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Before this show was aired, anime enthusiasts were looking forward to cute character designs, pretty visuals, and charming stories of friendship. Weeks later, the same people were indeed enjoying those — while decoding encrypted text, citing 19th century German literature, brushing up on physics, and debating about ethics.

Mahou Shoujo Madoka☆Magica has certainly been the center of much attention. Despite the efforts of the creators to tone down certain elements in their promotional videos, the anime has suffered from levels of hype and backlash unseen since Neon Genesis Evangelion and the Haruhi series. The presence of notable names in the list of collaborators suggests that ... the show could be mind-blowing at best, or worth seeing at the very least. Regardless of these (or perhaps, because of these), there are two things to keep in mind when watching the show: Don't judge a book by its cover, and read between the lines.

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The story begins with our protagonist Madoka and her friends living ordinary carefree lives until Kyubey, the obligatory cute mascot, appears. He calls upon them to become magical girls and fight the menace of the witches; in exchange, Kyuubey offers the girls the chance to have any single wish granted. Thus the life of a magical girl begins with a decision, and this leads to consequences both intended and unforeseen. Once the perils of the vocation are revealed, it becomes apparent that, as with any position of power, there's much more to magical girls than being selfless, righteous, and idealistic.

While the premise seems fairly standard enough, it doesn't stay that way for long. Not in the hands of writer Urobuchi Gen. This anime takes the magical girl genre and infuses it with elements more reminiscent of Silent Hill 2 rather than Sailor Moon. The result is an unorthodox mix which induces cognitive dissonance.

However, Madoka☆Magica goes a step beyond simply contrasting ideas. More than just combining disparate details for the purpose of shocking the audience, Urobuchi Gen weaves these elements together to create a bigger picture. The plot itself is excellent, though not as revolutionary as hardcore fans would claim it to be. Even so, few anime titles out there could match this series in terms of thematic development, and it's a pity that only a handful express appreciation for this particular highlight. Some viewers may nitpick about factors such as technical details and suspension of disbelief, but given that the story prioritizes purpose over plausibility, I find most of the criticisms of these aspects to be blown out of proportion.

That is not to say that the story is without shortcomings. Having the series limited to a mere 12 episodes is simultaneously a boon and a bane. On one hand, it forces the creators to use a compact and focused style of storytelling which leaves no room for insignificant details. This accentuates the suspense of the plot and keeps the audience on the edge of their seat. On the other hand, developments feel rushed on more than one occasion. Despite the good use of foreboding for most of the show, some twists still come suddenly with no warning whatsoever. Character development may have also suffered as the limited time made it difficult to flesh out the cast completely.

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In contrast to the previous points, opinions seem to be less divided with regards to aesthetics. This comes as no surprise since the merits of the audio and visuals are much more evident.

Those familiar with Kajiura Yuki's previous works may set their expectations high as the music of this series does not disappoint. Similar to the soundtrack of Kara no Kyoukai, the pieces in Madoka☆Magica range from light and pleasant to haunting and dramatic. The ending theme in particular (Magia) is song that packs a lot of impact by featuring a mesmerizing tune and lyrics which are actually relevant to the story.

On the side of animation, director Shinbou Akiyuki brings in SHAFT's distinct art style puts it to good use. Although attentive viewers could easily spot signs of budget/time constraints at several instances, I find these shortcomings forgivable given how well the visuals were utilized for most of the show. Besides presenting eye-candy, the images play a significant role in presenting ideas. Appreciating the numerous details may require a bit of effort on the part of the viewers, but it does make the experience much more interactive and rewarding.

As for the characters, Aoki Ume's designs lie a bit on the cartoonish side. They're easy on the eyes and they have the unexpected benefit of having virtually no fanservice potential (except perhaps for the well-endowed Mami). However, these designs offer little advantage for later dramatic scenes after the dissonance has worn off.

Fortunately the voice acting makes up for this, and Madoka☆Magica has some of the most moving performances I've heard in years. Special mention goes to Yuuki Aoi for giving life to the main character in her moments of distress.

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To sum it all up: This anime is by no means perfect, but I find its flaws heavily outweighed by its more outstanding aspects. Hype or no hype, Mahou Shoujo Madoka☆Magica is a show worth paying attention to — if you're willing to pay attention.

“Happiness doesn’t walk up to me,
so I have to walk there to make it mine.”



In 2007, Gainax treated fans of the 90’s anime with the release of Evangelion 1.0. The although the first film was enjoyable enough, it offered little more than crisper visuals compared to the original series, and understandably, some saw it as simply another attempt to further milk the franchise. Two years later, Hideaki Anno and Co. prove once again that they’ve still got their magic by unleashing the beast known as Evangelion: 2.0 You Can (Not) Advance. With the premise of the show already (re)established in the previous movie, the second ... film now moves on to the more intriguing details.


Unlike the first film which was an updated carbon copy, Evangelion 2.0 has good reason to be called “Rebuild” rather than “Replay”. Here, we get a sense of the tension being built up with more questions being raised and juicy tidbits scattered throughout. Fans of the series are in for a surprise as even more deviations from the original story are introduced. Those expecting a trip down memory lane would undoubtedly recognize familiar scenes, but the journey gets even more interesting whenever the déjà vu comes where least expected.

Improvements are also evident in the method of delivery. The awkwardly long pauses and the navel-gazing have been cut down or cut out altogether, allowing more of the actual story to be covered in less than 2 hours. Events are more tightly woven together, resulting in a movie wherein every minute is worth paying attention to.


As for the characters themselves, they retain their distinctive personalities but are given a few tweaks. They still have their ups and downs, but also seem to be weaning off their habit of wallowing in misery. Besides enjoying more development than in the prequel, everybody’s acting more mature this time around. Gendo shows a moment of vulnerability, Rei’s starting to reach out to people, Asuka’s less abrasive, and Shiji grew a spine (as in “vertebra”, not “hedgehog”) somewhere along the way. Purists would undoubtedly RAAAGE at the reduction of teen angst, but seriously, who wants more of the same old sh*t?

Another notable change is the addition of the character Mari Makinami Illustrious. Her presence barely leaves a dent in the story so far, but I'm willing to cut her some slack since the new kid on the block may still play a larger role in future movies. Besides, I like her singing.


Moving on to technical aspects, Evangelion 2.0 is an visual feast. The more fluid animation combined with fine detail makes the battles of the titular “mecha” more awe-inspiring. The Angels have been redesigned to be more alien and more majestic than their previous incarnations. The literal blood baths have been upgraded with even larger volumes of the liquid being spilled, and the more impressive explosions may actually give Tengen Toppa Gurren Lagann a run for its money. Details such as upturned earth, cars and trains scattered like pebbles, and buildings painted crimson add emphasis to the havoc being wrought. Simply put, everything is shown in much grander scale.

The audio, on the other hand, has more evident flaws. The voice actors are certainly skilled when speaking in their native language, but their embarrassingly clumsy English is painful to listen to. Those unfamiliar with Hideaki Anno’s... quirky... choice of song for crucial scenes would also find themselves raising an eyebrow once or twice throughout the movie. Thankfully, these don’t last too long and the rest of the soundtrack makes up for the rough spots.


Overall, Evangelion: 2.0 You Can (Not) Advance is a must-see for anime enthusiasts. It offers something more palatable for newcomers but throws in a couple of deviations and easter eggs to grab the interest of older fans. And in the unlikely chance that you actually hated the original series, go watch it anyway for the satisfaction of seeing things explode.

“Sleeping in classes and coming late.
You haven’t changed at all, even after you became a god.”



"God." The word alone brings up images of supposed grace, divinity, and perfection. However, Hitotsubashi Yurie is far from being the embodiment of those qualities. In fact, she's quite the klutz even by mortal standards. Even so, providence has chosen this middle school student for the role of shinto kami (deity). Fortunately, she has friends to help her out with her troubles, whether earthly or divine.


Content:
After seeing more than a few other shows featuring magical girls and moe-blobs, one might wonder how Kamichu! could stand out from the rest ... of the crowd. The answer lies in its simplicity. Kamichu! may contain many extraordinary elements such as shinto gods, talking cats, and even aliens, but the treatment they get in the show is no more special than that of the more mundane aspects of an ordinary person's life. For example, while getting to know her godly powers and duties is important, Yurie also spends a fair amount of time worrying about her grades or trying to get closer to her crush.

Being a slice of life series, it's no surprise that the cast is another reason for the appeal of this anime. Their conversations and interactions have this candid and casual quality that few other shows could capture. Neither sickeningly sweet nor downright outrageous, their down-to-earth personalities make the characters easy to relate to and all the more lovable.


Execution:
Whether a spectacular spell is being whipped up or the characters are shown simply passing their time in an idle manner, the animation is generally well above average with a few forgivable hiccups. Also, there's always a surprising amount of detail on the screen. For example, the realm of the gods is certainly out of this world but the scenic city of Onomichi (said to faithfully depict it real-world counterpart) is no less captivating either.

However, the visuals are simply icing on the cake when compared to the audio. The soundtrack is top-notch and it simply sucks you into the soothing pace of the show. Like opium for the ears.


Overall:
Nostalgic, wholesome, simple, and magical, Kamichu! is a disarmingly cute show that would put smiles on the faces of even the most jaded audiences.

“I pray that I can finish this day without dirtying my hands.”


Some elements in anime and manga have been used by so many writers that they are at risk of becoming hackneyed. The use of school settings in particular has become rather common, and finding fresh content is increasingly becoming more difficult. Fortunately, there are still a few titles that manage to surpass expectations. This manga happens to be one of those.

Affectionately referred to as “Fap Note” by some fans, Onani Master Kurosawa is the brainchild of Ise Katsura (author) and Yoko (artist). The story deals with an adolescent's coming of age and, as it's ... official and unofficial titles suggest, heavy emphasis is placed on the “coming” part.

Surprisingly, I found none of the scenes distasteful despite having much of the story centered on Kurosawa's sexual tensions. Of course, some chapters are hardly safe for reading in public spaces since they involve the fantasies of our healthy male protagonist. However, the author never resorts to cheap incidents normally associated with fanservice (accidental upskirts, peeping, unreasonably skimpy clothing, etc.), and none of the illustrations show anything explicit enough to warrant the dreaded censorship bars either. The circumstances are strange but neither impossible nor unthinkable by real world standards. To clarify: this manga is more about (A) a guy who jacks off, than (B) offering something for readers to jack off to.

Much of the appeal in the earlier chapters lies in the comedy presented. Kurosawa's method of dealing with problems in school is anything but orthodox, and readers keeping track of other popular series would undoubtedly recognize a number of parodies which are seamlessly integrated into the rest of the narrative.

However, the later volumes also stand well on their own with the intriguing and suspenseful story. As the plot starts to pick up, the events in each chapter leave you wanting for more. Onani Master Kurosawa covers themes that are regularly found in other manga about school life but presents them in a non-cliché manner, offering a surprising amount of drama and character development as well.

The art of the manga is also worth noting. The earlier volumes had several attempts at digital coloring and shading but I found these subpar even by doujinshi standards. Thankfully, these are few and far in between, and the quality does improve over the chapters.

Even more peculiar is the artist's sketchy drawing style which seems to make use of traditional media. The copious application of hatching might seem unusual for the lighthearted scenes but the dark shades enhance the mood of the more dramatic moments.

Also commendable is Yoko's ability to emulate the styles of other artists; this is crucial since the parodies would not play out well if the reader is unable to recognize which series is being referred to.

Onani Master Kurosawa is not your usual content-free comedy. At only 4 volumes, there's hardly any filler material to stretch the series to unnecessary lengths. The result is a short but exhilarating roller coaster ride of emotions and hijinks.

After going through several shoujo one shots and getting tired of the clichés, stumbling across Forever Honey was a blessing from the heavens.

The story revolves around the heartwarming relationship between a father and his daughter. It's a refreshing break from run-of-the-mill highschool romance, and the flow of the narrative is remarkably smooth without being predictable.

The character designs are very pleasing to the eye and the illustrations capture their personalities. Honey looks so adorable and Keita's such a shabby-looking dad that it's no surprising that he dotes on her while she worries endlessly about him. As an additional bonus, the mangaka doesn't clutter the panels ... with unnecessary shoujo fluff since the characters' facial expressions are more than sufficient in displaying the emotions of the scenes.

Despite its length, Forever Honey has no shortcomings in delivering a poignant story that tugs at the heartstrings. At 42 pages, it would only take a few minutes to read but its impact is greater than some multi-volume works that I have encountered.

If broken down to its individual components, there’s hardly anything new presented in Kannagi. An average guy for a protagonist, magical girls, childhood friends, highschool life, convoluted love triangles, otaku references, doses of fanservice, product placement, etc. If I had known earlier that the show contained these, I would have never even bothered to try it out. Fortunately, I was oblivious of this and, having finished the show, I must give credit to its creators for creating a palatable mix of these elements. By featuring a bit of everything without going in too deep and alienating some audiences, I believe they have made a show ... with much potential for crossover appeal.


Story: 7
The premise of the story seems to be heavily dependent on fantasy elements but not (yet) to the same extent as in other shows like Kamichu! or The Melancholy of Haruhi Suzumiya. Most of the series is mainly slice of life in content due to its focus on the characters and their more mundane interactions with each other. Like many other series of this genre, Kannagi’s humor makes use of slapstick comedy, parodies, Easter eggs, cameos, lampshading, 4th wall breaking, completely conspicuous product placement, and a healthy dose of fanservice. Thankfully, they don’t go overboard in terms of quantity or execution so the gags come across as amusing rather than offensive, obscure, or downright stupid.

Occasionally, bits and pieces of the “main story” are served throughout the show, and a very large chunk is thrown in towards the end. The later episodes feature much more drama and viewers who enjoyed the light atmosphere earlier might find this change quite drastic. On the bright side, this allows the story to progress further and character development spikes up at this point. Many questions are left hanging but it gives hope to fans who wish for a second season.


Characters: 9
Since Kannagi seems to be a character-centered story, it’s only fitting that the show has an interesting bunch for the cast. Much of the humor of the show is fueled by their various and complementary quirks, and even supporting characters get plenty of onscreen time because of this. The two main characters in particular are pretty well-developed. Nagi plays a variety of roles ranging from spoiled and childish to refined and divine, while Jin is much more mature than the typical highschool lead character despite often being labeled as “ordinary” by his seniors.


Visuals: 9
The Kannagi has few special effects to boast of but the show isn’t lacking when it comes to visuals. The animation of characters in particular was very impressive, and this evident enough from the OP animation alone. The studios certainly didn’t scrimp on frames; the smooth and consistent animation is on par with many movies and the hair movement is so fluid that it reminds me of shampoo commercials.

In additions to this, ordinary settings are brought to life through minute details. For example, interior shots show various items scattered throughout the room, as in the case of the art club and its cluttered boxes, scattered comics, paintings, busts, beverages, and half-finished drawings. External shots of the town may are close to some real life counterparts with some illustrations bordering on scenery porn. Figures in the background such as pedestrians walking on the other side of the street are also fully animated.


Audio: 8
The OP and ED songs capture both sides of the main character’s personality. The upbeat motto☆Hade ni ne! features Nagi as a charismatic idol while the soothing Musuhi no Toki is a song fitting for a goddess.

Although the rest of the soundtrack isn’t as memorable, it’s more than effective enough in supplementing the mood of the show.


Overall: 9
Kannagi is probably one of the most well-rounded comedy series that I’ve seen so far. Besides delivering a truckload of gags, the show offers slices of life, hints of romance, several heartwarming scenes, and even a few bits of trivia regarding otaku culture. In terms of execution, there’s nothing shabby either in the show’s animation, music or direction. Overall, it’s a very enjoyable experience that worth repeating while waiting for a second season.

“All this living, killing, and dying…
Do you really need a reason for it?”



For some manga, it’s love at first sight. The title may be intriguing, the story might be riveting, the characters possibly lovable, or perhaps the art just blinds you with sheer awesomeness. Either way, you flip through the pages and get instant gratification.

Because Goodbyes Are Coming Soon is not one of those.

Despite that, or rather, because of that, no other one shot has impressed me as much as this one.
...

Admittedly, the manga didn’t grab my attention at first. For starters, none of the characters could actually brag about good looks (these Shinsengumi are no pretty boys), and it’s easy to ignore the detailed illustrations and the smooth scene transitions because of that.

Likewise, the story is delivered in a deceptively simple manner. What happens in the plot is evident enough but it takes a little more effort and perhaps a few more readings to understand the significance of these events. This one shot may remind some of you of those short stories which your literature professors might have forced on you in high school or college: boring as **** if taken literally but filled all those little details which could be interpreted in several ways.

Also exceptional is the story’s emphasis on internal conflict rather than external conflict. Our protagonist (Okita Soji) is already an accomplished swordsman, but he has no cause to live or die for. All other warriors are inferior to him in skill and there’s no obstacle that he can’t overcome. He has the means to win but finds no meaning in fighting.

This is further highlighted by means of foil characters. Okita’s apathy regarding worldly affairs stands out even more when contrasted with the passion of other swordsmen such as Kondo of the Shinsengumi and Yoshida of Choshu. While other tragic figures are often ruined by their ambition and hubris, Okita’s ultimate flaw is his lack of vision. This story challenges the conventional themes of downfall as well as common notions of invincibility and defeat.


Because Goodbyes Are Coming Soon might not be the best option in terms of entertainment value, but if you’re the type who actually enjoys literature classes, you might want to give this one a shot.

“I’ve tried turning you into someone stronger,
but lately, I feel uneasy whenever I look at you.”


Content:
Simply put, Gunslinger Girl is about hopeless children who are granted another shot at life at the cost of their freedom and innocence. They are given cybernetic implants which enhance their combat capabilities and drugs which impose upon them unquestioning loyalty to their respective masters. Paired with their handlers, they are known as “fratello”, and they must face not only terrorists but the tragedies of the past and the uncertainty of the future as well.

Admittedly, the question “Does the end justify the means?” has been asked implicitly in ... many other anime and manga. However, GSG is more realistic in its delivery and, some might argue, more socially relevant in the light of the so-called “war against terrorism.” The series shows people on both sides often pursuing honorable goals through questionable means, and the viewers are left to resolve the ethical dilemma on their own.

Nonetheless, the battles against terrorists, corrupt officials, and the mafia serve only as plot devices in most cases. The series focuses instead on the intertwining personal stories and the effects of the conditioning on the girls.

If analyzed individually, the characters themselves are relatively plain. However, it is their complex web of relationships which makes the series shine. The bonds between fratello cover a wide range of roles such as those of parent and child, elder and younger siblings, mentor and student, master and tool, superiors and subordinates, colleagues, and accomplices; and each pair shows varying degrees of compassion and indifference. Several antagonists also retain a certain degree of dignity, further blurring the line that separates “the good guys” from “the bad guys.” Every character has a unique personality as well as a plausible backstory, and these make their interactions all the more interesting.


Execution:
The anime adaptation closely follows the events of the manga and is faithful to its spirit even with the introduction of new content in the later episodes. However, this may be one of those few instances wherein the anime adaptation is actually more successful in bringing out the full potential of the story. The pacing works better on the screen than on paper, and the quality of the audio and visuals give it the impression of a cinematic experience.

The animation is fluid, consistent, and brimming with fine details. The firearms are shown accurately to the point that it is touted by some as the gun enthusiast’s anime. Prominent brands, landmarks, and works of art are regularly featured, and these contribute to the distinct European ambience of the series. The animators also seem to have deliberately emphasized and blurred light and shadow, giving the show a certain haziness as if to reflect the moral ambiguity which permeates the story.

The soundtrack is composed primarily of intricate orchestral music and unusually devoid of typical J-pop, which seems rather fitting since the events take place in Italy. The Japanese voice actors did well in portraying their respective characters while the English dub is tolerable though stiff sounding in comparison.

As for the opening song, The Light Before We Land by The Delgados sounded odd the first time I listened to it but I later came to appreciate its significance. It’s hard to imagine that the song wasn’t written specifically for this series since its melancholy lyrics and melody fit the show like a glove.


Overall:
Gunslinger Girl is sober both in content and execution, using a level of subtlety and realism that separates it from other tragic dramas such as Elfen Lied and SaiKano. The series refuses to deal in absolutes, painting everything in shades of gray rather than plain black and white. It shows tragedy and injustice but it also presents a moral dilemma which encourages the viewers to question if the sacrifices have been worth it and if the alternatives would have been any better.

Its open-ended nature would undoubtedly irritate/frustrate some viewers but I think it’s rather fitting for a series that emphasizes hope amidst uncertainty and misery. As Dr. Bianchi might put it, what the audience needs is not proof but faith that the girls would find happiness, even if the facts and metaphors suggest otherwise.

"I am free, but I do not wish to be alone."



The premise: In the far future when mankind has advanced technologically to colonize the moon, two girls are hunted by the authorities for their mysterious supernatural powers.

Perhaps that's one of the reasons why this series doesn't get enough attention; it's so easy to dismiss KURAU Phantom Memory as just another generic sci-fi/action title. Of course, there are several familiar elements such as mecha, power plant disasters, conspiracy theories, beings from another world, and rogue subjects from questionable scientific experiments, but the lack of any elaborate explanations only goes to show that most of these technical ... details are mere plot devices. At its core, KURAU Phantom Memory is a drama about personal relationships.

Although many other anime titles have had similar themes in the past, KURAU makes no grand proclamations about ideals (ex. Love! Friendship! Hope! Etc.) and neither does it delve into any of these topics through abstract and verbose mono/dialogues. Instead, the viewers are simply shown the various relationships between the characters: those of colleagues, friends, couples, siblings, as well as parent and child. As if to stress the point that no man is an island, the story even introduces a new kind of bond: that of a Rynax and its pair. The connection between the two beings can be described as a binary existence characterized by intense (yet apparently asexual) longing and inability to live (literally and figuratively) without its pair. As the characters are separated by distance and, for some, by death, the series reveals the emptiness of solitary life and the joy of being with loved ones.

Just as important as the content itself is how the story is executed and in this, the creators of KURAU did a splendid job. Despite all the drama, none of the emotions seem exaggerated; quite a feat considering the number of characters (full-grown men included) who shed their tears throughout the series. Even if you’re sick of watching sad girls in the snow, this show gives you nothing to worry about since everything flows naturally. The pacing is also pretty even since there’s hardly any filler material and it doesn’t slow down to give long lectures about technical details or the philosophies of the characters. As the words “Phantom Memory” suggest, quite a number of flashbacks are shown but none of these drag on for too long and they’re always relevant to the development of the story.

The show isn’t lacking either in terms of audio and visuals. The character designs are unusually realistic and down-to-earth by anime standards, the animation of the battle scenes is pretty slick, the mecha are somewhat reminiscent of those in GitS, the landscapes of the terraformed moon and the scenic Swiss Alps are beautifully illustrated, and uncontrolled Rynax wreaking havoc are always a sight to behold. However, the impressive art is simply icing on the cake when compared to the integral role of the music in conveying the emotions of the story. Moonlight (ED and main theme) evokes feelings of loneliness, sadness, and at the same time, hope, while the cheerful and upbeat Natsukashi Umi (OP) serves as a counterbalance. The insert song Lonely Freedom also does well in highlighting several dramatic scenes with its mysterious and calming aura.

For all of its strengths, it's a pity that KURAU Phantom Memory does not get the attention that a show of this calibre deserves. This may be one of those cases which demonstrate that a show need not be abysmally boring despite the number of tropes used.

“Maybe on Earth. Maybe in the Future”


Content:
As expected of most cyberpunk titles, Blame! is a dark futuristic story laced with enough action to keep you at the edge of your seat. Unlike other works in the same genre, however, Blame! avoids most of the philosophical/existential questions usually associated with cyberpunk. Also not present are the verbose in-battle rants/soliloquies that some would find unnecessary. Instead, the author demonstrates that actions do speak louder than words sometimes.


Literary Style:
One of Blame!'s unique features is its lack of narration: only a few details are tossed in and it's up to the reader how to connect the dots (the ... "no spoonfeeding" policy). Because the author doesn't specify how everything comes together, there are multiple interpretations of how and why events actually happened. The story parallels The City itself in having endless possibilities and the imaginations of the readers are given plenty of room and materials to roam freely and do as they wish. Whether this is a good thing or a bad thing would depend on the reader’s attitude towards open endings. Although some would be left unsatisfied due to the lack of details, others may also take it as a form of interaction with the story.


Visuals:
It is said that “a picture is worth a thousand words” and in Blame!, pictures do almost all of the talking. Rather than describing how powerful Killy’s gun is, Nihei spends a few pages showing the havoc caused whenever the trigger is pulled. Instead of saying “The Megastructure is vast and gloomy”, the artist shows the characters wandering through the labyrinth for months, through endless hallways or under pitch-black skies. More often than not, the deafening silence is only broken by the humming of machines or the roar of explosions. To say that the art simply complements the story would be incorrect since the art is pretty much integral to its delivery.

As for the quality of the art itself, it’s nothing short of impressive. The character designs may take some getting used to at first but Nihei’s style gradually improves throughout the series and his illustrations in the latter volumes are flawless. Also, the settings and action scenes are smoothly drawn and insanely detailed. Given his background in architecture, it’s no surprise that Nihei is exceptionally good at drawing colossal structures and perspective shots.


Overall:
Not many manga out there could offer straightforward action, extraordinary art, and a little grey matter exercise at the same time. While most of the characters aren’t exactly emotionally charged, it’s a refreshing break from the clichéd personalities of anime and manga.