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Disclaimer: Please be aware that this is not actual history but a 'what-if' scenario developed over the course of the Edo period. The review is written cognizant of this fact and does not claim any of the events over the course of the manga to be true. With that out of the way, have a fun read.

Historical manga are some of my favorite works in the medium, ranging from epics such as Sangokushi, Kamui den, Historie, to name a few. My relationship with them tends to be quite painful, in no small part, due to them often being in hiatus hell or not picked up ... for translations due to lack in popularity. That was one of the driving factors in me learning French in the first place due to their voracious appetite for comic books in general. But I digress! Back to today’s focus. Ooku was a series something I first heard back over a decade back on account of the fact fact that it was well received and had won several prestigious awards over the years. Coupled with the rather unconventional plot, it stayed in my mind as something I would like to check out. It was only recently that I came to learn that I could find it online. With the increasing free time due to IRL reasons, I figured now was the time to check it out. And I'm glad to say that the experience was truly phenomenal. In subsequent passages, I will try to present my thoughts on the work.

Ooku is at its heart a historical fiction, wherein, the reader is presented a what-if scenario (which is detailed in the synopsis), with one of the main questions being, what if, the driving reason for the Tokugawa’s policy of isolation was not political or economic, but rather due to a widespread disease, albeit affecting men. Given the ravages of COVID a few years back, it is quite believable a premise. Japan is devastated and men are slowly relegated to a subordinate role, with women taking up every role, including the government. This process at the highest level is done covertly but becomes more and more overt and the transition is complete. Men are not protected, out of concern, while women steer the fate of the nation.

Central to this transformation of society, is the Tokugawa Shogun. We cover a period of close to 250 years where we are brought into the midst of the inner chambers of the Edo castle as we get to explore the impact of this epidemic over the psyche of the nation and its women at the top. Originally, brought in out of political expediency, these women Shoguns must navigate a myriad of machinations in court, governing the country and ensuring The State continues undisturbed. And in this journey, Japan is also a participant in the world stage, though limited and reluctant. Europe is on the ascendence, and Japan must do its best to hold back the tide, until society restores to normalcy, if it ever will. Suffice to say, the women in power have their work cut out.

In this, Ooku excels. Yoshinaga has a great understanding of Japanese history and melds this beautifully with the travails of the Tokugawa family. We, as the readers are aware of the decision-making and the personalities behind them. And though I focus on this point, due to my affection for history, Ooku at its core is about relationships. We are exposed to different strata of society to understand the devastation of this disease. The changing population dynamics lead to change in relationships, and this is even more evident in Edo. The Shoguns often must give up on true relationships to assure continuity of the dynasty. A consequence of this detached nature of government leads to individuals who are fragile, both mentally and physically, and strive for true companionship, but to no avail.

This fragility is delightfully conveyed by the art in the series. Backgrounds are done tastefully, bringing a shojo aesthetic to the series. The character art however suffers from this, with some of them looking very similar. But this is to be expected given the vast timespan covered in the series. The Kimonos, ostentatious at the start of the series, is overshadowed by one, almost representing this series itself. The Kimono in question is black with a river pattern with swirls in silver, seemingly indicating that as with a river with its meandering ways, there is no one straight path. We must adapt to the situation and times around us to be resilient and overcome adversity. This is evident through the excellent cast, both female and male, that we get to see over the course of the series. They push and pull against each other, but at the end of the day, come together to help each other.

Over the course of the read, I found myself surprised time and again with the fact that the manga is only 19 volumes long. Part of it could be driven by wordiness and style of the dialogue in the manga. The English translation of the series uses an antiquated form of English at the start, making way for a more practical use of the language. And this was something I appreciated as this evolution in language over the course of history was something I haven’t necessarily seen in a lot of series. Kudos to the series on that.

The series end as Japan is on the cusp of modernization and you, as the reader, will come to appreciate the journey and the individuals which helped Japan to bounce back from that epidemic. And although a what-if scenario, I for one, will cherish this series deeply, and reminisce fondly of the times when Japan was ruled by female Shoguns.

Welcome from my earlier reviews. If not, do read them, since they are all pieces of one big puzzle. We are at the final review! Thanks for reading all the reviews (if you did)! S3 was announced almost as soon as S2 finished. Given how S2 ended, I was eager with anticipation to see how the tournament arc would be concluded. And I sure wasn’t disappointed.

As our lead trio is getting used to working together in a squad, with each season showcasing their growth as Border soldiers and individuals. But everything is not a bed of roses. As they grew from strength to strength, ... from sheer potential, their flaws start to become more and more prominent, to the point that it would prove their downfall, if not addressed. This season, therefore, chooses to focus on their weaknesses and how they overcome it in a real-life situation (real life for them ie). They are also joined by a new member, in addition to their operator (who has been present since S1 mind you), which makes the trio a quad, overhauling their existing tactics and options due to this new introduction.

As was the case with S2, we get a strong emphasis on the optimal use of powers, with more information given on them. What however stood out for me in this season was the fact that it was the most character focused season of the 3. Two of the lead characters are seen to be the weak links, albeit for different reasons. Both of them have been aware of this from S1 and seek to overcome that or doom the fate of their squad. The series presents their situation quite realistically and provides a satisfying solution to those challenges. It doesn’t do this by a power creep, but by actual character development. Such a joy of a series to watch!

The art and animation like S2 is great to watch, with the particular standouts being episode 13 and 14 to a certain extent. Episode 13 in particular was a joy to behold and been a while since I’ve really noticed the animation. Music was great as always and have to say that I’m really starting to enjoy them a lot, often listening to them in my free time.

And seeing as I am basically repeating what I said, I’ll conclude by saying that as of the end of S3, there has been 20 odd chapters. Meaning, that we won’t be getting a S4 anytime soon. That being said, I think the series has done enough for me to look forward to what the mangaka offers for the future of the genre. It has been a while since I’ve been this moved by a battle Shounen and I will take the time to revisit some of my older favourites and also try out some other works which have been in plan to read/watch list, until we get S4. Thanks for reading my reviews

Oh boy, what a return this was! If you are here from reading my review of season 1, welcome back! I did not see s2 happening to be honest. Season 1 finished in 2016 and met with an underwhelming reception (for the large part). Coupled with the health issues that the mangaka faced just after, I had no hopes of a future season materialising. And then I get the news that we would be getting s2 in 2021. I was quite glad, truth be told, as I had always liked the series, despite its underwhelming animation and art. But that’s enough of me fanboying (for ... now). Let’s get to the review!

S2 picks off where S1 finishes. Returning fans are given a recap on what happened in the last episode of S1 to ease us into the action. Our lead cast, is trying to grow in the organisation, Border, through combat drills and squad fights. Aka, a tournament arc! Now initiates to tournament arcs would know that this serves as the arcs where characters grow, both mentally and physically, in order to be prepared for greater challenges

The focus of this season, is therefore, more on the power system used and how to efficiently use it. Our trio must identify their own style of using this power (trion), in the context of a squad. Even the strongest opponent can be taken down by the weakest trion user, when the right tactics and conditions are laid. The series makes it a point to remind us of that. It is this incorporation of knowledge and data into battles, which adds a layer of depth to the fights.

It is also in this arc that the role of operators, aka individuals who handles the operations of a squad, comes to the fore. Though they have been present since S1, it is here that we really come to appreciate the influence they have over the success of a squad. Involved in aspects like logistics, strategy, supply, tactics and more, they are indispensable for the fortunes of a squad. The cast is solid as always, with character development getting richer and richer (if you are reading from my S1 review, you will understand what I mean).

But I think I would be doing a disservice if I didn’t talk about the visual upgrade that the series received. Switching to a weekly schedule did wonders for the series. Having a lot more polish and finish, compared to S1, the series is a treat for the eyes. Lot of the colour contrast is vivid and lot of the animation is a joy to watch. It finally got the eye candy it deserved! The OST is the same from S1, which is more noticeable this time around, given the more hype nature of a ‘tournament’ arc

To summarize, a solid return to form, with a batch of new paint to reward the people who stuck with series. People who liked S1 for its positives will enjoy more of the same in S2. Onto the final review!

If you have been watching anime, be it a few months or several years, you might be familiar with the Battle Shounen genre. Boasting the largest and most popular titles in modern anime/manga such as the Naruto, Bleach, Yu Yu Hakusho, My Hero Academia and so on, it goes without saying that their influence and presence over the medium is here to stay. At conventions, it is often the norm to see people break out into their favourite finishing moves, cosplay as their favourite characters, defend their favourite fights and moments vehemently. It is one of the foundations on which the modern industry is supported, ... serving as the channel of entry to new fans. I was also one such fan, starting my journey in the medium with Dragonball Z back in 2000, albeit lacking knowledge of anime at that point in time. And while my current attitude to the genre is cold to lukewarm at best, I won’t deny that it is close to my heart.

And why wouldn’t it be! Despite my changing taste, fights like Rock Lee vs Gaara, Kenshin vs Saito, Yusuke vs Toguro and so on, are moments that I revisit from time to time, indulging in a sense of nostalgia that only this genre offers. These characters and their struggles feal real enough, despite being in different worlds or time periods and I can’t help but egg them on as they strive to achieve their potential and personal goals. With all that said, the genre is not free from flaws. While it might be filled with great moments, the lead up to a lot of them, often tend to be underwhelming. Crumbling under the weight of bloated casts, which only keeps on increasing as the series goes on and resorting to cheap resolutions in the form of power of friendship or power creeps which render existing threats, toothless. It is a genre which has had no sense of direction and innovation since the late 90s (exceptions do exist as is always the case) and people who have known me long wouldn’t help but agree with my disdain for the genre due to the aforementioned reasons.

Enter World Trigger, the focus of our review today. World trigger is set in Mikado City, where an organisation named Border must protect the city and its inhabitants from visitors from another world, aptly called neighbours. These neighbours are here to kidnap the residents in order to fuel their own economies and society in the other world. It is up to Border and its employees to stop them and ensure life continues as normal. The story focuses on three main characters, as they fight and grow in the organisation and strive to achieve their goals. Stock standard battle Shounen as they come.

Where it differs from other BS is in terms of how it approaches the whole world vs characters dichotomy. While the characters are the main focus of the series, the world is an overwhelming presence and the cast must keep that in mind as they navigate around Border. The series maintains a level of mystery to it and we along with the cast are offered titbits of information at appropriate times, which enriches our knowledge of the world and its systems, without overwhelming us with aforementioned information. The cast and us, the viewers, then have to process this new information and adjust our understanding of the world. And in that, it is very reminiscent of how Oda, of One Piece fame, presents the world to us, the viewer/reader.

World trigger also offers a rather grounded power system, unlike its other Battle Shounen counterparts. The power system is called trion and functions somewhat similar to other systems like Ki or Chakra, in that, there is a finite amount and it requires time to recharge it. Unlike the other two, the big differentiator here is not how large the trion reserves are, but rather how efficiently it is used to meet combat goals. And I say combat, because that is how the series approaches conflict. Not a lot of silly 1v1s centred around pride and showboating, but rather conflict with respect to principles of strategy, implemented through astute tactics. It is not out of the ordinary to see concepts like staggered columns, defeat in detail, supply chains, logistics, combined arms, etc rendered in a Shounen mold. Series like Naruto alluded to it, but World Trigger fully embraces it and I can’t help but admire it for that.

On the cast itself, the trio (Mikumo, Kuga and Chika) are like any upstarts trying to make it big in their world. Their motives are not as ambitious as leads of yesteryear Shounen series, but is still admirable. They are a likeable bunch and I can’t help but support them as they aim to achieve their goals. The series also boasts a large supporting cast, as is the case with a series focused on the world building side of things. I was pleasantly surprised in terms of how it managed to flesh out the supporting cast and make them damn likeable. They were individuals in their own right and were not presented only to be undermined by the lead trio. Reveals of the world also affects them and impacts their own personal equations and this is only bound to be richer as time goes on. The series is also not afraid to show what really is the top of the world, in terms of power. We, the viewers know what to expect from the lead trio once they reach the top. Just smacks of confidence from the creator and I can’t help but appreciate that. The character dynamics is great and love how the characters bounce off each other.

Honestly, I could go on for hours why I love the cast and world, but that would make this review too unwieldy. So, let’s move onto the shortcomings of season 1. While this was technically a rewatch, I won’t deny that the earlier episodes are somewhat of a challenge to get through for someone new to the series. The series takes a lot of time in setting up its world and characters and that might irk a lot of people. It also doesn’t do any favours that the art and animation is underwhelming. This series is an example of Toei at its absolute worst. Often spending 3-4 minutes in recaps of the previous episodes and having the opening at weird times, be prepared for a tough start. However, the good writing kicks in and would only make the ride even more enjoyable. The music is serviceable, without being tiring. Oh, and do skip 49-63, which were fillers. They don’t add anything to the story and does everything that the series isn’t about.

With that said, I’m glad I got around to rewatch the series and derive so much enjoyment from it. Hope you, the readers of this review will get the same. And for people who have already seen s1, go on ahead to read my reviews of the subsequent seasons!

Delinquents is a subgenre of manga that deals with the shenanigans of teens rebelling with the intent of finding their purpose in life. While not so popular in the medium of anime, it is one of the most recognisable, if not popular genres of manga, with several magazines across different demographics dabbling with them, aiming to find the next hit. It shouldn’t come as a surprise that 2 of the 3 most popular manga running during Shounen Jump’s golden age, happened to have delinquent leads in it. And while the halcyon days are now far behind (usually seen to be somewhere between the late 1980s ... and 90s), modern works such as Beelzebub and Tokyo Revengers forward the cause of these brash and passionate brats and gals.

And while a lot of these series often resort to an over-the-top testosterone approach in terms of execution, which is quite entertaining in its own way, don’t be surprised to find series which tackle these rebels in a much more humane and subtle way. The focus of our review today is one such series.

Written by Takahashi Tsutomu from 2002 to 2012, this is quite possibly his finest work I’ve read so far. He himself was a former bosozoku, a subculture revolving around customized bikes and rigid social hierarchies (a whole other topic in itself) and his work oozes with a sense of personality and intimacy, which is unlike his other works.

Bakuon Rettou is the story of Takashi Kaze, as he grows into his own as a bosozoku in the Zeros. Growing in somewhat of a dysfunctional family, Takashi is wallowing in indolence as he seeks to find some sort of spark which would move him from this state of stupor. All of this changes when he first discovers the Zeros. A bosozoku gang like any other, their sense of majesty and dignity stupefies him as he finds kids not older than him, conducting themselves with great poise and maturity. Intent on being like the “cool kids”, our impressionable MC joins them as a grunt. The stage is set and it is up to Takashi to deliver the goods.

What then follows is hands down some of the most realistic character growth that can be found in the medium, as we see Takashi grow as an individual with each experience. Each encounter, be it positive or negative only serves to solidify his beliefs and be an example for the younger members of zeros. His initial sense of being a rebel to escape his mundane life transforms into a sense of authority, a will, if you will of what makes him, him. And as we see get to see this metamorphosis unfolding in front of our eyes, the story ends with him passing on the mantle to kids, who were just like him all those years ago.

The story itself plays out in a rather straightforward way for the most part. Takashi navigates from one situation to another and behaves like any other teen placed in such a situation. Where it shines though is in the sense of atmosphere that Tsutomu conjures up. People familiar with his other works should know that he excels at this, but rarely has it felt so poignant as in this work. It could very well be that given his involvement with such groups in the past, there is a sense of authenticity to it which feels incredibly cathartic to us as the readers. And it is in this atmosphere that we find ourselves transported to that place, at that time when bosozoku ruled supreme on the roads of Japan.

Takashi as a lead is quite plain. Born in a broken home and having no opinions of his own, he is far from the usual stereotype that is associated with delinquent leads. But the one thing that is similar is the urge to struggle against the status quo and to grow as an individual. And in this, he is one of the finest delinquent protagonists out there. Not all his choices are satisfying and often tend to be wrong when seen from society’s point of view. But all of these only end up serving to strengthen his convictions as he grows into a more responsible role in the gang, leading to the glorious climax of the manga.

The art of the manga is absolutely gorgeous. I have already touched upon the sense of atmosphere that oozes throughout the manga, but Tsutomu’s sincerity is for all to see. Rarely have I been moved by motorbikes and his mastery of the craft brings these bikes to life. The engines roar loudly, the atmosphere is palpable and the delinquents are ready to leave their mark on history. And this is just some of the incredibly powerful moments that Tsutomu manages to create in his manga.

In this nostalgic and transient piece, we come to the realization that even if one day we grow up and have to move on from the things that defined us, we have a duty to pass on the torch to the next generation, who will struggle in turn. And thus, life goes on! It is with this intent that I write this review, to shed light on a gem of a series, to pass the mantle on to future readers of this work. Oh! And while you are at it, do check out God Speed You! Black Emperor. It is a documentary which sheds light into a Bosozoku group called Black Emperor.

Deleted my old MAL account Kaushik17

TEZUKA SAMA AAAAAAAAAAAA. Had to get that out of the way first lol.

Tezuka Osamu monogatari is a biography of the man known to the world as the god of manga and godfather of anime. Released as a weekly of 8-10 pages by Toshio Ban, then sub-chief of Tezuka productions, it ran for nearly 3 years. What better way to show the life of a great but in the medium which he helped grow and popularise. Tezuka was always a believer in the power of manga to transform life and would have been moved by the fact that his biography was ... presented in this format. The work, while a one man effort, also had insights from a lot of family, friends, admirers and so on thereby enriching the experience for the reader. The work can be broadly divided into three parts (referring to the English version specifically): his early life, his life in manga and his life in anime. In this review, I will try to elaborate on each part without sacrificing on readability to the best of my abilities.

His early life was set in a time when Japan’s militarism was at its peak. Living in this chaotic time, Osamu was a curious child with a love for stories, thanks to his parents. His mother, in particular would often recite bedtime stories, which would serve to inspire him to try his hand at writing his own tales. Through his father, he was exposed to Disney movies, a love for which would continue till his last days. He was also exposed to manga present in that time. Manga back then wasn’t the story driven version that we are now familiar with. It was more of a picture book which maybe showed one off incidents and had no continuity to it. It did allow the young Osamu an outlet for his creative talents and he would often spend time honing his artistic abilities. Classical music was another significant influence on him, serving him well in his later life, when he had to meet grueling deadlines of several series. And of course, not mentioning his love for bug collecting would be a gross oversight on my part. Several pages of the biography are dedicated to his love for this pastime. He was a man of many talents and if not for manga, would have been successful in his field of choosing.

The end of the war, saw Japan coming to terms with its new position following the war. This stage of his life shows him being conflicted in what field to pursue, whether as a mangaka or a doctor. His mother played a huge role here, without which the world of manga would have evolved completely differently. Renaissance man that he was, he does end up finishing his medical degree. The manga world, freed from wartime restrictions saw a period of great creative blooming, with his “Shin Takarajima” released in 1948, being one of the works to achieve great commercial success. This and moving to and fro from Osaka to Tokyo, helped him establishing connections and finding friends and rivals who would drive him to improve himself throughout his life. Works such as Mighty Atom, Jungle Emperor and Phoenix to name a few were works which established him in the market as the leading children’s mangaka. He however did not let it get to his head and stayed humble, another quality which he learnt from his younger days.

In the final part of the book, it showed his attempt to develop tv anime from manga and to internationalise them. The Mighty Atom was at the vanguard of this charge which would lead to the worldwide spread and popularity of the anime culture. During this period, he also released highly experimental works which were critically acclaimed and won several prestigious awards throughout the world. This period also saw him adapting to changing trends and releasing more adult works, thus ensuring his readability, relevance and accessibility to people of all ages. And though his output was not what it once was, it was still remarkable and shows that his enthusiasm for the medium never diminished. Phoenix, his life’s work was also released in earnest and displayed his mastery of the craft with aplomb.

As for the Man himself, Osamu was a workaholic of the highest order, with an output that would often leave his assistants and editors flabbergasted. It is incredible and fortunate that he did not suffer medically, given the hours he worked. He would spend time confined for days to meet deadlines of several series he was working on simultaneously. Part of the reason was the fact that he was on a mission to prove the power of manga in transforming lives. His upbringing and experience in the war might have also been a compelling factor in driving him. His internationalism could be best seen in his characters, especially of his sci-fi works, where they belonged to humanity and that was it. His workaholic tendencies did have the unfortunate effect of him rarely being around his family. An incident comes to mind, where his daughter was surprised to learn that he would be staying at the house for that night. And there are several other instances like this which just showed that his work was of the utmost importance to him. And I am glad that the biography did not shy away from showing his flaws, which was a great thing, as it goes to show that ultimately Osamu too was human.

Onto the biography itself, the biggest differentiator was the medium of presentation, i.e. manga, which offered a unique feel to the entire read. The art replicates the style we are so familiar with and fond off, with his evolution of his art and several caricatures interspersed throughout the biography. Toshio Ban donned the role of Higeoyaji, who served as the narrator, guiding us through different stages of his life and did an apt job at it. It was a surreal experience, being told about a creator by one of his characters and was something that made me smile.

Speaking about Dr. Osamu Tezuka, one cannot forget Frederik L Schodt (in the English version at least). His foreword on this work was fun to read as it has always and sets you on what to expect. Furthermore, given the fact that his entire life is covered in under 900 page and given that it is a manga, one might feel as though we don’t learn enough about the man. But despite this, the work offers in terms of enabling us to build up on available information to enhance our knowledge about the great man. The fact that it was published in the way it was, also allows it to serve as an entry point to familiarise oneself with his daunting catalogue.

Last but not least, I would have to talk a bit about his influence on me. Being an avid fan of the man since reading Buddha back in 2014, Tezuka continues to impress me with his sheer mastery and facile portrayal of several genres and themes with aplomb in his works. This work was the necessary motivation, so as to speak, to push myself to read more works of his in the future. To finish, I highly recommend this work for its role in highlighting one of, if not the biggest name in anime and manga.

Deleted my old MAL account Kaushik17

One does not often associate mature character dramas with Gender Bender series. Often known for their fanservice or comedy, well written characters are the last thing one would expect from this genre. Clear up after rain or Ame nochi hare is such a series.

Clear up after rain is a story set in high school about a group of boys who turn into girls due to unexplained reasons. Shocked at this predicament, the boys must learn to deal with accepting the fact that they have transformed and carry on with their day to day lives, without arousing suspicion from their peers ... and teachers. From the get go, I had a feeling that the story would be very character interaction heavy and I was glad to find it to be the case.

The characters being teenagers, come with their own baggage, as often is the case with that age group. They are here to live their perfect high school lives, only to be thrown into this unexplained situation. The characters are fleshed out well enough to prove believable and is all the more impressive, given the short length of the manga. The highlight of the series though, is the web of interactions, which is at the same time layered and yet straightforward, showcasing the different dimensions of personalities in these interactions. Hazuki is at the centre of this web, in both forms and is a fun protagonist to follow. Kudos to the mangaka handling the dynamics with aplomb.

The art is great, with both the male and female characters looking great. The backgrounds, considering the seasons over which this series takes places is a pleasant on the eyes and is great to watch. Also, both genders are given their time to shine and are treated with dignity. As mentioned before, this isn’t your usual gender bender series with the usual fanservice tropes, only serving to highlight the strength of the series. It was also a good thing that the series did not opt for solving the reason behind why they transformed in the first place. Doing so would have introduced an unnecessary element into the story, taking away from the character dynamics, the series strongest point.

With all these positives, we do need to look at potential weaknesses of the series. Given the short duration, some of the character resolutions feel a bit rushed or written to finish the series (Touma's arc kind of gave that vibes to me). And while this doesn’t take away from the work, it might disappoint the reader, given the sense of attachment they might have developed with the characters, over the course of the series. Furthermore, the fact that the series is set is in a high school environment, most of the plot events are readily available to further the story. That being said, the series does a great job in using aforementioned events to add a new dimension to the relationship, introducing depth to the series, which one might not expect.

To sum up, I was really glad to be recommended this series by my friend and recommend it to anyone who wishes to enjoy a good character drama in a genre not known for that. Enjoyment: 9 and Final Score: 7

Deleted my old MAL account Kaushik17

Phoenix. It’s a 10. Let’s get that out of the way first. Moving on, Phoenix is a work written by the God of Manga, Osamu Tezuka, over a span of 20+ years. It was regarded by him as his life’s work. And having read it, I can attest to it. I have had the privilege of reading many mangas from the master over his nearly 40 year career and was eagerly anticipating to have a go at this one. And boy it sure delivered. From start to finish, it was one of the most ambitious works I have had the ... pleasure to experience.

Set in a timeframe between the 3rd Century AD to the 35th century, the story consists of self-contained events in different periods of the timeframe. All of them are linked to each other through the Phoenix, a bird whose blood grants immortality. Several individuals over the years have tried to acquire the blood of this legendary bird to escape the cycle of life and death. An interesting premise, as we get to see different individuals trying to obtain the blood for different reasons. And this journey transforms them in ways they did not anticipate at the start.

Moving on to the world itself, most of the historical stories take place in Japan, with other parts of East Asia shown time and again. Stories have some historical or mythological references to it and having a basic understanding of them might give you a clear sense of what is happening. This however is not a mandatory requirement and is only meant to help with getting a sense of the political and social makeup of Japanese society at that point in time. His futuristic stories on the other hand take place in the vast canvas of space. And it is here that we are fully exposed to the creative genius of Tezuka. Although, I am not a big fan of the Sci-Fi genre, his stories were some of the best I’ve experienced, from what I’ve read. The ease with which he weaves back and forth between the future and past is truly phenomenal, with certain reincarnations of characters serving as guideposts in our journey.

The characters of Tezuka, while definitely not his greatest strength, are perfect for the world and themes he tries to bring out in his stories. You will not be blown over by the personality of his characters, but rather learn to empathise with their struggles to find meaning in their lives. And although it does suffer from one dimensional characters at times, Tezuka invests sufficient time to help us understand their motivations. Also, hat’s off to Saruta and his reincarnations. Seeing his reincarnations' different personalities and their struggles were a treat for the eyes. And I am not meaning it in a sadistic way.

The art of the series might put off potential readers due to its very dated style. Character designs at the start often remind you of the influence Disney had on him. But the fact that this was written over a 25 year span, enables us to see the growth he underwent as an artist. Some of his background art in later years were great to behold and really enhanced the immersion in the story. Another interesting thing that I noticed, was how the approach to panelling evolved over the years. It really gives you a sense of what worked in the industry at that time and how it adapted to demographic situation in Japan.

Now, to the juiciest part of the work, the themes. At its most fundamental level, Phoenix deals with themes of life, death and immortality. Characters try to break from the cycle of life and death through obtaining the blood of the Phoenix, only to realise the futility of it. Armed with this knowledge, they try to ensure their immortality’s through their deeds. This reminded me of the EPIC OF GILGAMESH (another fabulous work of fiction), which drives in the same themes. As in Buddha, Tezuka’s projection of the Karmic way of life and death struck a chord with me, as it is something that I find interesting to think about. Other dharmic concepts such as time and space, the illusion of the world only enhanced my immersion and love work this already great work. The statement, “In all ages, the deeds of men remain the same.”, reminded me of another one of my favourites. His handling of time and space especially is absolutely mind-boggling. People more used to linear progression of time might find themselves overwhelmed by his absolute disregard for it in Phoenix. Due to the fact that this does take over a large timeframe, we also get to observe Tezuka’s mastery of several genres like horror, sci-fi, history, romance, etc. His endings are appropriate for the stories, once again driving in the themes, rather than focusing on happy endings for his characters. I could keep on talking about this on and on, but that would end up sacrificing readability of this review.

It is also a great shame that the work was unfinished. Tezuka died before completing this work and therefore we have no idea how a potential ending might have been. But judging from what we got, it is possible to assume the ending being somewhere in the 20th century AD. Despite this, it doesn’t take anything away from the work, due to the fact that his stories are are self-contained.

I highly recommend this work. It is a display about what makes the Manga medium so great through the hands of one of its, if not biggest contributor. If you are looking for a work which combines the themes of the EPIC OF GILGAMESH, with MUSHISHI’s atmosphere and GINGA EIYUU DENSETSU’s ambitions, look no further.

Deleted my older MAL profile Kaushik17

Shotaro Ishinomori is a mangaka known to few, but whose influence on manga and other forms of media is undeniable. Starting his career as an assistant of Tezuka, fans of the latter would see his influence in Ishinomori’s works, especially in character designs and panelling. Having said this, it isn’t my intention to undermine Ishinomori in any way, but rather highlight the rather close bond the two shared throughout their lives.

As for the man of the hour himself, with iconic series such as Cyborg 009, a series that I remember from my nascent days as an anime fan back in ... 2004 to the Super Sentai and Kamen Rider series which have had tremendous impact over popular culture, he is without a doubt, one of the pillars of the medium. Given his reputation and the seemingly high praise I received of his works, I was eager to find a ‘Buddha’, aka the work which would enable me to understand his mastery of the craft personally. This was a search which went on for a few years until a good friend of mine brought this work to my attention. And that’s how I decided to pick this up.

Jun: Shoutarou no Fantasy World was a manga published in COM, between 1967 to 1971. COM, for more information was a magazine started by Tezuka as a response to Garo, a gekiga magazine. The magazine was created with the sole purpose of pushing the boundaries of manga to its absolute extremes. Being aware of this, I was fully expecting to be taken on a similar journey.

I sure was not disappointed. The series follows the main character, Jun over several surreal escapades. Written as standalone stories for most part, these experiences challenge our main character’s beliefs or simply shows the outcome of his actions. There is no sense of time and space and we are at the mercy of Ishinomori as he does his utmost to elevate his craft to immortality. And in this it closely resembles Strange Beings, a tale from phoenix, where sensation of time and space is completely distorted and we are at the mercy of the creators.

Jun, as a character is rather simply written. He has his fears and aspirations like any other individual. But in the hands of Ishinomori, he also as the anchor for the reader as they drift in the sea of imagination created by Ishinomori. Jun could potentially be the mangaka himself serving as Virgil, or a Phoenix for the manga fans, guiding us through his world, in order to avoid getting lost in the ideas thrown around. Other characters flow in and out of the story, but ultimately only serve to present the ideas and themes that Ishinomori wishes to present to the reader. People familiar with his works would recognise several characters from other works, blending fiction with reality.

My favourite story from this would be the one where Ishinomori refers to the wheel of life and death, a reference to the concept of Samsara, one of the fundamental beliefs of the Dharmic faiths. And thereby goes onto further point out the impermanence and cyclicity of life. It was at this moment that my respect transformed to admiration.

The art itself is quite dated, given how far back in time it was written. But fans of Tezuka would find it easy to understand given how close their art was. Some of the panel work is simply mindboggling and does a phenomenal job in conveying the themes of the work. It is quite clear that Ishinomori had a great sense of perspective and control over his craft, being able to create quite detailed landscapes and very minimalistic imagery, with the least effort applied. He truly did a terrific job in highlighting the strength of the medium.

Onto potential criticisms the work might receive. To start off, the work is not a single story per se, but rather a collection of ideas which is held together by the presence of the main character. While this might lead to a case where we are potentially lost in the great sea of ideas, Ishinomori does a great job in ensuring that the ideas are concise and thoroughly explored before moving onto the next one in the following chapter.

There is also no character development or a cast whom you can follow outside the main character. The lead character, Jun, does not have a profound epiphany over the course of the work. Instead, his job is to do his utmost to flesh out the ideas and guide us through those turbulent waters. And his performs this job rather capably, only going to show the degree of control Ishinomori had when writing this work.

To conclude, this work might have been the perfect way for me to start my introduction into his world and I eagerly anticipate to experience them in the near future. It showed me the reasons why I love this medium a lot. As for others, this is a work where you would see the potential of manga being manifested when handled under someone who cares about their craft. Highly recommended

Deleted my main MAL account Kaushik17

“Those who fail to learn from history are condemned to repeat it.”

The late Shigeru Mizuki was known as the master of the yokai genre, popularizing and bringing traditional Japanese folk tales to a modern audience and thus leaving his indubitable mark on the anime/manga medium. While he certainly deserves the plaudits for this and rightfully so, his historical works often go unnoticed.

Showa is one such work, where Mizuki guides us, the reader, through the reign of the Emperor Hirohito. His reign saw the rising militarism of Japan resulting in the disastrous Sino-Japanese wars which merged into WW2, leading the nation ... to ruin. The work also covers the aftermath and subsequent recover of Japan ending with the death of the emperor.

While this in itself is quite the herculean undertaking, the work also doubles as an autobiographical work, where Mizuki shows different pictures of his life, all the while highlighting the importance and presence the yokai had on his worldview. It shouldn’t come off as a surprise that he became the torchbearer for the genre bringing joy and fear of the unknown to many.

The work (at least in English) divided into 4 books spends a good chunk of its first book identifying the reasons for the rise of militarism in Japan. We are given names and the deeds of certain actors which would come to have a lasting impact on history. We are then guided through the WW2 from Japan’s perspective, seeing jubilant crowds giving way to a shocked people coming to terms with their defeat, best seen through the panels showing the Jewel Voice Broadcast. The last book then covers the post war period and subsequent economic miracle catapulting Japan to the ranks of the foremost economic powers in the world.

All the while, Mizuki does his best to show how he and his family and friends were affected by these grand decisions. Mizuki was quite the laidback individual having a rather jolly approach to life. And he managed to have that positive take to life even after losing his arm in the war. It is here that we get to see the hold the charm of yokai had on him from a very young age. It was his belief in them that arguably saved him through the worst theatre of conflict in WW2, the Pacific theatre. And it was this belief in them that also laid the groundwork for his subsequent rise to fame through his manga.

One of the first things that comes to the readers attention is the fact that Mizuki navigates between a historical record and autobiography with aplomb. This is in no small part due to the presence of Nezumi. A character from Kitaro, who serves as a guide through these personal and historical events, adding a layer of detachment and objectivity to the read, elevating the work further. Mizuki does not add his own interpretation of events, but instead presents the events as factual as possible and provides enough information to enable the reader to formulate their own opinions. The work as he mentioned is first and foremost written with the intention to show what exactly the Japanese people had to sacrifice in order to be where they are today.

As an autobiography, it is quite fun to read his experiences as a young child and adult growing up in that rather turbulent time. His cheerful and lackadaisical approach to life is in sharp contrast to the rather grave situation Japan finds itself in. It adds a sense of realism that while the top leadership was falling to ultranationalist tendencies, the people itself were like anywhere else, looking to make ends meet and generally blissfully ignorant of the big picture. Mizuki still retains this attitude to life, which is incredible given that he saw first-hand the horrors of war, only going to show his resilience and zest for life.

One thing he comes to time and again is being thankful to life. Mizuki does this by comparing the people of post war Japan with the native friends he made in Papua New Guinea during the war. The latter are not necessarily materially rich, but are happy with life. In contrast, the more Japan grows and the richer it gets, the more its people want. It’s no wonder that he often visited the Islands after the war and maintaining a collection of things, including music from these trips.

It is to his credit that Mizuki doesn’t bombard the reader with one event after the other as it would make the work rather unwieldy and intimidating to one not familiar with history. But focusing on certain key events along with his it’s impact on the populace only serves to give us both a horizontal and vertical view of things. His art ranges from realistic character designs to his iconic quirky character designs, all the while presented with luscious backgrounds to enhance the sense of immersion in the read. Some of the iconic imagery from the 20th century associated with Japan such as General Douglas MacArthur meeting the Emperor is quite fun to look at in a different medium.

People not used to older art styles or not found of history might not necessarily enjoy this. But look past those, and you will find one of the best works on the Showa era in any medium. The work uses the strengths of the manga medium to shed light on the Showa Era and bring attention to the reader that knowledge of history is key to avoid repeats of tragedies. In short, I couldn’t recommend this work more.