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Dec 24, 2023
There are a lot of words I want to say about this manga but I'm not sure that I am able to or in the right body to say so.
First of all, this manga has cemented Shuzo Oshimi in my mind as one of the greatest Mangakas alive. To write not just one, but two amazingly philosophical, character driven, perverted-yet-emotional twist and turny, thriller of a drama manga is immensely surprising. And this is without me even reading Blood on the Tracks, which is might be even better. Without saying anything, the art, paneling, character designs, and expressions of Oshimi are next to only
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the greats when displaying simple yet highly intricate manga panels.
The story is one that hit me in a spot that I had thought on independently often, one of, if all my problems would go away if I could simple be someone else. Inside Mari tackles this very idea, in two very different ways. On the one side, you have Mari, who transposes and escapes her hazy and regretful life as a highschool husk (one who cannot be truly looked at by anyone) by mentally affixing herself as the Hikikomori NEET guy Komori, as she values the simple and lonely life that he lives, almost pitying herself to want to be pathetic, as her true life cannot achieve such a feat. Komori, on the other side, despises his life without realizing how great it is when it comes to personal agency. He can change his life whenever, or not, and this very understanding is what fueled Mari's obsession. He wants to be Mari, a pretty girl with (as he sees it) no worries in the world. Mari is, just as Nakamura was in Aku no Hana, his liege, his one true love, his escape. Both parties play the escapism roulette, trying their hardest to escape their lives and live out better ones as other people. This very concept is deconstructed by the end, and both parties are given fundamental wake up calls in the literary form of facing themselves. They see inside of each other, and therefore someone finally Looks at Mari.
The story is instantly captivating, both personally and from just a "good writing" standpoint. I read it in about a week, with the final 50 chapters only taking me 2 days. It just stuck on me, and I had to finish it. The mystery goes on a little too long, no doubt, but the length it is teased through allows for Mari's character to be more fleshed out by the time the truth, the fact that its been Mari all along and she's simply romanticized this version of Komori, comes out it feels natural and a melodramatic, solemn ending to this angsty-teen gender drama. I feel instant relatability to both Mari and Komori's attempts at escape, and the character of Komori-inside-of-Mari is seriously one of the greatest characters I have been able to relate to. I haven't even mentioned Yori.
Yori is really the biggest "real" character of the series, as she constantly moves things on and allows for another level of depth to both Komori and Mari's characters. Yori and Mari's relationship is unbelievably sweet, and ends VERY well. I think its cute :3c. The gender reality of this manga is great too-- with Komori experiencing Mari's body in all of its disgusting, real, and "gross" proportions. It paints this life that he desires as not the romantic savior he saw her as, but as the just as real "everyones-fucked-up-on-something" that reality often is. No one is going to save you if you continue running, and reality is only what you make it out to be.
I believe that the real message of Inside Mari is far beyond my basic understanding, especially when it comes to the gender studies part of it. The trans-angst is undeniable, but I don't see it as a major part of the story. Reading tons of Oshimi has led to me to a higher-thinking of transgenderism, one that goes beyond boy and girl and seeps into, in my opinion, a better idea of gender in society as a whole. I highly recommend reading Shuzo Oshimi's Welcome Back Alice Afterword, (https://www.reddit.com/r/manga/comments/yptjtn/disc_okaeri_alice_ch_295_vol_5_afterword/) as it really changed the way I see gender as a whole.
I love this series, love its real and almost disgusting pictures of escapism, hikikomorism, that Shit Named Gender, and deeper topics like "pretty girls" being seen as just a face with no feelings, MOMMY ISSUES, and, of course with all Oshimi, the pervertedness of humans. I love reading manga that feels like a part of the author was sectioned into it, and Inside Mari feels just like that.
Reviewer’s Rating: 8
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Jun 24, 2023
Man. One of those shows you are just so glad you started watching on a whim.
I'll give a quick batshit analogy and explain why I said it. Watching this anime is like playing a very good video game. The best example I can think of it The Last of Us. In a good game like TLOU, everything mechanically is perfect, from graphics and controls and soundtrack. In a good anime like Heavenly Delusion, everything production wise is perfect, from Bocchi-level animation with life-infused sakuga and insane trigger-esque character expressiveness, to near-perfect pacing (only 13 episodes which is sadge), with a banger OST to boot.
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Good games have likeable, well written casts. Substitute Ellie and Joel's father-daughter relationship for the more romantic and child-like protector-protected relationship of Kiruko and Maru and you are left with 2 peak character duos. I love them so much. They bounce off each other perfectly, they're funny but serious when needing to be, relatable and easy to root for, they are CUTE!!!!, and most of all, hella well written. Kiruko's fear and breakdown-level of separation anxiety is just one example. The plotlines are short but immensely impactful, both emotionally and plot-wise (literally just like the events of a good game.) From the horndog hotel episode to the jaw-droppingly tragedy of the "human experiments" doctor and his one love, to... Robin. Oh yeah. I have to talk about Robin.
To put this lightly, I experienced such a visceral reaction to episode 12 of this show that I had to physically ponder. Like hours of my life. Pondering about it. Robin, and the specific scene in episode 12 regarding (spoilers) him, a lifelong idol, last surviving hope, and familial figure to Kiruko doing unbelievably despicable things and saying the worst things imaginable is one of the hardest to watch scenes maybe ever. The cutbacks between Maru and Robin, the facial expressions of Kiruko, the fucking dialogue mannnnn its torturous. Good thing Maru got his getback in the next episode, and I understand why Kiruko didn't want him to be slaughtered but I would've loved to see Maru absolutely dismantle his pussy ass bitch ass motheruckewriuasd god I hate him I hate episode 12 but its so well done, well written, simply because of how inhumanly despicable it is.
The only flaw of this show really is that its just too short. The entire subplot of the Tomato Heaven is incomplete, and although I'm sure it gets to it in the manga, its just a shame it cant be further explained. In total, Heavenly Delusion is the perfect balance of funny comedy uwu anime moments and heartbreaking tragedies hidden between complex AF characters. I want a season two SO BADLY. So far, Disney+ is 2/2 in gigabanger shows. The opening is magnificent too, like a genuine work of art. Honestly this whole show is.
Kirumaru supremacy.
That is all. I want to burn Robin at a stake LOLLLLL....
Reviewer’s Rating: 9
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Jun 20, 2023
Wow. I don't even know where to begin.
I guess it has to be with Thorfinn, a (to put it lightly) generational life changing character. One of the most tightly written, beautifully crafted, ultimately tragically human characters I've ever seen in the entire medium of anime and maybe fiction in general. He's like the Lebron James of anime characters. No but seriously, he IS Vinland Saga. I want to be more like Thorfinn. I want to be a stronger, better person. I want to have no enemies, because nobody has enemies. I feel like I am going to write a lot of words here so
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lets get the obvious out of the way first; this production by MAPPA is simply outstanding. Taking on what WIT couldn't, they carried most of the same stellar talent from the impeccable season 1 production and it proved itself THOROUGHLY. I'd even go as far as saying this season was more soundly produced, even without all the wicked awesome fight scenes or heavy sakuga as the first season. The character designs perfect, the animation is just as good as the first season (I simply love the style), and the hype moments bring their hype. I think an underrated part of the production is the beauty behind some of the scenes. There is a fragility present that some anime simply cannot replicate. The music is fucking AMAZING, god I want some of those serenading piano melodies engraved in me. They fit the vibes so well. It's beauty. It's cinema.
Now when speaking of the plot of Vinland Saga season two its easy to mention the phenomenal second half that brings together a star-studded roster of interlinking characters to duke it out in a true war of epic proportions. And yes, this part of the season is fucking spectacular and maybe as close to perfection that storytelling can get. It gives me Return to Shinganshina vibes (WHICH SHOULD NOT BE TAKEN LIGHTLY!) But the first half of farming on Ketil's farm bring up these characters to what they need to be for the second half to work so well. It develops them to the point where you know them and their views so well that it only seems natural when the clash of morals, egos, and swords begins. The characters of Vinland Saga are maybe the best ever. From easy standout stars like Einar and his almost-Thorfinn revenge to dark knights of Canute, engulfed in his father's infamy, to lesser seen goats like Gardar and Arnhied (who's relationship truly ruined me. why is war so cruel.) to the old man farm owner and his wisdom of empathy... God there are so many good characters. Characters that by themselves would carry a story. Snake, a perfect parallel to Thorfinn and tragic but not immoral depiction of what he could've been. Ketil, a pussy ass bitch (that is all he needs). Olmar, and his discovery of pacifism truly becoming Thorfinn's first Vinland believer. Everything meshes together to a perfect crescendo.
A magnificent follow up to one of the most brutal, agonizing, and shocking first seasons of show ever. I understand how that was just the prologue now. "I have no enemies." deserves to be put in a museum. This show deserves all of the hype. All of it. Just one of those anime you need to watch.
Fucked up in the crib at 2:36 A.M. researching Viking fight formations and tactics of ancient Iceland (omg did you know Leif Erikson is a real guy!!! :OOOO!!!)
Reviewer’s Rating: 10
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Apr 30, 2023
I don't want to repeat myself again, but I will somewhat. Fujimoto is the best new gen mangaka and really has never released a dud ever. Every story he writes feels full of... something... whether its the angsty passion of Fire Punch, or the shitposting of Chainsaw Man, and even the somberness his recent one-shots, they all feel fueled with genius. These 4 short stories are no different. Although not as immediately and obvious with their philosophical themes as 17-21, 22-26 feels like a more emotionally and maturely rounded take at some fun, cute, and absolutely only-Fujimoto stories. The art is overall better than the
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earlier one-shots, I would compare them more to the Fire Punch eras and even more of the Look Back/Goodbye Eri artstyles. The styles are certainly different between stories though, the contrast is obvious between the more early CSM-y "Nayuta Prophecy" and very CSM P2-y "Sisters." Well, enough general talk about the current GOAT mangaka, lets jump into the first story.
The mermaid story is very cute and still very Fujimoto, but almost feels so normal that its not. Like, a genuine A to B story structure with grounded and normal characters. Not chaotic or as interesting other Fujimoto ideas, but you can see the wholesome basis this was based off of and I see why he made it. Its very cute and almost idyllically beautiful? (Mermaid girl very cute, Bubble vibes??) Not much to say, possibly Fujimoto's most "normal" story ever, and you can see that was his goal according to the comment he left.
The second one-shot (that shit named gender) (not its actual name) is another cute one but MUCH more Fujimoto-pilled. MC is a fun take on "crybaby characters" (and also shares a name with the Mermaid one-shot's MC??? Why???) and I like the ending message. Feels like Fujimoto read a lot of Shuzo Oshimi then wrote a piece regarding his own thoughts on gender. Funny how a little high school story premise is one of his most mature. Pretty DEEEP mannn, gender talk and shit. (Really cute too...)
Nayuta story is the literal perfect one-shot to bridge the gap between Fire Punch and Chainsaw Man. Feels CSM as FUCK especially some of the early chapters of parts 1 and the Asa introduction of part 2, Kenji and Denji I mean come on man its one letter. However, instead of the stupid dumbass of Denji (love him for that), I feel this one shot's Kenji is more like Agni from fire punch. Literally a mix of both worlds, a fundamental transition piece, and a very cute little story. Feels like the silliest of Chainsaw Man mixed with the existentialism and... brotherism... (although not NEARLY as harsh) of Fire Punch. Nayuta is such a good character that Fujimoto just brought her back LOL! This one shot could've just been an arc in CSM part 2 and I would've have no questions about it. Probably my 2nd favorite of this bunch.
The final one-shot, and my personal favorite, "Sisters," feels like the amalgamation of everything Fujimoto had worked to thus far. Released in 2018, this felt like the perfect precursor to everything Chainsaw Man came to be and even more so the one-shots released more recently. I find this one-shot infinitely more similar to works like "Look Back" and "Goodbye Eri" than anything else in this book or the past one-shot collection. In a way, it feels like a maturing of Fujimoto (not literal, he's still immaculate as fuck with the silly little naked sister themes and stuff,) but seriously its a different feeling. The art is better, with some of the best character designs I've ever seen Fujimoto craft. (Anzu is a rough draft to Reze's design perhaps?!) The premise is short and sweet, almost like Look Back without the crazy sad and devastating twist. The good ending if you will. Loved the nude metaphors and ideas about TRULY understanding one another, gives me Blue Period's best episodes vibes. My favorite out of these 4 one shots, but these were so high quality its hard to really decide.
Its so weird how everything I read something that Fujimoto makes its so instantly recognizable as, "Yep, that's some shit only Fujimoto could write." There really are only a few authors that I feel like I could truly say that about. As good as Fujimoto's actual long-running manga are, I feel like its extremely important to point out the genius imbued in even his earliest and most crude works. One Fujimoto's SJ-spite-filled overly-horny maybe-siscon maybe-wholesome raw-and-only-Fujimoto one-shot is another mans treasure. A generational talent.
Reviewer’s Rating: 9
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Jan 17, 2023
It's genuinely unreal how Fujimoto's brain works. 4 absolutely great one-shots on par with his other one-shots, if a little lesser in content. There is no doubt a certain frequency that Fujimoto creates at, and these 4 stories are some of the earliest frequencies of this phenomena. Somehow, his words have their own aura to them. Even though these four stories are so vastly different in themes and art, the tones and messages feel so very... Fujimoto... that they could be placed in the same universe and I would bat no second eye. 3/4 of these one-shots feel actually life changing, hence the 9/10 rating.
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I have to talk about each and every one, so excuse the long writing.
The first story, A Couple of Clucking Chickens were still Kickin' in the Schoolyard, on top of the absolutely wonderful title that could be the album name to a Japanese shoegaze band's magnum opus, is such a smart telling of a story. I continue to revel at Fujimoto's ability to tell such stunning themes under such short-page counts, and this is such an example. The main plot (not including the Tsundere alien bodybuilder girl) is one that can be summed up in a single phrase, "Remember that a couple clucking chickens were still kickin' in the schoolyard." Remember. Remember that true alliance ship cannot be found without cultural relativism and a self-reflecting "I don't know..." Truly a magnificent display and critique of culture, heroism, and transient understanding. Fujimoto wrote this at age 17. Unreal. The artwork is definitely a little crude, and the paneling is yet to reach the modern-Fujimoto standards, but it's aliens in chicken costumes man. I can't be too harsh.
The second story, and for sure the best one, is "Sasaki Stopped a Bullet" This story had me crying, a short, 30-some page one-shot written by a teenager had me crying. Sasaki, as a character, is one so strongly grounded in his morals that he will do anything to prove them right, because of course he won't know until he tries. It's just common sense, of course. Fucking awesome man, such a great story that intertwines anti-nihilistic philosophy with the mind of a silly little kid and a strong act of stubbornness. I love this one-shot, especially the final page and overall message, extremely relatable to my personal philosophies as well as just being emotionally powerful as a work of fiction. Let. Fujimoto. Cook.
The third one-shot, "Love is Blind" (not the reality TV show) is VINTAGE Fujimoto absurdism, with an extreme Dandadan feel. Everything from the art to villain design to characters just looks and smells like Dandadan, which makes me wonder how Fujimoto was assisted on this one (Dandadan author used to be a Fire Punch assistant if I remember correctly.) Serves as a simple and beautiful "Fuck you" to Shonen Jump's editorial district as well as a fun little love story. A 31 page confession scene, only one that a genius could keep interesting. A nagging supervisor, aliens, thieves, the end of the world, and you. Immensely based MC, as all Fujimoto MC's are, with an almost Love is War feel to the whole thing. The funniest one-shot of the bunch for sure.
The final, and in my opinion weakest one-shot is "Shikaku," a very goofy silly love story between an unforgiven all-too-cute assassin and a suicidal vampire. The vibes are immaculate, and this has to be the best one art-wise. Beautiful character design and setting shots. Once again, a simple story plot wise, but fun with a very cute ending. I think if any of these would have benefitted from a longer page count, it would be this one. Shikaku, given even just a "Goodbye Eri" level of exploration would've been an even better experience, one that could no doubt spawn a Spy x Family type of absurd romcom. Two bored individuals do things to become not bored. What's not to love!
Overall, there is much in these one-shots that simply feel intrinsic to Fujimoto's later work, as some were quite literally spawned in these short stories. My favorite thing about Fujimoto's one shots is that they don't bite off more than they can chew. He knows what type of story he is writing, plot and theme wise, and never tries to add fluff that might get the one-shot piloted into a full fledged series, at least that's the vibe I get from these 4. Self-contained masterpieces that deserve their own credit for being smart, unique, and, as the title mentions, Fujimoto before he decided to write full-length peak in the form of SJ published manga series.
If you enjoy manga, read these four one-shots. That is all. #FUJIMOTOSWEEEEEEEEEEEP
Reviewer’s Rating: 9
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Jan 16, 2023
Fever dream of a show. Watched on a whim, took me so long to finish because this show is hard to get through without falling asleep at times. (Hear me out...) Something about early 2000's shows is just so eerily sleep-craving, like the silent and sparse OST's, the lifeless animation, and general dark gloomy vibes just puts me right to bed. The plot is a slugfest if you couldn't guess, and takes 6 (SIX!) whole episodes for ANYTHING and I mean ANYTHING interesting to happen. I love a beautifully drawn anime just as much as the next guy, but when there is ONLY beautifully drawn
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characters and backgrounds, I am left feeling empty. I felt this same way towards Serial Experiments Lain, whole lotta talent, just not the most substance. When half of your anime is boring, not really plot relevant world building, and another fourth is confusing setup, you are left with literally 2 good episodes that save this show. 12 and 13 feel emphatic, worthwhile and serve as a great closure. By far the best part of the show. Don't even get me started on the themes/philosophies/imagery of this show. Christianity? Maturity/Coming of Age? Sinfulness and "Good Christians"? Death? COMMUNISM? Don't get me started I said. The sincerity it takes it's discussions around said themes are just excellent, even if they do operate on a bit of stubbornness and can sometimes feel like a church sermon. I feel like if this was in classic literature form I would love this and write a 20 page essay about it, but in anime form I am gravitated towards it's weaknesses and left with a sour, slightly melancholy taste in my mouth. There are great moments, and I am glad that Reki is happy, but the path to get there is filled with too much glass for my the soles of my feet to truly enjoy a stable, excellent ending.
Reviewer’s Rating: 7
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Mar 24, 2022
very spoiler heavy, very, very, very. if you are looking for a "read it" or "dont read it" the answer is very clear: read it. dedede is absolute.
anyway, heres my mumbled and deranged oran/dedede ending analysis.
coming from reading punpun just last month, i was kinda scared to read dedede because of how high my expectations for asano had been set. i felt like i might've been climbing a hill right after climbing everest, so to say i would be underwhelmed. i really enjoyed dedede, but in such a stunningly different way from punpun. as punpun was a tragically dark and downright horrifying work of
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depression and angst, i felt dedede to be a much nicer "look at these goofballs in a cruel world" rather than a "look at this cruel person in a cruel world." dedede's ending is left very vague, but i still love it for what it left.
leaving the main world of the series in the last chapter is a BOLD move, and its not easy to pull off by any means. leaving all the characters we had fallen in love with to a completely new world with little immediately obvious closure on the main characters can do the complete opposite of an "open for interpretation" ending and simply leave readers empty. in my opinion however, the story of kadode and oran had ended long ago. chapter 85 was the conclusion to kadode and oran's arcs, and i base my opinion of the ending that they died right here. living for each other, they could find happiness. in chapter 88, we see dedede's closure.
oran is absolute, but in a world where they are out of control, they can only live for each other. this tackles the very concept of nihilism, a reoccurring theme that is most predominantly found during the beginning of the story where the UFO's presence is so heavily influencing kadode. why do your homework when the world's coming to an end? if the government is always in control and will always choose the selfish option, why even live at all? dedede shows kadode and oran than they do not need to find a reason to live "in the grand-scheme of things" if when the moments that are spent trying to live are the most valuable of them all. kadode and oran are each other's literal light, and i find the idea of them, now grown up and in an alternate timeline where the invaders never existed invaded, being able to live happy lives between the little moments is a perfect conclusion to each of their characters.
oran is absolute, but the world is cruel. this is the core theme of the manga in my opinion, seen heavily in the 3 alternate worlds. in one, she loses kadode, and in the process her will to live in that world. she is absolute, yet the world is still cruel. in another, she loses everything and the world is eliminated by the invaders. she is absolute, yet the world still gives her nothing. however, in this world, literally the apocalypse worse-scenario-possible for humanity, she is able to find happiness, and a reason to stay in that world. that is what dedede is about, and in the third and final world oran is finally able to get what she would've if the world just bent the slightest helping hand. she is happy with a reason to live, no prominent invasion (unless you believe the idea that the robots in the final chapter are a precursor to another invasion, which i completely understand) and she can finally be what she always has been. this world, with only nobou f rom the past world to observe, is what oran would've been if the world had been even a little less cruel. absolute.
sorry for the deranged ramblings of a mentally ill binge reader. thanks for reading if you did. please argue with me, im hella open to new interpretations of literally everything that dedede had to offer. inio asano really is special.
Reviewer’s Rating: 9
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