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Tokyo Zombie weaponizes slapstick gore and anti-capitalist rage in a trash-dump apocalypse. The manga’s crude, thick-lined art—all chaotic white space and grotesque close-ups—complements its nihilistic humor. Vulgar gags mask sharp class satire: the proletariat’s dream of rich-kid comeuppance becomes literal carnage. It’s George Romero meets Marx, if Marx wrote jokes about daughters-in-law decapitating toxic mothers-in-law and questionable gym teachers. There are also lots of pigs, like, a lot. And pig surfing. I don't know what that's all about, but it's there.
Zombie tropes are recycled, but Hanakuma’s absurdist spin feels deranged enough to stand out. Predictable? Sure, but the joy lies in its B-movie audacity.
Perfectly unrefined. ... The scribbly, claustrophobic panels mirror the story’s grimy ethos. “Bad, but good” nails it—like a punk zine drenched in viscera.
The characters are idiots, full stop. Their flaws are the joke: they’re hilariously inept, reacting to chaos with boneheaded decisions. Depth? Nah. But their stupidity fuels the satire.
Realistic? No. A buffoon accidentally restarting the zombie plague via trash-vodoo is peak absurdism. The elites’ cartoonish cruelty, though? Sadly relatable.
If you crave subtlety, flee. But fans of trash-camp schlock or anti-capitalist rage-poetry will revel in its chaos. Just don’t question the pigs.
Embrace the pig-surfing apocalypse… or don’t.

Diasporaiser slams together punk chaos and cosmic warfare in a South Africa overrun by magic alien horrors. Magic isn’t subtle here—it’s electric guitars shredding reality, scythes doubling as shotguns, and spells erupting at the atmosphere. A cryptic, wisecracking kid and a grizzled warlord clash over philosophy (be-to-define-order vs. anarchic freedom) while mowing down grotesque invaders. Thick, jagged lines and grimy shading scream “street art meets manga,” though jarring 3D CGI textures disrupt the flow. Battles are short, savage, and gloriously absurd—no time for depth when a pistol-axe exists. Psychedelic sorcerer designs dazzle; moral ambiguity simmers beneath the spectacle.

Nukui's style oozes rebellious energy: think spray-paint splatters ... and sketchbook grittiness. Cosmic entities brim with hallucinogenic detail. However, the 3D effects pop awkwardly and aren't very well integrated. Action panels prioritize impact over precision, with weapon-spell hybrids exploding in visceral bursts. It's chaotic, loud, and very true to its aesthetic.

The odd-couple duo carries the chaos. The old man’s rigid morality clashes with the boy’s chaotic neutrality, their banter peppered with dark humor. Side characters are fleeting but memorable. Comedy leans on slapstick and irony, balancing existential themes without overindulging.

Plotting is minimalist, favoring vibes over twists. The central conflict—freedom vs. control—is explored through frenetic showdowns rather than dialogue. South Africa’s setting adds freshness, though cultural specifics take a backseat to spectacle. Pacing stumbles in quieter moments, rushing emotional beats for the next fight.

Diasporaiser is a sensory grenade—flawed, brash, and impossible to ignore. It’s for readers craving style over substance, where a shotgun-scythe combo feels perfectly logical. Nukui’s raw talent shines, even if the story’s engine occasionally sputters. It's a shame the story is so short.

In the neon-drenched gutter of late ’80s anime OVAs, Angel Cop stands as a violent, unapologetic relic—a cyberpunk grenade lobbed at good taste. This six-episode gorefest blends hyperkinetic action, muscle-bound nationalism, and a dub so gloriously unhinged it could only exist in the VHS rental era. Imagine RoboCop on a shoestring budget, filtered through a fever dream of anti-Semitic conspiracy theories and enough arterial spray to paint Tokyo red.

The art oscillates between gritty brilliance and budget-starved chaos. Early episodes flaunt fluid gunfights and grotesque head explosions, while later episodes crumble into half-finished cels and recycled sequences. Character designs are pure ’80s excess: shoulder pads wider ... than plot logic, cyborgs with disco hairdos, and Angel herself—a blue-armored dominatrix of justice.

Angel Cop’s “plot” is a Rube Goldberg machine of nonsense. Communist terrorists? Check. Evil Jewish cabals (scrubbed from the dub)? Check. Cyborg partners and psychic mutants? Double-check. The narrative lunges from shootouts to rants about Japan becoming “another Kuwait,” all while Angel delivers justice via .45-caliber sermons. It’s less a story than a conspiracy theorist’s whiteboard, smeared with blood and neon.

The English dub is the star here—a profanity-laden farce where every line is either a swear or a non sequitur (“If this is justice, then I’m a banana!”). Background music veers from synth-driven intensity to tonal whiplash, like a death metal track crashing a funeral dirge. The Japanese version? A dry, antisemitic slog. Stick with the dub for maximum camp.

Polarizing doesn’t begin to cover it. Angel Cop is either a so-bad-it’s-good masterpiece or a radioactive dumpster fire. Fans of schlock (see: Mad Bull 34, Violence Jack) will revel in its unhinged chaos, while critics rightly skewer its bigotry and incoherence. Yet beneath the mess lies a perverse charm—a time capsule of OVA excess, where “plot” and “subtlety” were optional, but explosions were mandatory.

Essential viewing for trash-cinema archaeologists and gorehounds. Everyone else? Bring a hazmat suit—and maybe a laugh track.

I loved it. A classic space opera with rich world building with some realistic focus. The plot dialogue is good, simplifying terms that could be complex, eg: The war is so horrible that it reached a point where both sides are short of manpower and forced to basically use child soldiers.
There is a clever use of limited animation, giving priority to the story.
It takes the trouble to psychologically check the characters.
It starts with poor use of female characters relegating them to support positions, sometimes denying them the spotlight or indicating that they are not as strong or competent as their male counterparts, but this is ... fixed with good character development.
The protagonist seemed annoying to me at first with arrogant and capricious attitudes but the development tones him down along with many others.
You can see the influence the show has on future sci-fi shows.
A bit cheesy but it's in line with the science fiction of that time
There are few scenes that age badly (like that scene where a female superior is slapped so that she listens to the feelings of a guy who proposes to her when she rejects him).
It's a good classic underdog story: the protagonists on the side of the federation are young people who learn on the fly, going from a group of rookies to one of the most important forces in the space fleet.
Although there is a focus on action and giant robot fights, there is room for political and ideological games and to highlight the ideas of both groups. There are also a couple of moral crises and honorable and despicable characters are presented on both sides, to illustrate the grays of war.
The character development can be somewhat convulsive, sometimes they include a character in one episode and kill him off in the same or the next just to advance the development of one of the protagonists.
The concept that there are people (the next step in human evolution) with certain latent psychic abilities is presented somewhat abruptly.
There is a noticeable increase in budget in the last episodes (better animation and more variety in the ost)
The ost is classic, with synthesizers typical of the time and a tune somewhere between pop, jazz and disco.

The author once again presents herself in a tender and pathetic light to tell us, in a tragicomic tone, another segment of her own life: a thirty-something who, after years of dealing with alcohol and eating problems, decides to face the terrifying world of romance and marriage. And as expected, things don't go as she expected, starting with her doing a photo shoot in a wedding dress, continuing with her crashing into the world of dating apps, and ending with a panic attack.
Nagata takes us on a journey full of anxiety, insecurities, and reflections, exploring such complicated topics as her gender identity, sexual orientation, and ... her persistent inability to trust others. Oh, and all this while ruminating on concepts we've already seen in her previous works, such as "[My Lesbian Experience with Loneliness]" and "[My Solo Exchange Diary]." Because if there's one thing Nagata knows how to do, it's to turn the same existential questions over and over again.
It reminded me a lot of "[It's Lonely at the Centre of the Earth]" by Zoe Thorogood (a comic that I highly recommend) with that introspective, playful and sometimes cynical style of dealing with internal problems.

This is a reading that provokes a visceral reaction in the reader and is at first a little difficult to read. The actions of the characters in the first volumes are far removed from any type of acceptable social behavior. The story draws heavily on the topics of the novel “Les Fleurs du mal” such as the rejection of pre-established social norms and the social alienation that this produces, the decadence and corruption of the individual in mind and spirit at the time in which he integrates into the society; and there is also a certain space for sensuality and eroticism but in a rather ... macabre framework. Although certain aspects of the plot may be uncomfortable (very uncomfortable) to read and the abrupt changes in tone that the author makes every 3 or 4 volumes, the story offers an interesting narrative about personal growth in a dark romance story.

Berserk is a masterpiece of its genre, a dark and profoundly philosophical epic that invites readers to immerse themselves in a harrowingly violent yet richly complex world. From its very first page, it is clear that this is not a story for the faint of heart or for those seeking a superficial narrative.
Miura constructs a universe where violence and brutality are commonplace, but where deep existential themes are also explored. Through the eyes of Guts, the protagonist, we witness the constant struggle between light and darkness, both within himself and in the world around him. The work is not limited to being a bloody saga ... of revenge, as many might erroneously assume, but rather is a powerful tale of self-overcoming.
Guts, from his birth, faces a cruel and unforgiving fate. Yet, despite unimaginable trauma, loss, and suffering, he persists. His unyielding will and fervent desire to live are the driving forces that propel him forward, even when the entire world seems to be against him. Furthermore, throughout his journey, he forms bonds with other characters who become his comrades, adding layers of complexity and emotion to the narrative.
The recent and tragic departure of Kentaro Miura has left a void in the manga world, but his legacy will endure through works like this one. While the task of completing the work falls to Kouji Mori, it is understandable that there is some anxiety among fans. However, even with this uncertainty, Berserk remains an almost perfect work that deserves to be read and appreciated.

This manga offers an intriguing deconstruction of the conventions of the mystery genre, along with a fascinating metanarrative that defies expectations. It's surprising to see how Kago explores these themes in the context of eroguro, a niche genre. However, the rest of the stories in the anthology can be more predictable, focusing mainly on the grotesque, disgusting and erotic. “Fraction” isn't for everyone, but for those interested in a unique and thought-provoking narrative experience, it's definitely worth exploring. It's a good option for mature readers who enjoy slow-paced, thought-provoking horror with a mix of dark mystery, graphic gore and a touch of twisted relief and ... dark comedy.

How lesbian can you make a series? The answer given by this series was “Yes”.
Animation isn't exactly going to win awards. The backgrounds are pretty basic and the soundtrack is nothing to write home about, although the opening and closing songs at least have a certain catchy charm that fits well with the overall tone of the series.
The protagonists do what is expected of them in a parody of typical magical girl anime, but the comedy doesn't always manage to get laughs. Instead, the series seems to lean more towards fan service, with a rather aggressive and explicit approach that might make you wonder if ... you're watching something you should be watching on the family TV in the living room.
As for the plot, it's…let's just say it doesn't reinvent the wheel. The series joins the mountain of similar anime, notable only for its ability to spark debate about the sexualization of high school girls in anime series.
The only thing I think you can gain by watching this series is the right to complain about it.

The anime adaptation of “Super Crooks” manages to not only capture the essence of Mark Millar's original comic, but also enrich the story by providing greater context about the world in which it takes place. Unlike a simple transposition of vignettes, the anime delves into the personalities of the characters, giving them complexity and taking the plot to a deeper level.
A distinctive element of this adaptation is the inclusion of characters from another Millar comic, “Jupiter's Legacy,” creating intriguing connections that expand the narrative universe. This integration not only adds additional layers to the story, but also offers a ... richer and more satisfying experience for Millar fans (it's about time for a good adaptation, thank you).
A wise choice in the anime is the change in the location of the last heist, moving it from Europe to Japan. This modification is not only understandable, but also provides a unique and fresh touch to the plot, taking advantage of the aesthetics and characteristics of the country.
Regarding the treatment of characters, the adaptation addresses the representation of sexual diversity in a thoughtful and respectful manner. The Gladiator character (my favorite character), originally the subject of stereotypical mockery in the comic, receives a more nuanced approach in the anime. From the beginning, his sexual orientation is established without resorting to offensive stereotypes, presenting him as a true brute force worthy of fear. However, the change in narrative focuses on the complexity of her personal life, deviating from harmful stereotypes and offering a more inclusive representation.
It's difficult for me to say this without sounding like a fanboy, but this adaptation really seems like a true tribute to the original work, it shows that there was a lot of love behind it. And at least from my side, it's the best adaptation of a comic I've ever seen.