Yuusha-tachi

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One of Asano's most undervalued works, mainly because it's barely available anywhere.
Close to what he does in the "Isobeyan" bits of Dead Dead Demons DeDeDeDe Destruction, Heroes starts as a parody of convencional kids manga. A bunch of misfit heroes that defeat a Great Darkness. But this isn't a kids manga, this is Inio Asano, so things start, slowly, becoming more dark as you go through the chapters.
There's a double twist in the story: first, the childish hero story that becomes uncomfortably close to home, with cynical characters and real world issues being handled in that weird Fujio Fujiko-esque style. Then, as you think this ... is just a weird comedy, things become progresivly heavy. By the last chapters is hard to keep reading, and the ending, not spoiling, is in equal parts stupidly comical and sharply depressing.
This is exactly what I expect when I pick an Asano manga, and it's an uncommon piece of art that you should read if you want something to surprise you and disturb you.

I didn't expect Yuusha-tachi (or let's just call it "The Heroes") to be great, since it's just a one-shot. But that's okay. You do not read The Heroes for the plot, you read it for best girl. Best girl is a cute bunny-looking adventurer.

The story's about animals, fighting against darkness. Yep, it sounds bad, which it is - for the most part. At least it had some good elements, too, like some of the scenes were a critic to society. But as I mentioned before: you don't read it for the plot - you read it for best girl.

The art is definitely the ... point where it shines the most, but it's by Inio Asano, so I already was expecting some superb art. The background was really well drawn, maybe that's one reason why it took me so long to get through the ~20 pages. I found myself not caring about anything, but the background. Just starring at it, doing nothing. But hey, I did the same thing with best girl, you just can not stop looking at her. I mean, come on, you can't deny she is one of the cutest things you have ever seen.

Since we're already there, let's talk about the character design.
It was something unique - something you don't see often. Ofc this could mean it's bad, too, since being unique isn't all it takes to be "good". But well, I liked it. I thought Asano did a great job there (especially with best girl).

The atmosphere was something I found to be really good. To be honest, I would contuine reading this Manga just for the atmosphere (and for best girl, of course).

In the end I'd say, that "The Heroes" is something you can read for the art, the atmosphere and best girl; but if you're looking for something with a great plot, you should probably stay away from this.

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

The version read is the Spanish licence by "Norma Editorial"

During the years Asano was serializing Dead Dead Demon’s Dededededestruction, he published other stories in different magazines on an irregular schedule. Among them is the present work, which ran from 2015 to 2018 and was later compiled into a single volume of 168 pages, including front and back cover.

From the very beginning, it becomes clear that this is a parody of the hero’s journey: a young protagonist accompanied mostly by anthropomorphic animals, defeating the villain of the moment and ending with a brief ... reflection. Just as quickly, the structural pattern of the chapters in the first half becomes evident, as does the “cynical” undertone — predictable, considering the author.

Each chapter introduces a particular topic: the narrative surrounding truth, hypocrisy in relationships, or idealized love. The characters discuss it from multiple points of view, yet never in true depth, almost certainly on purpose, reflecting how, even when we confront these dilemmas daily, we merely brush against them so we can claim they’ve been addressed.

It makes for an interesting first half because, despite the cynicism, it still holds comedic beats reminiscent of DDDD, especially present in its flamboyant character designs or its use of repetition to build absurdity. The structure itself serves as the main argument of its theme: antagonism toward the other, whether for thinking differently or simply being different. And as long as there is an “other,” humans tend to confrontation rather than coexistence. A construction that needed to lead somewhere.

Then the second half leans on Asano’s recurring “vices”, using realism/cynicism as the easy narrative escape, at the expense of reducing characters to mere emotional devices. The protagonist is no longer developed, only encapsulated. Even so, one could argue that this second half represents yet another twist on the established structure, and that it can still fit, but nevertheless remains below previous works. I don’t mean the serialized ones, but rather his other One-Shots dealing with similar themes.

So it might be better approached as a work more devoted to experimentation, but even if that were the case, my appreciation wouldn’t be higher or lower, merely differently framed. And if it were meant as such, I would have preferred it to go even further in that direction. Instead of falling back into familiar territory, it should have maintained the strangeness and innovation of its first part. It’s very evident this is a fragmented work written over several years.

Visually, it stands out for being in color with a copper-like tone combined with shading, achieving excellent harmony in what I consider its best panels. The character design is close to the “moe-realistic” look of DDDD, which suits its intention of parodying a children’s narrative. Meanwhile, the panel-to-panel layout benefits from the episodic structure, building a strong rhythm through repetition and callbacks.

Asano is never indifferent to formal or narrative experimentation when it comes to expressing himself or exploring his capacity for communication and representation. I consider Yuushatachi part of that category, yet one that doesn’t achieve anything particularly different or remarkable compared to his other One-Shots. On the contrary, it abandons its attempt at “otherness” only to return to Asano’s familiar territory without gaining a new layer of interest, instead corrupting the one it had initially built.

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Durante los años que Asano estuvo en la serialización de Dead Dead Demon’s Dededededestruction publicó otras historias en diferentes revistas en un calendario irregular. Entre ellas la presente que se remonta de 2015 hasta 2018, siendo compilado en un único volumen con 168 páginas incluyendo portada y contraportada.

Desde su comienzo captamos que es una parodia de un viaje del héroe, una protagonista menor edad rodeada de compañeros en su mayoría animales antropomórficos derrotando al villano de turno con una posterior reflexión. Así mismo se capta rápidamente cuál es el esquema de la estructura de los capítulos en la primera parte de la historia, como también se comprende el trasfondo “cínico”, previsible considerando al autor.

En cada capítulo es presentado cierto tema como la narrativa alrededor de la verdad, la hipocresía en las relaciones o el amor idealizado; los personajes a través de sus variados puntos de vista discuten sobre el mismo aunque tampoco sea especialmente ahondado, seguramente a propósito para reflejar cómo aún sí abordamos diariamente los mismos dilemas o similares, únicamente rozamos la problemática con tal de decir que ha sido tratada.

Constituye una interesante primera parte porque aparte de ese cinismo, sigue teniendo toques de comedia que recuerdan a DDDD, especialmente presentes en sus rimbombantes diseños de personaje o la repetición para construir absurdo. En sí misma la estructura es el principal argumento de su temática acerca del antagonismo del contrario, sea porque piensa o es diferente, y que mientras haya un otro, el ser humano tiende hacia el enfrentamiento en vez de la convivencia. Una construcción que debía ser encausada hacia una conclusión.

Y entonces la segunda parte se apoya sobre los “vicios” recurrentes de Asano. Utilizar el realismo/cinismo como la salida fácil para la narrativa, a expensas de reducir a sus personajes a meros vehículos emocionales, la protagonista no es más definida sino encapsulada. Aún así puedo argumentar que esa segunda parte representa otra vuelta de tuerca a la estructura hasta entonces, y puede encajar; de todas maneras estaría por debajo de trabajos previos, no me refiero a los serializados, sino a otros One Shots con temáticas similares.

Entonces podría abordarlo como un trabajo más dedicado a lo experimental, pero sólo por aceptación mi apreciación no será menor o mayor, sólo es una forma de entenderlo. Y sí así fuera me hubiese gustado que fuese todavía más particular, en vez de haber caído en sus terrenos conocidos, debería haber mantenido esa extrañez e innovación de la primera parte. Se nota que es un trabajo fragmentado a través de varios años.

En su apartado artístico tiene la particularidad de estar a color con un tono cobrizo, combinado con sombras, lo cuál consigue una excelente armonía para los que considero sus mejores paneles. Su diseño de personajes está cercano a ese tono “moe-realista” de DDDD, lo cuál le viene perfecto considerando su pretensión de parodiar una narración infantil, y en cuánto a su presentación en el posicionamiento panel a panel, se beneficia de la estructura episódica para construir un buen ritmo de repetición y referencias.

Asano no es indiferente a la experimentación en formas y narrativas con tal de expresarse, o explorar su capacidad de comunicación/representación. Considero a Yuushatachi dentro de esa categoría, sin que haya conseguido algo particularmente diferente o especial a otros One Shots, al contrario, termina abandonando ese intento de otras cosas para dirigirse a los terrenos familiares de Asano sin adquirir otra capa de interés, en cambio pervierte la que había construido.