. Be careful, 84 chapters sure felt fast....

I've never written a review, but I've seen a bit of misconception of the series, and I just want to give my views on what makes this story tick.

Takemitsu Zamurai is a brilliant multi-character story involving the ronin Senou, a village child Kan, the assassin Kikuchi, and about half a dozen other fleshed out characters. I've seen some write that the series revolves around only Senou himself, but that couldn't be farther from the truth.

In a very short 8 volumes, this series starts and completes all of their character arcs whilst tying most of them together with each other. A major theme of Takemitsu ... Zamurai is being what you're born as, and not being able to escape that fate. The characters have dreams as any else, but all wind up being exactly as they began.

When I say being born, I mean it both literally and figuratively. Much of the cast were born into the class system from their parents, and after their journey, end up falling prey to that same system- being very emblematic of how much of the ancient world and Japan worked.

On the other hand, characters such as Kikuchi and Omorusaki were "born" and bound to a single experience that changed their course of life and had to live out the rest of their lives by that.

The story ends in a both happy and poignant place. It is not a basic happy ending, but one that involves a great deal of regret. A major arc of the story involves Senou wanting a very average, everyday, enjoyable life, tied around Kankichu, a village boy who looks up to Senou, wanting exactly the same thing so that they can spend their lives together. Kankichi, being an actual child, and Senou, a man who never got the chance to grow up, both sharing the same, youthful dream. A dream that, by the end of the series, very painfully doesn't come true. The one thing that these characters wanted above most all is the one thing they couldn't have, and that's where the heartache in the ending comes from.

However, like almost every real person, we all have childhood dreams, and for most of us, they never come to fruition. They are what they are- immature hopes that you think about when you don't have a true grasp on the world.

The death of those dreams is natural, and while that is sad, their is happiness after. Senou wishes to escape the sword and the demon inside him, and in the end, loses his arm and his literal ability to fight. He loses his average life, and is forced into a job he never wanted. Yet somehow, through that all, in the last chapter, he's happy. Kan is happy. The death of a childhood dream doesn't mean the death of life. For these characters and the others in the series, happiness is obtainable- it just might not be where they're looking.

One last thing here but the art is absolutely outstanding, the storytelling and panel composition is wonderful. You can hear the narration and see the characters move.