Dead Dead Demons Dededede Destruction

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I would imagine creating a successful follow-up to your most critically acclaimed work is a very unnerving thing to do. Goodnight Punpun is what many manga readers believe is Inio Asano’s masterpiece. The series is not only masterful in its writing, but dreadfully awe-inspiring in its delivery. Believe me, I am not here to echo the praises of Goodnight Punpun; others have made the case for its genius in more convincing ways than I ever could. The reason I am mentioning this manga is because I believe its existence directly affects Dead Dead Demon’s Dededededestruction (for the sake of this review I’ll abbreviate it to ... Dededede). As the successor to Goodnight Punpun in Asano's catalog, Dededede is unfortunately aggressed with a subconscious mindset of constant comparison. Many believe Goodnight Punpun is on a different level of manga entirely. Going into Dededede with that behavior will do you no good. Even long-time fans of Asano’s manga will be surprised by the ideas put forth on this manga, whether it be subtle changes in artistic choices or making more debatable narrative choices. While Goodnight Punpun is Asano cohering to his strengths, Dededede is a veteran mangaka experimenting with unfamiliarity.

This is a manga about the human reaction and general anxiety to the uncertain future. It's about the coping mechanisms that humans utilize when faced with more thoughts than they can handle at one time. The story follows a group of soon-to-graduate highschool students who are living their regular lives during an alien invasion. The main two characters, Kadode and Oran, are enjoyable personalities who offer an interesting perspective on the world. An elderly or middle-aged perspective on the impending doom would be similar to that of a reflection; looking back on memories and proudly accepting the life that they have lived. Kadode and Oran, on the other hand, are just graduating high school. Their lives are arguably just beginning. These characters may seem like they are always fun-loving and cheery but they are really just coping in the only way they know how. Dededede is a manga filled with joyful moments, but these same moments can also be rather melancholic.

Dededede plays with comedy, slice-of-life, sci-fi, and drama, which are fused together beautifully in this melting pot of a manga. I love how Asano is never afraid of writing political humor in this manga either. I’m sure he had a plethora of ideas given the manga’s serialization occurred throughout the entire Trump administration (which is mocked more than a few times here). Asano isn’t totally foreign with the concepts in this manga though. Humanity, death, and depression are all themes we’ve seen before, but this time he approaches this from a socio-political lens. That isn’t to say that this manga lacks an 'Asano-personalized touch'. The Isobeyan comics at the beginning of each volume is delivered with a subdued tone I could only attribute to Asano. And, the vivid page-to-page paneling that Asano has mastered at this point is nothing short of breathtaking.

This manga is a slice of life, and not exactly a euphoric one. The 'slice' of this particular 'life' is quite believable. I would describe Dededede as a modern dystopia. It does have the sci-fi tag, and there are some far-fetched ideas that you either accept or dismiss, but Asano doesn't totally abandon realism here. I imagine this is how society would actually act if this situation occurred. The world and characters are established nicely while themes of existentialism and social panic are simultaneously constructed. The plot develops at a relatively slow pace in the beginning, but there is much to uncover regarding the world-building and dialogue. It's just extremely well planned, and every scene serves to build the world or develop the plot and characters.

Speaking of the characters, they are well written and fit into the story well. I wish more development was given to characters such as Rin, but every relevant character is given enough characterization to be serviceable in their respective roles. Oran and Kadode are brilliant, as well as Oran's brother, who proves to be more than just a gag character. Every appearance he makes has me bursting in tears of both kinds, and I'm surprised with something new about him each time. Futaba and Ooba are also nice additions to the cast as well. Kadode can feel like an Asano self insert at times, but as the manga develops, her personality develops too, and she proves to be a multifaceted character in a later arc. Every character is believable. Even Oran, who seems to be the most contrived in personality, is developed in a clever way, negating her character of any criticism I could give.

I normally dislike when writers insert ‘gamer’ slang into their works. It’s normally dated by a couple years and there’s always some mention of something like “Leroy Jenkins'', “get pwned”, or maybe some inaccurate ‘1337speak’ tossed in there that makes me want to blow my brains out every time I see it. Rather than trying to appeal to the demographic, Asano approaches this, and most of the comedy in this manga, with a caustic and exaggerated tone. Comedy is something we rarely see in an Inio Asano manga, and I would say he has full control of it here from the very first chapter. This manga knows how to be brutally honest, hilarious, and heart-wrenching all in one scene.

We already know Asano has consistent fluidity from panel to panel with each drawing. Dededede is no exception. The one change I noticed from previous Asano manga is the change in character design. While the landscapes and textures are still photo-realistic, the character designs are goofy and exaggerated. This isn't a complaint though. I think it was a completely necessary decision, or else the manga would visually play like any other Asano manga. Besides, I think it's an artistic evolution that pays off. The designs compliment the backgrounds very well and they feel natural when facial comedy is used on a character. As always with Inio Asano, the art is amazing, but it should be the last reason you pick up this manga.

This is a must read. Even if you aren't a fan of Asano's previous works, give this one a shot. And if you are a fan of Asano, don't try to compare it to Punpun. This manga is currently more relevant than ever, and I believe everyone can take something away from it. There aren't that many other modern writers creating works like this with the amount of creativity and honesty Asano displays here. And just like his other works, everyone should read this at least once in their lifetime.

The following review is in Spanish and English (translated with the support of DeepL)

The version read is the Spanish translation by Nicoxas, belonging to _Dededede Scanlation_.

Up to this point, Asano’s stories have always involved “friendship”, either explicitly or through its absence; DDDD stands out for placing it at the very core of the work. And that’s what captivated me from its very first chapters: a group of high school friends in a more relaxed and lighthearted tone. Knowing Asano’s talent for natural dialogue (when he chooses to use it), I trusted he could build characters worth following, and indeed, he does, even though, as the ... story progresses, only the main duo remains relevant and recurring.

This friendship carries an extra layer of interest: the context in which it unfolds. The alien invasion over Tokyo acts as both a literal and metaphorical shadow of what’s to come, the uncertainty of what tomorrow might bring. Inio isn’t a stranger to “magical realism,” yet here he relies fully on science fiction to portray a broken reality that has become the norm, following routine even while knowing we’re not alone, battles are happening just a few blocks away, and that we have no idea whether we’ll be safe in the near future.

The series began publication in 2014 and ended in 2022, with numerous hiatuses throughout, enough to make its release span eight years. It’s often mentioned only as “the work after Punpun,” seen as a radical tonal shift from his previous works, but I don’t completely agree. First, it has a direct predecessor in Kinoko Takenoko, a One-Shot published a year prior. Its sci-fi setting (especially in the final stretch) can also be traced back to another One-Shot, Tempest, while the impending end of the world was already present in his earlier ensemble-structured stories.

Therefore, we can view DDDD as a convergent work, one that unites several of the ideas and styles Asano had previously explored, within a new backdrop and, indeed, with a less pessimistic tone. The group of friends share inside jokes, age-appropriate worries, hobbies that include city outings, online gaming, and discussions about love. He also builds family environments for some of them, allowing him to touch on themes of independence, acceptance, and fraternal love in a way that feels tangential yet organic through their daily interactions.

That everydayness intertwines with its science-fiction layer. It’s a Slice of Life where normality should have lost all meaning, and yet, it hasn’t; it has merely mutated into a new routine. This in itself forms a commentary: what seems transcendental on a "human" level may not be so on a "personal" one, since everyone continues to face their own reality; we’d rather preserve the coherence of an apparently trivial routine just to have a reason to keep going one more day.

This same idea manifests in different characters throughout the story, clinging to what’s familiar because it feels safe, because it gives meaning (even if false) to what we do. Even when the unknown tries to be ignored or assimilated as much as possible, it’s never fully avoided. Tragedies still occur, affecting both the main group and others, each processed or ignored in their own way.

And in that sense, one of its strongest aspects is its political layer. Despite how fond I’ve grown of the group of friends in their familiar situations, the side plots portray a collision between two intelligences, the human drive for survival at any cost, the greed and arrogance of those in power, the invisible power behind that power, and the empathy toward the unknown turning into political action.

At its best, Asano delivers sharp critiques to both sides: those in government, hungry for greed, and the resistance, unafraid to adopt the same behaviors they condemn in order to justify their cause. Through recurring side characters, he also takes jabs at the media, for fabricating realities, omitting information, and reporting with bias. All of this without sounding demagogic or relying on overly intricate dialogue, but rather with the same tone that defines the rest of the story.

Another major narrative element, especially in the first half (we’ll get to that), is the brutal battle against the invaders. There’s little philosophical reflection beyond the blind need for survival prevailing over connection, and I don’t think it needs more. The chapters are explicit and violent, but given human history as a species, I find them fitting portrayals of a plausible scenario.

It’s a blend of new and familiar ideas, with provocative subplots, anchored by a touching friendship at its core. The emotional connection occurs through a diegetic element the Isobeyan comic, a Doraemon-like series with color panels that at times parody the events of the main story. As if it were both retrospection and introspection simultaneously.

And then comes the great narrative shift. Several chapters are dedicated to the central event itself, followed by only a few addressing what had seemed essential, until it’s left behind entirely… This is where my confusion about Asano’s intention begins.

Because even if I accepted this new context, I couldn’t help questioning its necessity, knowing how few chapters remained, and to my surprise, yet another, even more radical change followed. While it’s not a tonal shift into the extreme pessimism of his earlier works (or maybe I’ve simply grown used to it), I was still left disoriented. Many of the main thematic threads built up until then are lost, replaced by new ones that are again left unresolved. Perhaps they are commentaries in themselves, like several I’ve mentioned earlier, or perhaps it’s me assigning them meaning. It’s a very fine, and unjustified, line.

I know I’m not the only one who “clashes” with the second half, it depends on how each reader assimilates and empathizes with its more particular elements. Even the ending, in its final panels, I can still find meaning in. Realities and choices, an infinite world of possibilities where what could have been is, and what couldn’t be isn’t; yet certain shared traits persist, transcending the unseen.

Still, even if I were to stop there, with a story full of fascinating narrative lines, complexly written characters, subplots that critique politics, society, and the media, and of course, that endearing group of friends, I can’t help but miss them after finishing those first chapters.

The visual presentation, hyper-detailed backgrounds contrasted with the rounder, “moe” character designs, finds its direct precedent in the aforementioned Kinoko Takenoko. I’ve enjoyed this stylistic change; it works perfectly to create tender and humorous reactions within the friend group, while in its more explicit moments, it portrays brutal and bloody scenes with realism.

The panels have spectacular composition, particularly those where a character is positioned against the sky, within the same frame placing everyday life beneath the inconceivable. And when he completely unleashes the reins of science fiction, we get stunning illustrations, depicting machines with impossible abilities, indescribable actions, and the fragmentation of the known.

One aspect I haven’t seen praised enough is his immense "mechanical enthusiasm", especially notable in the final section. The conceived machines remind me of Tempest, only on a grander scale and complexity. I urge you to look closely at those pages, the level of detail given to the logic of their function is astounding, especially considering how limited their presence and participation are.

Throughout his career, I’ve admired how Asano remains committed to his own vision, even when it feels incompatible with mine. In DDDD, I found myself as deeply immersed as I’ve ever been in his work, only to end up equally bewildered, realizing that, indeed, despite the years and his artistic evolution, Asano is still Asano. I continue to admire the work for the many reasons I’ve mentioned at the start, but it isn’t quite the masterpiece I once imagined it could be.

I’m left with a bittersweet feeling, in love at the beginning, and perplexed by the end.

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Hasta el momento las historias de Asano cuentan con la “amistad” sea de forma explícita o en su ausencia; DDDD tiene la particularidad de estar presente en el núcleo mismo de la obra. Y eso me encanto desde sus primeros capítulos, un grupo de amigas de secundaria en un tono más relajado y divertido, porque conociendo su talento para los diálogos naturales (cuando quiere) sabía que podía construir personajes sobre los que seguir interesados, y efectivamente así ocurre, pese a que en el transcurso de los capítulos únicamente el dúo principal sería relevante y recurrente.

Esta amistad tiene una capa extra de interés, el contexto en el que se desarrolla. La invasión alienígena sobre Tokio es una sombra literal y metafórica acerca del devenir, el desconocimiento acerca de qué sucederá en el mañana. Inio tampoco es ajeno a realizar “realismo mágico”, aquí se apoya completamente en la ciencia ficción para presentarnos la realidad rota que se ha vuelto normativa, seguir la rutina aunque sabemos que ni estamos solos, hay una batalla a unas cuántas cuadras y desconocemos si estaremos seguros en el futuro inmediato.

La historia comenzó a publicarse en 2014 y finalizó en 2022, en el transcurso tuvo numerosos hiatus, lo suficiente para haberse tardado 8 años en publicación. Usualmente se le menciona solamente en los términos de ser posterior a Punpun, viéndose como un radical cambio tonal de sus obras previas, y no estoy completamente de acuerdo, primero es una historia cuyo antecedente directo lo encontramos en “Kinoko Takenoko”, One Shot publicado un año antes, su contexto de ciencia ficción (sobre todo en su tramo final) le notamos en otro One Shot “Tempest” y el cercano fin del mundo estuvo presente en sus primeros trabajos con estructura coral.

Por lo tanto, podemos considerarlo como un trabajo convergente en varias de las ideas y estilos que había explorado previamente en otras historias, en un trasfondo nuevo, y eso sí, un tono menos pesimista. El grupo de amigas tiene bromas internas, preocupaciones de su edad, pasatiempos que incluyen salidas a la ciudad, jugar en línea o discutir acerca de amores. También construye ambientes familiares para algunas, permitiendo incluir temáticas sobre la independencia, aceptación y amor fraternal de forma tangente con la mera convivencia entre sus personajes.

Esa cotidianidad se entremezcla con su aspecto de ciencia ficción. Es un Slice of Life donde la normalidad debería dejar de tener sentido, más no es el caso, ha mutado en una nueva rutina. Lo cuál constituye un comentario en sí mismo, acerca de que lo parece trascendental a nivel “humano”, puede no serlo a nivel “personal”, puesto que cada quien sigue enfrentado a su propia realidad; y que preferimos conservar la coherencia de una rutina en apariencia intrascendente con tal de tener la motivación de seguir otro día.

La misma idea se va presentando en diferentes personajes a lo largo de la historia, de aferrarse a lo conocido porque es familiar, algo sobre lo que sentirse seguro y da significado (así sea falso) a lo que realizas. Más aún cuando quiera ser ignorado/asimilado en todo lo posible, no es completamente evitado, sigue habiendo tragedias que afectan tanto al grupo protagónico como los que no, son asimilados a su modo o ignorados porque no nos competen.

Y en ese sentido, de sus mejores aspectos es el aspecto político, porque aún con el hincapié que he realizado en lo entrañable que me resulta el grupo de amigas en situaciones conocidas; en sus tramas tangentes presenta la colisión entre dos inteligencias, la prioridad del ser humano en su supervivencia a toda costa, codicia y arrogancia de quienes están en el poder, el invisible poder detrás del poder, y la empatía que podamos sentir hacia el desconocido convertida en movimiento político.

En sus mejores momentos Asano realiza ácidas críticas a ambos bandos, quienes están en el gobierno hambrientos en codicia y la resistencia que no teme adoptar actitudes de  quienes critican con tal de apoyar a su causa. En personajes secundarios recurrentes también lanza pullas contra los medios de comunicación por la fabricación de realidades, omisión de información e interés sesgado. Lo anterior sin sentirse demagogo ni apoyarse en diálogos excesivamente intrincados, sino con el mismo tono que del resto de la historia.

El otro aspecto de la narrativa muy presente en su primera mitad (llegaremos a eso) es la brutal batalla contra los invasores, no hay mayor reflexión más allá de que la necesidad ciega de supervivencia prima sobre la conexión, y no creo que lo necesite. Son capítulos explícitos y brutales, más viendo nuestra historia como especie, les considero fieles a un factible escenario.

Una mezcla de ideas nuevas y conocidas, con tramas tangentes provocadoras, teniendo de núcleo a una enternecedora amistad, y la conexión se realiza a través de un elemento diegético, el cómic de Isobeyan. Un Doraemon con paneles a color que tiene unos cuántos paneles que son casi una parodia de varios de los sucesos de la historia. Como si fuese retrospección e introspección de la misma a la vez.

Y entonces ocurre el gran cambio narrativo de su historia, se dedicó varios capítulos al suceso en sí mismo, posterior sólo unos cuántos acerca de lo que parecía había sido relevado hasta que es dejado… En este punto se encuentra mi desconcierto acerca de la intención de Asano.

Porque aún si aceptase este nuevo contexto, mentalmente me cuestionaba la necesidad sabiendo de los pocos capítulos restantes, y a mi sorpresa, aún quedaba otro cambio todavía más radical. Sí bien no es un cambio tonal excesivamente pesimista a giros de sus obras previas (o ya estoy acostumbrado), me deja igual de desconcertado porque se pierden varios de los hilos temáticos principales que se estaban trabajando hasta el momento, introduciendo nuevos que vuelve a dejar sin resolución. Puede que sean comentarios en sí mismos, como varios de los que he mencionado previamente, o puede que sea yo quien les dote de significado, es una línea muy fina y no justificada.

Sé que no soy el único que “choca” con esta segunda mitad, depende de cómo cada quien asimile y empatice con sus factores más particulares; el mismo final en lo referido a sus últimos paneles puedo encontrarles significado. De realidades y decisiones, un infinito mundo de posibilidades donde lo que podría haber sido es, y en otros no pudo ser, aún así se encuentran ciertas características en común que trascienden lo invisible.

Más sólo haberme quedado con esa lectura de una historia con numerosas líneas de basto interés, habiendo personajes con intrincadas personalidades en el desarrollo de las tramas secundarias de críticas a políticas, a la sociedad y a los medios, y por supuesto, ver más sobre ese grupo de amigas que después de haberlas conocido en sus primeros capítulos, termine echando de menos.

La presentación visual de fondos completamente detallados en contraste de sus diseños de personajes más ovalados y “moe” encuentra su antecedente directo en el mencionado “Kinoko Takenoko”. Me ha gustado este cambio de estilo, viene perfecto para crear reacciones tiernas y divertidas en el grupo de amigas, a la vez que en sus momentos explícitos presenta con realismo escenas duras y sangrientas.

Los planos tienen una espectacular composición, particularmente aquellos donde posiciona al personaje contra el cielo, en el mismo panel ubicando esa cotidianidad debajo de lo  inconcebible. Y en sus momentos donde tira completamente la rienda de la ciencia ficción, tenemos dibujos espectaculares, sea retratando máquinas con habilidades imposibles, acciones indescriptibles y esa fragmentación de lo conocido.

Un aspecto que no he visto lo suficientemente admirado es su enorme entusiasmo “mecánico”, especialmente notable en su última sección, las máquinas concebidas me recuerdan a “Tempest” en una mayor escala y complejidad ¡Te invito a ver esas páginas con atención! Sorprende el nivel de detalle dedicado a la lógica de su funcionamiento considerando su limitada presencia y participación.

En el transcurso de su carrera he admirado como Asano está comprometido a su propia visión aún si me resulta incompatible en varios de sus momentos, en DDDD me he encontrado tan involucrado como no lo había estado antes hasta volver a encontrarme incrédulo porque efectivamente, aún con el transcurso de los años y sus cambios como artista, Asano sigue siendo Asano. Sigo admirando la obra por los numerosos puntos que he mencionado al comienzo, más no es la obra maestra que imaginaba iba a llegar a ser.

Me he quedado con el agridulce sentimiento de estar enamorado al comienzo, y desconcertado en su final.

With the advent of an anime coming for the series, I finally mustered my self hate, and finished this comic series.

This review dances around major plotline events, but doesn't contain major spoilers. None the less, I mark it as one with spoilers.

I'm not a huge fan of Asano Inio, but would lie saying I did not enjoy "Goodnight, Punpun" and especially "Solanin".
Coming to "DeDeDe" I was expecting either deep dive, psychological exploitation, emotions or just captivating story, and was met with product, which I believe, is impossible to experience as not only non-native, but not as an experienced citizen of Tokyo.

In this work Inio welcomes ... the reader with a promise of supernatural, coming of age story. But that's just a wrapping.
In reality story is dealing with author's urge to make something hyper-realistic, ugly, strong, while it is poorly made comedy with romantic and action elements.

Whole premise of two highschool girls being friends, going trough earliest stages of adulthood in a world, where there's a huge UFO hovering over the capital city of Japan is a big lie.
Of course, as a seasoned author, it's not just some unexplained deus ex, narration pushover. Mentioned UFO mothership combines elements from films like "District 9", "Independence Day" but also the 9/11 events, making people to deal with the trauma of losing their loved ones in an unpredictable tragedy, but for the most parts, it is just a catalyst for general dissatisfaction, government critique, conspiracy theories and such.
If it all did come and unravel some deep questions and answers for the reader, it would be great piece, but in the case of "Dead Dead Demons Dededede Destruction" author tried to reach the heights of Hideaki Anno's Shinseiki Evangelion, but it ended more like "and it was all a dream, and they lived happily ever after" kind of climax.

Biggest gripes are twofold for me.
First, being that on the photorealistic backgrounds there are cartoonish-comedic characters with more and more deformed heads.
It worked in "Punpun", it was bad decision in "DeDeDe" because none of the characters seemed serious, even when dealing with some... serious decision making or events. And even worse, those events mostly turned out to be pointless drama anyways, making each additional one just being a reason to roll eyes and take a break from reading rather than emotional or shocking experience for a reader.
Second is that beside main narration and storyline, there's complementary "Doraemon" parody, and further the story, the border between those got more blurry, switching from realistic with cartoon characters comic book, to same but looking like children's cartoons.
For me it was off putting. Bulgakov pulled it amazingly in "Master and Margaret", and ever since so many, especially Japanese manga authors, are trying the same with at best, tolerable results.
Anyway, reader is following the events of childhood friends, weird and most likely mentally challenged Ouran and her bestie: Kadode, who really got her eyes on a teacher, and thank god it ends at it like that.

Ouran is very close to being NEET gamer trash, but that role was filled by her creepy brother. Kadode is just weird because her mother is mentally ill and her father was workaholic, and she seems to not give much to it.

At this point I really am regretting I wanted to make some "New Yorker" grade review, but will try my best without delving into spoilers.

So at first, girls are teens, than young adults. They go to an university, met other people, fall in love, get jobs, party, drink, the works.
Supporting characters are introduced, and author sure did think about some more exposition and backstories, but editor probably hinted that the series would take another 30 years to finish with how sluggish, meandering and lost the narration is in this series.

So for good 60 chapters there's some slice of life, comedy, exposition how advanced aliens with great, doraemon-grade tech are actually powerless and defenseless against brute humans.

Now, and this was the moment I flipped my table, jumped out the window and howled like elk with broken leg, time travel concept is introduced.
During these events, everything reader was forced to go trough, goes into bin. Vsauce Jake Chudnow's - "Moon Men" music chimes in, and it goes: but if I told you that all of what just happened, is not real? Or rather, could not be real... for Ouran! What if Kadode could go full ret... Madoka on her, and selfishly try to protect her, by... sacrificing self, because Ouran did the same earlier, or rather, in paralel reality, which actually, is the REAL real reality... ?!

And at this moment I knew, author went so far into his head, that made a full circle, and forgot he had an idea, making previous hundreds of pages pointless masturbation of how detailed backgrounds could be and how little actual substance a story could have.

Also: in this story Trump also was a tool for foreign nation. What a comedy. And American weebs.
Haha. What fun.

In the end it all felt like a very elaborate critique of Japanese society, bound by strict rules, expectations, social ladder, and so on... Which could be done with finesse and not with cornflakes made out of concrete and asbestos, dipped in sewage water.
This is the reason I think non-natives will not really get it, because, a social critique of a society I am not a part of, and I am aware how flawed is in the first place, doesn't get me.

Comic book narration is messy. Art is both overdone and undercooked. Parallel narration is tiring. Tone of jokes doesn't resonate, events don't intrigue, drama doesn't grip and mentioned finale is weak attempt at mentioned "Evangelion" or perhaps even "Akira".
I'm not a smart reader who'll enjoy "Ulysses". I'm also not someone who'll read "Demon Slayer" or "One Piece" for 400 chapters with glee. But this manga somewhat insults me on both levels: pretending to be intellectually stimulating while throwing cheap gags and jokes, and trying to fix poor storyline with quirky events and "action", without being quirky nor having action events beyond some pointless gore and disrespect for series built around it, like "I am a HERO" for example.

If I could go back to a parallel universe, and prevent myself from reading this series, I would do it as many times I could.
But I can't, that weak fantasy and poor narration. And so is "DeDeDe".
A tiring, mostly boring story which when almost at the end decided to go 270 degrees on the spiral-axis, trying to be smart, and being just annoying and flat.
I don't believe it I am going to write this, but seriously, whatever author tried to do here, Madoka did better, and I hate Madoka with a passion.

TL;DR
"Hey and welcome to Dead Dead Demons Dededede Destruction, where everything's made up, and the storyline don't matter! Yup! The storyline here is like cancer caution warnings on the pack of smokes - no one cares, not even the smokes makers!"

Basically, go read "Solanin" from Inio, or if you like space aliens and gag comedy, just read "Urusei Yatsura".