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Billy Bat is an intricately woven mystery-thriller; it's a manga where twists and turns are around every corner and one which you will have to invest quite a bit of time into before any kind of revelation or payoff, but my is it gripping.

We begin with Kevin Yamagata; a Japanese-American cartoonist whose series Billy Bat - which follows the adventures of an anthropomorphic bat detective - is published by the reputable Marble Comics and adored throughout America. However, by chance Kevin learns of a manga which features a similar protagonist to his in Japan. Realising he may have unconsciously plagiarised the character whilst in Japan ... some years prior, he travels there hoping to meet with the author, but what he discovers is a web of conspiracies, murder, cover-ups and betrayal which all seemingly lead back to his bat character. Before long, however, it becomes evident that Billy Bat is something far beyond Kevin, as he's whisked into a mystery surrounding the bat's inception millennia ago and how - since the beginning of time - it has influenced history.

'Begin with' is an opportune phrase as - while Kevin is the protagonist - like much of Naoki Urasawa's work, the cast is impressively extensive, with Urasawa dipping in and out of different time periods and into the minds of numerous characters. The story is sinuous to say the least, but following it is never a chore. Urasawa nails the pacing, with much of the later content split into story arcs which usually consist of eight chapters (one complete tankobon). As a manga which portrays no less than fifteen different time periods - ranging from the 1st century to the 21st - it rarely comes across as confusing or disjointed, with Urasawa utilising sublime, almost cinematic transitions, along with many familiar faces in the form of characters based on real-life historical figures, which many readers will be able to pinpoint.

These characters - along with the inclusion of many real-life incidents, such the the Shimoyama affair, the JFK assassination, the falling of the Berlin Wall and even the 9/11 attacks - make the series feel as though it's grounded in reality. Billy Bat has a certain familiarity about it; it's an evocative series which balances fiction and non-fiction well, all the while displaying just how much planning and preparation Naoki Uraswawa and Takashi Nagasaki have put into the story.

It does require a certain amount of patience, however. Much like in 20th Century Boys - one of the authors' previous series - a hundred and one questions are proffered before only a handful are answered. Urasawa grips readers with frequent twists and startling cliffhangers at the end of every chapter - the story itself never sours - but readers of an impatient disposition may encounter some frustration with how long certain questions are held in limbo.

The characterisation is phenomenal, with both the fictional and non-fiction based characters portrayed immeasurably. Certain characters are more well-rounded than others, but for such a huge cast, Urasawa works wonders. I'm delighted to say, both the protagonists and antagonists are superbly crafted; with a heart, a soul, emotions and clear motivations. It's especially great to see the more villainous characters looked after, so to speak. One dimensional characters can cause a story to fall so utterly flat, but Urasawa deserves much praise. He has created a multitude of level-headed, layered, intelligent, intriguing, well-written, well-implemented characters sure to leave an impression.

Urasawa's handiwork continues in the art, which rarely misses the mark. Certain panels could do with a little more detail, but all-in-all, the characters are appropriately differentiated and well-drawn, the backgrounds are stunningly detailed - especially in the page spreads - and, as before, Urasawa's use of transitions from one scene to the next is second to none. Urasawa utilises a different style for the comic-in-a-comic sequences of Billy Bat - it's more cartoonish and Americanised - which works exceedingly well and adds yet another flavour to an already appetising manga. The flow of his artwork and panel placement is admirable, with the dramatic beats hitting their mark and the action sequences thrilling to follow.

Ultimately, Billy Bat is a precisely planned and efficiently presented manga; it's clear to see how in control Urasawa is. Despite such a gigantic cast and involved plot, he never loses his way. The story is well-rounded and confidently written, with the characters consistent and appealing. Additionally, the drama is realistic and attentively developed, with many of the story arcs able to garner substantial emotional investment. Overall, Billy Bat is an immersive, gripping and highly stirring read; among Urasawa's best.

Mukai is a story of impressive scope, following two youths as they're caught in a seemingly motionless world where their surroundings are mashed together, as if swept along by a great storm.

Kenta and Mika - the main characters - find themselves in a unique position. They're the only inhabitants in this world who can move. They can see others, but the other residents are husks of their former selves; revealed to be completely transparent when Kenta and Mika attempt to touch them. It's an intriguing premise, as expected from seasoned sci-fi novelist Tobi Hirotaka, but the scope of the story proves too much for a ... 30-odd page one-shot.

Mukai attempts to tell a coherent tale, and while it is understandable enough, the pace is too quick to really garner any emotional investment from the reader. Tobi Hirotaka writes of parallel worlds, advanced science, a world spreading plague named the 'Grey Ocean' and of non-linear time; it's a little too much for such a short one-shot. The plot comes across as very rushed, with the author hurriedly telling one little tale in a universe that begs for further explanation. A story of this scope both deserves and needs to be doubled in length, at the very least. At only 31 pages, it isn't sufficiently told nor developed, with a lightning fast pace and characters lacking in personality and motivation.

Yukito Kishiro - of Battle Angel Alita fame - handled the artwork. This was his first venture outside of Alita's world in over a decade and unfortunately it seems as if some of his enthusiasm was left behind. Kishiro's page spreads are impressive and his characters are well drawn but, given the calibre of his other work, there's much to be desired. This is a huge shame, as the setting offers the opportunity for some stunning imagery, but instead ends up largely forgettable.

Mukai isn't an awful piece - it's a snappy one-shot with many interesting ideas - but it is certainly not up to expectations. Tobi Hirotaka and Yukito Kishiro are both established professionals with well-regarded work under their belts, but they've missed the mark somewhat here.

Coin Laundry no Onna is a humorous, gag-based series that follows the life and times of Maoko, a Sadako-like girl who receives much pleasure in scaring the customers of her laundromat.

The manga is presented in an episodic fashion, with each chapter following Maoko and the supporting cast through a variety of different misadventures and aspects of life. The chapters range in length, with the shortest only four pages long. The author doesn't allow the manga much breathing room, with each plot proceeding at a lightning-fast pace, but such is the nature of a gag-based series. Comedy is the sole genre, with the author churning out ... the laughs in quick succession. The humour itself is outrageous (not so dissimilar to the likes of Gintama and Cromartie High School); it's both well implemented and superbly executed, allowing the manga to stay at an enjoyable level throughout. One may wish the manga had more substance, but it's simply not the avenue the author was going for. Instead, Hiro Kiyohara presents a quick-fire comedy series that doesn't dwindle; each chapter is distinct from the next and above all else, they're enjoyable.

The artwork ranges throughout; the first chapter has noticeably more detail than the subsequent additions, with Maoko's design taking a bit of a hit later on. Still, in the larger frames, chapter introductions and page spreads, Hiro Kiyohara often delivers to a very high standard, with Maoko's horror reenactments and scare tactics being of particular note. But a number of scenes do come across as simplistic; lacking in background and detail.

The characters - Maoko in particular - are the life and soul of the series. Since humour takes precedent over any sort of depth or development, they're generally rather one dimensional, but remain consistently enjoyable, captivating and loveable throughout. Maoko is a wonderful enigma and ever-interesting to follow, and while the rest of the cast are very stereotypical, the comedy offers them life and enthusiasm. Still, it would have been nice to have a more involved and firmly established cast. Certain character traits - and even some characters in chapter fives case, which features none of the recurring personalities, but instead introduces a separate cast who are never seen again - come and go like a tumbleweed in the wind. Authors of manga such as School Rumble and Sayonara Zetsubou Sensei successfully delve into their characters while maintaining a steady flow of comedy, but unfortunately Coin Laundry no Onna's length doesn't allow it the same privilege.

The manga's length is what prevents it from standing out; given more time and substance, I can't help but feel the series would have come into its own. Nevertheless, Coin Laundry no Onna is an enjoyable compilation of outrageous comedic situations, with wonderful characters and many stand-out segments. It's a marvellous read; I just wish there was more.

Knights of Sidonia is a science fiction action series adapted from renowned mangaka Nihei Tsutomu. The series - which is arguably more accessible than the authors other work - has received a favourable adaptation from Polygon Pictures, though unfortunately certain elements fail to avoid banality.

The narrative is an enthralling romp through outer space and Sidonia - the series' giant intergalactic city, complete with Tsutomu's famously captivating architecture - though at certain points it loses its way (or rather, its appeal) as it devolves into a generic harem. This element could have been better portrayed - perhaps displaying the characters' desperation in trying to find love ... during their limited lifespan in such a dangerous time - but instead takes a more comedic route, which does well to balance the series and prevent it from becoming a lifeless action set piece, and is also a more light-hearted way to explore and develop the cast, but unfortunately it does little to challenge convention. It’s not as big an issue as it could have been, as the plot is often redeemed through its pace and sci-fi focus, not to mention some twists, which keep the plot fairly engaging, but overall it suffers at times from rather formulaic writing.

The characters are relatively conventional, with each displaying little more than a single trait. These familiar archetypes don't necessarily ruin the series, but their motivation and back-stories become - at times - rather predictable. Like the harem elements, it would have been nice to see more originality, though certain plot twists do sometimes steer the characters away from their moulds. The main character - Tanizake - is at times stupidly aloof, but the cast are an interesting ensemble, despite cliches.

The animation and art is vastly computer generated, the style of which has been fully embraced by the anime staff. Unlike the lapses in originality in the plot and characters, the art style is incredibly fresh and surprisingly befitting of Tsutomu's work. Certain scenes are a little choppy, but the animation staff have brought Sidonia to life and animate some wonderful scenery, along with extremely compelling, hyper-fast action sequences, with good use of slow motion here and there. The cinematography could have been better executed, however; the setting offers many opportunities for some wonderful, breathtaking shots, which are unfortunately overlooked most of the time. There are also a couple of repeated shots and the unfortunate inclusion of some lewd, questionably framed fan-service snaps, which are completely unnecessary. Overall, however, the animation and art is admirable and a welcomed change to the norm.

The sound is an absolute stand-out element. Sound design and editing isn't often incredibly notable in anime, with feature-length productions often displaying the best in the business, but it's nailed to a tee in Knights of Sidonia. A high quality sound system or headphones are recommended; the sound team create some thoroughly immersive, cinematic work, with the sounds of the monstrous Gauna and the impressive mechs being of particular note - brilliantly produced and edited. The music, too, is very immersive and blends extremely well with the visuals and tone of the series. The sound and music are exceptional; entirely worthy of praise.

Overall, Knights of Sidonia has remarkable style, but flawed substance. It’s an enjoyable series with great potential, but a formulaic tale with a narrative and characters seen all too often. Nevertheless, it’s entirely worth watching, with the art style and sound production being huge redeeming qualities. If you can overlook the conventional aspects, you may well hold out for the second series, which - here’s hoping - brings the substance in line with the style.

Yukito Kishiro was forced to end Battle Angel Alita prematurely in 1994 due to personal issues. However, he returned to his manga universe a year later with Ashen Victor; a short piece chronicling the exploits of Snev, the so called 'Crash King' of Motorball, the series' deadly extreme sport.

The story - 134 pages in length - is sufficiently developed, but could have been constructed more efficiently. The plot relies on a lot of coincidences, and I feel there was more room to explore Snev's psyche, along with the Scrapyard setting and Snev's place within it. Nevertheless, it's an enjoyable read and a lovely little detour ... away from Alita's story, though the lack of detailed Motorball sequences is disappointing.

The characters, when compared to Kishiro's other work, are fairly simplistic. There are no interesting cyborgs or devious villains, and the Motorball players barely differ from one another. Snev - a deeply flawed character with extreme inner demons to conquer, who looks like an electrified version of Blame's Killy - is rightfully the most interesting. What is shown of his back-story is absorbing, but I wish the character had been offered a little more depth.

The artwork is fine for the most part, but a significant drop in quality compared to Battle Angel Alita. Certain character designs are very shallow and the most threatening villain is incredibly underplayed. The action sequences are short and rather uneventful, the backgrounds are at times non-existent and there are also scenes where certain characters are silhouetted for seemingly no reason. Kishiro is a talented artist, but Ashen Victor - bar four or five pages - seems like it wasn't given his best attention.

All in all, Ashen Victor is an enjoyable companion piece to Kishrio's flagship series, though with a couple of notable flaws. It's a nice look into the escapades of other characters living in the Scrapyard - whose lives are unaffected by Alita - which conveys a short-lived, but complete and satisfactory plot. The lapses in quality, however, leave a lot to be desired and I can't help but feel the manga - short as it is - could have been so much more.

Takeshi Koike's debut feature; seven years in the making. Redline is an anime about racing, only presented like nothing seen before. Produced by Madhouse, with second key animation from Gainax, music from James Shimoji and a cast and crew pumped with everlasting potential, this is certainly one of - if not the - most adrenaline filled anime film to date.

As a film about racing, the plot is fairly standard fare, but the larger than life presentation coupled with the sheer imagination and creativity that has gone into Redline is second to none. The story - despite cliches - is both exhilarating and incredibly well paced. ... The action is, as you would imagine; fast, fantastic and full of adrenaline. The drama is at times cheesy, but it fits well with the films over-the-top attitude. The crazy antics in Redline make it clear the film isn't to be taken too seriously; it isn't a production that sets out to challenge our minds, but rather an exhilarating thrill-ride that's sole purpose is to entertain. In that respect, the story delivers and then some.

The tagline for Redline during its release was 'Witness the Future of Animation' and it's safe to say the studio never doubted the creativity of the team behind the film. Madhouse handled the production, with second key animation from Gainax - the films full development totaled seven years, with over one hundred thousand hand-made drawings. The amount of action and detail on screen at any one time is so vast the film begs for repeat viewings. The animation - in a word - is mind-blowing. The film is full of colour, detail and beauty like no other, the art style is vigorous and unique, and the character designs are fresh, exuberant and interesting.

The music - chiefly a variety of electronic compositions - is sublime. It blends seamlessly with Redline's fast-paced visuals, the sound editing is first-rate and the vocal tracks leave warm, fuzzy feelings - especially the ending song. The vocal talent is superb and particularly noteworthy; the film employs actors rather than seiyu in the leading roles. The leading man - JP - is voiced by Takuya Kimura, a member of the pop group SMAP and veteran actor who starred in Yoji Yamada's The Hidden Blade, part of the directors Oscar nominated samurai trilogy. The leading lady - Sonoshee - is portrayed by none other than Yu Aoi; an actress with many award-winning films under her belt, multiple of which were directed by national treasure and acclaimed auteur Shunji Iwai. Lastly, JP's right-hand man Frisbee is handled by Tadanobu Asano, one of few Japanese actors making a name for himself in Hollywood (recently he starred in Marvel's Thor). To quote journalist Helen McCarthy; "casting him was a stroke of genius."

The main characters all very much fit into conventional archetypes, but they're not made to be complex, deep, thoughtful beings. The characters, like the story and presentation, are themselves larger than life, quite literally. JP and Sonoshee alone make up about half the human population in the entire film; all of the other characters belong to their respective alien races, besides two other humans. The characters are written to be entertaining, to build the scale of the film and to perform as the archetypes we know and love, but that's not to say they're by any means flat; the main characters receive a sufficient amount of development, and the supporting cast is comprised of an exceedingly rich, varied, exciting and incredibly fun horde of wonderful characters.

Redline is a film not to be taken too seriously and anyone doing so has certainly missed the point. Needless to say, if you want a realistic racing film then you have come to the wrong place. However, if you want a fast, funny, eye-watering, explosive experience that will suck you into a world which words barely do justice, this is the film you're after. But, more than a film, Redline is an experience. Every element works in melody, bouncing off and complementing one another, ultimately creating a tremendous overall work that is magical to behold, completely unlike any other anime production to date.

Full Moon Party is the first independent music video created by collaborators Sugimoto Kousuke (director) and Manabe Takayuki (music) and it certainly sets the standard for things to come.

The video follows three primates and their discovery of music. A music note appears from outer space and grants the primates two guitars and a drum set, which they embrace with, quite literally, colourful vigor. They unleash a fine instrumental piece which sets in motion a whole horde of crazy events as the world begins to evolve around them. The story is exquisite and, depending on how you interpret it, contains deeper meanings concerning music and its ... existence.

The art is fluid and full of life, but after viewing Kousuke's other work the lack of colour will leave a little to be desired. Nevertheless, the visuals are without a doubt stunning and incredibly admirable. Like in Kousuke's other work, that endless movement, brilliant choreography and huge amount of detail is ever-present, which just begs for repeated viewings for the viewer to embrace the full creativity of the video.

The music used is a remarkable instrumental rock-based piece that works extremely well with the visuals and hyperactive presentation, and the characters are a burst of life and absolutely captivating to watch as the video speeds through a rich variety of different time zones and locations.

Full Moon Party is perhaps not as enjoyable as Kousuke's follow-up work (The TV Show), but the creativity and passion is certainly there, which makes for a splendid viewing experience, full of vigor, excitement and wonder.

One of many wonderful things about animation is the sheer inventiveness that the creative minds are able to translate and display on-screen, and that couldn't be more true for we have here. The TV Show is a fine example of the exquisite choreography, dazzlingly imagery, unbelievable creativity, inventive presentation and flawless blend of music and visuals that can be created from the mind of someone who knows just how unrestricted animation can be.

The TV Show was made independently by Sugimoto Kousuke in 2009, with music provided by Manabe Takayuki, whom the director worked with previously on Full Moon Party. The duo conjure an absolutely insane ... piece bursting with imagination that follows various characters as they and their worlds are mashed together as if someone were constantly changing the television channel.

Despite the videos lightning pace and incredible use of transitions that constantly zoom in and out of different locations, the story comes across very coherently. Sugimoto's use of vibrant colours (assigned to each location before blending together at the stunning climax), along with the non-stop, hyperactive, endless movement solidify The TV Show as a certain feast for the eyes.

The visuals and music work together as an ensemble and the characters and settings never fail to steal your attention. With the amount of detail we are treated to in only three and a half minutes, repeat viewings are recommended; there's so much to take in, so much to see.

The pace and build-up to the astonishing finale is superb, and the fact The TV Show is in independent production is something else to marvel at. Watch, be dazzled, then watch again and again and forevermore. The TV Show is a phenomenal piece from a truly ingenious director.

"I'm sure you'll understand too, someday. The melancholy of winning. The pain of praise. The weight on your shoulders... the loneliness and agony. The time will come where your efforts will seem meaningless and your victories empty."

Like much of Taiyo Matsumoto's work, Ping Pong includes the same level of energy and surprising depth that outshines its basis to the point of sheer brilliance. Ping Pong, contrary to the title, is less a story about table tennis and more a story about the coming of age of two polar opposite individuals. The author uses ping pong as a medium to advance the story and to develop ... the characters, so well in fact the manga is almost criminally realistic. Ping Pong deals with worldly themes of friendship, affliction and adolescence, not so different from Tekkonkinkreet, the authors previous work, which makes it very down to earth and above all else - believable.

The manga introduces us to Peco, the energetic I-don't-care-what-people-think personality, and Smile, the reserved gentleman who would rather lose than make his opponent feel bad. The development of these two main characters is quite the journey. The supporting cast are thankfully there for a lot more than just to provide moral support, and during a ping pong game Taiyo Matsumoto never really attempts to make the readers favour one character over the other, which allows the manga to stay at a realistic and high quality standard. What makes Ping Pong different from most sport manga is the larger focus on the characters as opposed to the game. The rules are not explained, nor do we get any history lessons. Table tennis is there as a foundation for the story and a means of development. Instead of the game fueling the characters, the characters fuel the game.

If you've read anything by Taiyo Matsumoto before then you know to expect nothing less than absolutely superb art that gives off a level of energy like no other. Matsumoto's art is very unique - his lines are often wobbly, the scale of things can sometimes be unclear and his shading is minimal while his inking is high. You won't find many sketchy effects usually associated with manga in Taiyo Matsumoto's works either, but what he does offer is something totally fresh and just as interesting - that being outstanding line art. A huge amount of detail is put into every single panel and during the ping pong matches the energy behind his art perfectly catches the nature and pace of the game.

Given the level of content in Ping Pong, which is only five volumes long, it is no wonder why Taiyo Matsumoto's series are generally rather short. In only these couple of volumes he presents the reader with a wonderfully fresh coming of age story, accompanied by an extremely exciting backdrop, filled with nerve-impulse boosts and eternal undying instinct to boot, complete with realistic characters sure to leave an impression.

Taiyo Matsumoto once said his goal is to combine the powerful and cool feeling of American comics, the intellect of European comics and the lightheartedness of Japanese comics together to create a really tremendous work, and I believe he has achieved such with Ping Pong. You'll finish this manga worn out due to the level of content and intensity, but extremely satisfied, knowing you just witnessed something quite special.

"At its heart Gintama is a science fiction human pseudo-historical comedy. The bottom line is that this is a nonsense manga. But I don't believe in telling readers what to think, so read it any way you like." - Hideaki Sorachi.

Gintama is a fantastically creative work with an endless appeal; as consistent, funny and compelling now as it was five years ago.

The story - for the most part - is told in a rather episodic fashion, with each chapter presenting a different plot. These chapters are largely comedic and follow the huge cast finding themselves in all sorts of hilarious situations. Hideaki Sorachi - the ... author - makes use of many ingenious gags and plot devices to avoid repetition, and also explores a variety of story arcs which add a sense of heightened drama to an otherwise predominantly humourous series. The story arcs expand on the characters in a way the stand-alone chapters cannot, and add more variety and narrative to the series. Certain chapters are better than others, but Sorachi rarely falters - he keeps up the momentum after all these years and still manages to present consistently brilliant stories, ideas, characters and concepts.

Sorachi rarely uses any sketchy effects in his artwork, nor does he display much shading. His lines are very bold and he almost never makes use of double page spreads. Gintama, however, does not require such extravagance. It is a fairly dialogue-heavy manga and while it does contain action, it is a predominantly comedic series. Sorachi pays close attention to panel placement and timing to best communicate his comedy to the reader. Artwork is half that communication, however, and Sorachi never misses the mark. His artwork has steadily improved since the series' inception and his character designs are a real stand-out element.

Over the years, Sorachi has built up a phenomenally large supporting cast, along with three unforgettable main characters. Some supporting members have almost become as integral as the main cast itself, with Sorachi making sure no-one goes amiss; he frequently uses his supporting characters no matter how minor to the story they may be. Certain characters are more well-rounded than others, but such is the nature of a gag-based series; Gintama's characters needn't be intricate, complex beings. The story arcs greatly expand on the cast, however, adding background and a soul to characters otherwise present solely for comedic relief, all the while opening up new directors and opportunities for them to take.

The comedy in Gintama has a fantastic range; from toilet humour to meticulously executed gags to parodies of popular culture, both Japanese and Western. The series displays a rich assortment of genres and a full embrace of its fanatical setting; creativity and imagination run wild. Despite being a predominantly comedic series, Gintama has so much more to offer; in its characters, its setting, its sheer originality and inventiveness - it's a manga that keeps on giving and one not to be missed.