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Despite its age and imperfections, Soul Eater is still able to grow on the reader... The only question is will you let it do so.

It's been a decade since the wrap-up, and two since its debut; lot has changed since then. In case you are driven by nostalgia, I have nothing to stop you. Otherwise, I can't fully recommend Soul Eater. It's a relic of its time, and with the influence it had, it was a steppingstone for many better works that would follow. Shonen as a genre is full of competition, thus there is no reason to settle for mediocrity when there are other ... titles of higher quality. Still, I am glad I read it. It is one of the icons of Shonen after all and you could say it's worth the read solely for that.

To address the obvious: the style is unforgettable. A mix between cartoony and street graffiti. The characters are simple, distinct, and sharp in design with a sense of playfulness to them. To me, it's reminiscent of Cartoon Network shows like Grim Adventures of Billy and Mandy, Samurai Jack, or Adventure Time; I love it. And the coloured panels, oh God, do they look good, as if it's some urban mosaic. I'd argue later on the aesthetic gets watered down, but it has more than enough time to leave an impression.

Not only do the characters look good, but they feel good. The cast is what will stay with you after finishing the read. Even if Soul Eater isn't to your taste, you will certainly find some character to cling to. There is something likeable in following them and their pursuits.

This is a story about kids growing up, thus it holds more weight for younger audiences, but there is some value for adults as well. The story knows to prove enticing with its fair share of strong moments, and the motives it tackles can be quite mature. It being around 120 chapters long with 30-40 pages average also helps, considering how long Shonen knows to be.

As for the rotten apples...

The further you go down the hole, the more you notice how flimsily the world is built. It has the width, but no depth. Subplots often feel lazily resolved and ideas often dropped altogether. Breakthroughs of the main cast, thou interesting, can feel undeserved or shallowly done. The side cast gets fully side-lined at some point, and the already loose power hierarchy is abolished. It all collapses upon itself by the end. Instead of using its runtime to play with its already established strengths, the author constantly wants to rekindle reader's interest with introducing new, often bland and uninspired, material.

As an addition to the above, Atsushi seems to be oblivious to negative consequences. Eventually all stakes will feel like cheap flukes, as you know they won't matter. It is such a bloody shame. Some of the strongest parts of Soul Eater are those darker, horror moments which use the cartoony aesthetic in a diabolical way and contrast the usual light-hearted atmosphere. Yet not only is it underutilized, but even wilfully rejected. So many GREAT opportunities are tragically neglected. It is, put lightly, a shame.

What we are left with is a story with its qualities that often disappoints. I can't say this was one of the more enjoyable reads considering how many times I've had to push myself to continue, especially when taking into account all the unnecessary dialogue and useless terminology thrown around. So many panels are ruined because the author couldn't help but write something unnecessary; just give them the silent treatment, let the art speak for itself, no need for excessive narration.

As for the humour: it won't suit everyone. Many of the running gags I've grown fond of, and there were a few moments were I genuinely couldn't help but outrageously laugh... But to say there are no duds is a very harsh lie. You may find charm in it, but don't be surprised if you don't. It didn't age well. There is also that generic sexual humour many have grown tired of. It varies from tolerable to making you want to gauge your eyes out.

Lastly, the art is a mixed bag. I commented on the style being astounding, but often it feels as if the art underperforms, especially when you see what the author is capable off. Some of the best panels are not mellow, but the opposite to serve the contrast: gritty, morbid, and grim... And for some reason he doesn't do anything with that. It actually pains me. Thou, that doesn't mean there aren't some killer pages.

Despite it all, this title is still dear to me. Even thou the ending is universally seen as lacklustre, I couldn't help but smile a bit. It's a light-hearted read. It belongs to a different time, and there is something captivating about that. With all the above noted, if you still wish to read this one, I don't doubt you'll enjoy yourself.

Thank you for reading up to this point. I wish you all the very best. Kind regards.

You'll need a Wikipedia after this one.

Abara's precursor is a 2 chapter one-shot named Digimortal written in 2004, shortly after Biomega started airing. It, with its 11 chapters, was written during said airing. With how short it is, you aren't losing much even if you end up not liking it. It's also a good starting point when getting into Nihei's catalogue as it gives you a taste of what he is all about. And, in case you are here from Chainsaw Man: indeed, Fujimoto values this work a lot and it's easy to see its influence.

If you are coming from Blame! looking for more, Abara ... is the closest that will fill the void. Saying that on one hand feels good, while on the other... Disappointing, as I think there is a big discrepancy between the two. Ultimately, Abara is an interesting and unique experience, but unfortunately not much more than that. I still like it, but... Yea...

Abara is a lot more of biological nature, compared to Blame!'s cyberpunk aesthetic. I adore it. Some of my all-time favourite panels are from Abara. They display brutality and vehement force, sometimes even solitude and dread. The designs of Black and White Gauna are insane. It is sheer carnage on display.

As for the story: the first thing you'll do upon reaching the end is most likely going to some YouTube video, Reddit post, or straight up Wikipedia's "Plot" for explanation. The story is interesting, but it's so shallowly narrated it makes Dark Souls lore look intuitive. As with Blame!, said lack of information gives it its charm, but unlike Blame!, where you always had this basic core structure of "Follow Killy and see what jumps his ass this time", here you don't even know who is jumping who nor why. It gets more value on re-read when you have some necessary context.

My gripes with Abara are it's length and lack of clarity. I would have loved if this got the runtime of Biomega, let alone Blame!. It's actual length often felt as a disservice to its potential and presentation. Alongside that, you often won't be able to make out what's happening in front of you. Sometimes it's because of the art, sometimes it's due to lack of context, and sometimes due to sense of rush; whatever way you put it, it's there. The story in itself is not anything ground-breaking, but the added confusion does not go in its favour.

The art of Abara is, in my opinion, the closest it got to Blame!'s highs, and, depending on the mood and day, sometimes I'd even say I view them equally as good. I'd also consider it the last work that got ''that Nihei aesthetic'' which was, in my opinion, lost in Knight of Sidonia and Country of Dolls; that, however, is a digression I won't delve into now. Back to Abara's art: it is as messy and gritty as it gets, frequently on the verge of any resemblance; truth be told, it is sometimes too much, but when it's just right, it is brilliant. It beautifully complements the biological structure of the work, giving it that necessary relentlessness. To repeat myself: sheer carnage on display. It is practically pure black and white. I am just sad we didn't get more.

To conclude, I view this work dear. It was actually my introduction to Nihei's repertoire, and I am glad that I still find value in it despite it all. I'm just sad it didn't get more spotlight. I recommend it regardless with how little of an investment it is to read. A very unique experience, for sure.

Thank you for reading up to this point. I wish you all the very best. Kind regards.

Its charm stemmed from simplicity it lost somewhere along the way.

During Blame!'s runtime from 1997 to 2003, Nihei released the first and only chapter of a cancelled series named Dead Heads, which could be considered as the predecessor of Biomega. If you are looking for more of the same, consider reading this one, as the art and aesthetic are very reminiscent of Blame!, yet different enough you can't equate the two... Which adds to the sadness when I say I view it as a rather mediocre read. Shame, as it could have been pretty good.

The setting and premise are mad simple: zombie apocalypse, the antagonists ... see potential for advanced human civilization, the main character is a sci-fi biker with guns whose job is to find an immune girl. It has a few interesting spins on said basic formula, but that's basically it. You get a little side story as introduction, then you are hit with a little spreadsheet containing the characters and locations of importance with basic summary for each. Some may find that dumb, but I'm here to say that I love it, and here's why:

When I watch a movie, I don't always want to watch something as profound as, let's say, Godfather. Sometimes I'm in for some action, or a comedy, or romance... Something fun just for the sake of being fun. Biomega starts off like that: simple story that you get thrown into from the get-go. A mercenary riding a futuristic motorcycle in the middle of a zombie dystopia, who is friends with an actual bear, all the while I have Carpenter Brut's "Turbo Killer" stuck in my head? I don't know how I could say no to such an offer. You are given all the necessary intel, all that is left is to hop on the ride.

The beginning is great in that regard. Very easy to follow, straight into the heat of it, and mad spectacular while still achieving suspense when necessary. To me, that is where Biomega is at its peak, in those moments of clarity and action. The characters are entertaining and with clear goals, the gags are alright, the villains are generically evil and yet do their job completely fine. Everything is easy to understand, all you need to do is follow that what's in front of you...

And then Nihei had to make it overly complex.

Adding complexity to a story is a very normal thing to do, but it didn't feel right for Biomega. It wasn't gradually introduced, but bluntly implemented, choking the momentum it had. The amount of text alone drowns any pacing it could foster, let alone how confusing it gets. It felt plane by the midpoint when the great climax happens only for it to be topped off with something one could call a "reset". Even thou there are some sparks of interest here, by that point I couldn't bother caring. Everything felt like it came out of nowhere, it didn't suit the work if you ask me.

The cast is simple, diverse, and knows to be interesting, but as is the case with Blame!, they aren't the focal point of the work. The story is nothing to write home about. The entire manga had value due to its charm. When it is stripped of that, there isn't anything to substitute for the loss.

As previously noted, in terms of art you can see how it came right after Blame! ended. They are far from same; it is a lot messier than Blame!'s, but it actually gives it character. The action feels good, it packs impact, the villains can look especially cruel in ssome situation... I wouldn't say it's nearly as good as Blame!, but it's memorable. Thou, even the art loses its charm when the entire story gets fumbled. Unfortunate, really.

All in all, I am sad. I really liked it in the beginning exactly for how simple it felt. Nihei has already proven capable of enticing the reader through just action displayed, so a title focusing more on show with a more basic concept honestly hyped me up. But, alas, what happened has happened. It had good parts, and the ending is fine. It did get me more familiar with Nihei, thus I don't regret reading it. It's just a shame I couldn't like it more...

Thank you for reading up to this point. I wish you all the very best. Kind regards.

You haven't read anything quite like Blame!

Sci-fi is a polarizing genre: some of the best works I have ever been a witness too belong there; as do some of the greatest wastes of time I've ever been a victim of. With that said, Blame! is among the works that make me want to take that gamble again. I love it and have never seen anything quite like it. I recommend giving it a try regardless of your taste as it is very unique. But if you happen to like it, know you will be very thankful to yourself for taking the time.

I've read practically all ... of Nihei's catalogue, from Blame! to Country of Dolls, with everything in between included. It is also worth knowing he graduated in architecture before writing this one. A very peculiar individual if I may say so. In my opinion, Blame! is both his debut and his Magnum opus, as the rest of his repertoire, sadly, falls off the further you go down. In case you wish to read more of him, Blame! is also a great starting point, as it will introduce you to many of Nihei's light motives that circle around all of his titles.

The world of Blame! is about size, abandonment, and even nihilism. There is enough space to not only feel miniscule, but to also feel it through the silence which fills the vast emptiness. The architecture is stellar, with some of the most memorable panels being of those very ruins. Unused facilities, gigantic towers, crumbled tunnels, sealed chambers... It is a rotting carcass through which the cast, small as ants, wander.

One, however, is not alone in this world. There are tribes of survivors, mechanisms in hibernation, cruel butchers which make the Sith look like children in comparison, as well as deities some would describe as divine... The diversity of encounters seems bizarre, and yet it feels right. There is a lot of unknown in this world, and by the very end a lot be left unanswered. Said lack of information adds to both tension and curiosity. Everything has a reason to be where it is, but you may never know it; and, quite frankly, you don't need to know it. The reader follows the cast who has a set goal, regardless of the info around them if it does not interfere with said goal.

It's worth noting Killy's journey spans over a VERY long time. What you are seeing are the "notable" moments between maybe even years of walking and waiting. The characters are ants walking down an enormous megastructure, not only miniscule in size and insight, but also compared to time. It adds a poetic aspect to the entire journey.

Stoic and calculated protagonist is a standard in Nihei's works, with Killy being the first among many. His character is not supposed to interfere with the world around him. Same applies for rest of the cast; their ambitions and goals are clear but will never be in the centre of attention. It adds to the impression of characters feeling small in comparison to their surroundings. I'd say it also adds to the maturity of the work alongside Killy's character.

The tempo of Blame! is a slow and steady one. Throughout most of it looms a sense of stillness and suspense. But, whenever any danger occurs, it breaks said rhythm, startling the reader. If we break up a scene as preparation, impact, and resolution, sometimes one of the three will be left out, making the scene feel snappy. Spectacle in Blame! is not only in explosions, but in said interruptions and sense of grandeur. And yet, through it all, I can't help but notice a string of calm in me, as again, all these characters are insignificant in the grand scheme of things. Killy may be stronger than many, but he is still only one among many of whom most have failed. He is prone to failure equally to everyone else.

I've yet to read many titles in this medium, but I can safely say the art in Blame! is among my favourites in any manga I've come across; at the time of writing, it is probably my favourite. It is jaw-dropping. It can't be fully experienced on anything else than on paper in black and white. It is gritty and visceral, precise, often gory, dark with a noir feel to it, sometimes haunting and disturbing... Astounding in one word. Certain scenes are terrifying. The villains are sinister, filled with malice. The action is clean. The feel of motion is incredible. And to repeat: the architecture is staggering; again, some of the most memorable panels are those of just architecture. I hate to say that none of his future works came close to how stellar Blame! was in the art department. It is really one of a kind.

No work is perfect, of course. Sometimes the action gets confusing and cluttered, especially near the end. The story can sometimes be hard to follow. Fear of death will eventually wane due to Killy always having his trusty Glock. There is no real reason to worry whenever it's with him. Thou, I wouldn't call these deal-breakers; they are presently, but I don't think they interfere with what the manga is aiming for.

I view it as a story of indifference and perseverance; a story of a man with a mission walking down a road without knowing will he ever see the end of it, let alone will it be a happy one; a story about witnessing both the victories and regrets of, now sleeping, corpse of civilization; a story of hope and of passing the torch forward; a story about coming to terms with reality; a story with a tragic, unspectacular, and yet heart-warming ending...

There are also Noise!, Blame Academy!, a crossover with Knights of Sidonia, and a few other short stories. Of all listed Noise! is most notable as it is an actual story. I don't remember much about any of these, and I still believe the lack of information gives to the charm of Blame!; Noise! doesn't add nor subtract much. It's there if you want more. Academy is a spin-off joke manga where all the characters are students in an academy setting; thou not my humour, it's a charming little victory lap across the cast. And last up are the side stories, among them being Blame 2 acting like a true finale to the story. It's fine, but I like the original ending more, so I view these short stories as side content. All in all, none of the above are anything spectacular, but offer more to read if you happen to still be hungry.

Blame! isn't a perfect manga, nor do I think everyone will like it. I do, however, believe everyone should give it a try. It is unique and has a story to tell. Even if it's not your cup of tea, I doubt you will regret reading it. There is nothing that will appeal to everyone, but there are things everyone should try; that is what a work rated 10 out of 10 means to me.

Thank you for reading up to this point. I wish you all the very best. Kind regards.

God almighty, I never knew reading 20 chapters could be this tedious...

Most of us came across Another via the anime released in 2012. However, this manga is not the source material; both the anime and manga are adaptations of a hit Japanese mystery novel written in 2009. If you want to read the source material, read the novel. Regardless of you being here due to nostalgia or as a newcomer, I advise you go watch the anime, as it takes less time to finish than this dismal read. Of course, that is if you are that determined to experience Another; if not, I suggest you ... look for something else to sate your hunger, as I doubt this will do it.

I have no idea what the story was. I could summarize the premise in two to three sentences, but that's the limit. That's the real mystery: how did the cast come up with such an illogical solution to the problem and expect a newcomer to not only understand, but also comply. Best part is they don't even stick to it; by the end of the first half it's practically abolished, so the "mystery" is just gone as if it wasn't even there. It just makes me ask "Why?", the same question I could apply to numerous other aspects of this work. I'd say only in the beginning is where this mystery could provoke inquiry; later I didn't even feel the need to follow it. The more time passes, the less it becomes cohesive.

What makes this read excruciating is the way it's written. I can't tell you how mystery should be written, but this ain't it. There is too much talking, barely anything happening. Not only is most of information both unimportant and inconsequential, but it is repeated to the point of annoyance. Any moment of suspense or tension is lost in talking and needless narration. Scenes that are supposed to be hard-hitting don't land due to lack of build-up. And there are so many cheap "teasers", where the art turns darker, character's eyes white with them saying stuff life "Oh, fool, how can you not know?", while saying nothing of actual substance. It's pathetic how desperately it tries to establish any sense of dread or fear.

The only character one will remember is Mei Misaki. Give it a bit of time, and the rest of the cast will become a homogenous mass in your memory. I can barely recall the protagonist's name. They are indistinguishable both in appearance and character, as their only purpose is to practically narrate the plot. They have nothing going for them. Reading their dialogue is overbearingly boring. Again, Misaki is the only exception, thou not because she is a good character, but because she is the only one who resembles anything "interesting".

There are flickering moments of something enjoyable here. Sense of fear in these works stems from the victims being regular folk who can't oppose the threat but only pray for mercy, and Another does set up that tone. People are killed brutally and without some greater meaning. It is a helpless situation. Good atmosphere can be established, good example being when Mei is first introduced. But not only do all those qualities get strangled by flaws; they get thrown out the window when the story decides to "reset" itself.

The art is... Fine. It isn't anything worth writing home about. There are moments where it enriches that previously mentioned atmosphere and silence, but most of the time it is just glanced over. It does the job; that's as far as it goes. Thou, during those obnoxious "teasers" the contrast and shading know to be good. It does leave an impression of something striking happening. Shame it wasn't put to better use.

There is also Another Ø, a 3-chapter title acting like a prologue to the original work... I'll be honest, I don't recall anything from reading it. I think that speaks enough of my opinion.

Maybe I've grown past it, maybe it's just a bad adaptation of the source material... Whatever it may be, it was miserable. If you are so keen on reading it, I advise watching the anime, due to it taking less time and, if I'm not mistaking, having some things the manga doesn't. Again, only if you are that keen. Otherwise, I recommend looking for something else.

Thank you for reading up to this point. I wish you all the very best. Kind regards.

Able to be finished in 2 hours, pulls you in from the very beginning, concise, enticing, fulfilling... There are flaws, but there is also no excuse for you not reading this manga if you haven't already.

Originally, All You Need Is Kill is a book written by Hiroshi Sakurazaka in 2004. This manga is the adaptation of said work serialised ten years later, the same year when Edge of Tomorrow, the movie based on the same book, came to theatres. I've never read the original book (I could thou), but I've read the manga twice. In my opinion, this is one of prime examples showing how ... a simple concept carries the narrative. There is no reason one shouldn't read it: it can be started and finished in one sitting; it's entertaining throughout its duration; it has astounding art; great moments and attention to detail... It has its flaws, but with how little it asks from the reader, I don't see a way one could complain.

From the very first page the impression grew strong. The opening scene is haunting. The entire first chapter sets up both the premise and aim of the story so well. Boredom was the last thing I felt when finishing a chapter. Keiji makes progress in every issue, causing each page to resemble a step closer to the solution. Never will it feel like the manga is dragging itself or needlessly digressing; it knows it's goal and has its eyes set on it. All in this work serves its purpose.

The setting is restrictive and characters few, but it doesn't make the story stale. The entire place is a stage with all the necessary tools for solving the problem present; all there is left is to execute the play perfectly. Of course, there will be hurdles along the way that Keiji will have to overcome. This is where All You Need Is Kill shines. Keiji's way of solution mirrors the reader's logic. There will never be a discrepancy between the two; every choice feels sensible. You have a playing field with infinite amount of time: no matter how bizarre an idea might be, if it is plausible, it is worth considering. It's about constant rehearsal and repetition (reminiscent of games like Hotline Miami and Katana Zero). My only complaint here is that I would like if the setting forced Keiji to make even more bold manoeuvres to show how much he can hone his execution.

Alongside his skills and perception, Keiji himself changes. War and death take a toll on anyone's character, let alone a newcomer such as Keiji (not taking into account the circumstances he's been put under). From a scared and naive soul to a melancholic and decisive veteran, the change is to be undoubted. Witnessing demise is one thing; witnessing it to the point you become indifferent to it is another. Thou, I will say there is inconsistency. Seeing Keiji, despite everything, keeping that softer side to him knows to be heart-warming, but most of the time it just erupts. It ruins the feeling of progression and this character scarred by cold ambition to end his suffering.

I'd also say this work loses a fair amount of its charm on re-read. Some faults aren't easily seen when you are driving through the pages enticed by the story, but they are very much present when solely judging the work. I'll touch upon some:
- The concept could have very easily been expanded upon. Some factors and tools feel shallowly used, while others don't get enough attention to feel like we've fully exhausted that option.
- I would love if Keiji strayed more and took wrong routes; the way the story is written, he is set on a right path from the beginning, all he has to do is to reach the end of it. Making him wander adds to the depth of not only the problem, but the setting and character also.
- Expanding on the struggles concerning his mental state and psyche would be welcome. He is a human after all, frail as any other; he is put in a situation many would see as hopeless and depressing. Seeing how he copes would add a lot.
- Next to Rika, the side cast is weak. They could be given more time; especially considering Keiji has an abundance of it. Also, Keiji occasionally has some weaker deliveries.
- The Mimics also lose the feeling of threat as the story progresses. They don't lose their sense of brutality, but it would be great if the manga played more with the reader's curiosity regarding them. Prime example is how Attack on Titan expands upon the concept of titans.
-If you are someone who likes sci-fi or science in general, the more you think about the premise, the more it gets shaky.
Ultimately, my complaints would be solved if the work was longer, having more time to dedicate to specific aspects. Maybe some things were left out from the book due to length limitations. But again, it being short has its charms: mainly it never lets the pacing slow down, and it asks less from the reader in terms of time management. In a medium where works go over 200 chapters easily, this can be seen as a great selling point.

The last part, however, feels great. There is a scent of naiveness complemented with a touch of childishness. It shines of hope. Cherishment of a concrete moment, fear of losing it, knowing you will never experience it again on that very same way. And then the climax, alongside the absolute killer art style, stellar action choreography and scenery, topped off with a fulfilling ending calling back upon many fine details mentioned in both dialogue and story leading up to it... Simple, yet amazing finish.

Lastly, what is the art like? I will only say: Takeshi Obata. If that does not yet assure you, he is the illustrator of both Death Note and Bakuman. Need I say more? The art is meticulous. If you know his previous work, you might be sceptical if his style fits a more army and mechanical setting such as this one, but oh man, saying it fits the aesthetic is putting it lightly, as it does so much more. The shading is peak performance, often uses hatching (technique where you shade with lines). It expresses the tone of scenery perfectly, the last act demonstrating that beautifully. So many great panels to remember and marvel at. Praise across the board here.

I believe most will find at least something of value while reading this title. Despite its flaws, you won't easily notice them on the first read, especially if the story reels you in. Even if you don't find any charm in it, it's only 17 chapters, you aren't losing anything. It is a piece of art that has its wider influence for a reason. I personally really enjoyed it. I fully recommend All You Need Is Kill.

Thank you for reading up to this point. I wish you all the very best. Kind regards.

I really wanted to like this one...

The Breaker: New Waves is the sequel to The Breaker launched in 2010, the same year the latter ended. I'll be blunt: it under-delivers. It's bad. There isn't much I feel for it next to apathy. Majority of its ups stem from my appreciation for the first breaker; the very same appreciation I got robbed of when finishing New Waves.

It does deserve a few compliments. Thou slow, the beginning and its premise are good. Once you step into Murim you are part of Murim, simple as that. It's also a throwback to one seemingly insignificant, but in hindsight very ... consequential moment in the first part, which is great. Next to that we have the entire cast of the first, alongside many new faces. The art is still really good. There are some interesting arcs and hard-hitting moments...

That's probably as far as my praise goes.

First off, why are we introducing so many new characters? You have already formed this huge repertoire by the end of the first part which it could barely handle. New Waves is twice as long as the first; shouldn't we focus on fleshing out the already existing ones? The answer is: no. In fact, it's worse: all of the already established cast you've grown accustomed to will get side-lined in favour of the new one.

Of course, the new cast is not horrible; there is Ji-Nie, Elder Kwon, Ji-Gun, Sera, Cool guy, Ghost Hands Divine Healer... So, the manhwa focuses on them? It does... As long as they are in the spotlight. Things happen only around Shi-Woon; the moment they move away from him (which they inevitably will) they turn into immobile chess pieces so that others can get into rotation. Having so many characters alongside this abysmal treatment of their makes the pacing devolve into some weird flavour-of-the-month structure which makes me numb to any enjoyment I could foster.

But let's forgive that too. So, you put them to the side? Fine. That leaves most of the resources dedicated to the cast under the spotlight. I have to ask then: why aren't they doing anything? The villains stand there as bedrock waiting to be penetrated, continuously reminding you why they are standing there in the first place. Allies are no better: they appear when necessary and obey what they have been told. Although, they do one thing consistently: talk. Oh, and do they talk a lot. It makes reading New Waves a chore. By the end, barely will any character get enough time, let alone will that time be used well.

Oh, and every relevant female character will devolve into the "I secretly find the protagonist cute" type who's only job is to commentate on the situation and praise the protagonist's "might and resolve", while being castrated of any characteristics that made them interesting, let alone value to the overarching story (by the end it feels like the only purpose they serve is to be on the cover). Of course, Shi-Woon doesn't feel anything towards them; he doesn't even notice it, so we can't even call those characters love-interests. Which brings us to Shi-Woon.

Shi-Woon is as bland as it gets. He doesn't change. You may argue he does, but you know you'd be lying. He only gets accustomed to the circumstances and pushes on in his ways; his beliefs and philosophy stay the same. He always fights for the same reasons, he does everything he generally does, his aims and motivations are never challenged... He is constantly rewarded for being himself and nothing pushes him in any new direction. In the review of the first Breaker, I listed it as his charm, so where is the issue? The issue is that there is nothing to be put against him as contrast in this supposedly vicious world, that now all of a sudden seems to value this vanilla good boy. It genuinely grinds my nerves.

That is not restricted only to his character. In the first part he is a talented novice with a few good moves but is ultimately reckless and will get beaten by anyone capable of dodging or countering. By the end of New Waves, he... He is the same, but now he is winning. He learns a whole of two new moves which, although cool, are barely used. Rest of his development is the work of lazy Deus Ex Machina. His fighting style is bound to mindless fist-flailing until he magically sees an opening and lands a blow. Even thou there are multiple "breakthroughs" in his training, there is legitimately no change. Some of the weakest character progression I've ever been a witness to, if I can even call it a progression.

Power scaling in this world is already very loose and context based, so you can imagine how having someone like Shi-Woon always winning completely annihilates any concept of strength hierarchy. I have no idea if there is any plausible explanation for him not ending up in a body bag when he, with a broken ki centre, decides to take on those stronger than he ever was in his prime. That happens multiple times, by the way. There are no stakes and risks. Consequences don't matter, being in actual danger is a myth. Some characters get the short end of the stick, but even then, it's because they wanted to sacrifice themselves. The entire motive of Shi-Woon persisting through his sheer will and lack of any fear to hold him back now feels like some of the shittiest protagonist privilege one could come across.

The entire story is simply a mess. There is no sense of direction. The twists are cheap. Bizarre moments which gave the first Breaker charm now don't land. Characters are done both dirty and poorly. And, of course, all of the previously mentioned has copious amounts of empty talk to go along with. It's a bad movie that tries to pull the audience's attention with basic shock value.

However, my main gripe with New Waves is its length. This is a 20-volume read. That's 200 chapters. Now, I agree; manga knows to be numerous times longer. But there are so many works you could have read instead of this which are not only shorter but offer more entertainment and sentimental value than this. Length should be justified, and New Waves does not have any reason to be this long considering its contents.

And here I am, having written over 1000 words of critique concerning this title. Do you think I am glad about that? Know I am not. I will always enjoy a good read, and I wanted to like this work as much as the first, if not more. I remember how eager I was to hop onto reading it. There are foundations of something that could be great, there are occasional strong moments, there are lovable characters, there is potential... And yet I can't help but view this read as a waste of time.

As I've noted in the previous review, the first Breaker has the same issues as the second, but the second has way more time for those issues to grow noxious and without that novelty and dynamic of the first to prevent it. I can't even look back on the original without seeing those glaring flaws.

Who knows, maybe you will enjoy New Waves. I know I didn't. I doubt I will read The Breaker: Eternal Force, which at the time of writing this review is very much young. Maybe in the future if I ever stumble upon it being finished. Even then, I will think heavily whether I am willing to put up with estimated 400 chapters of mediocrity when these 200 have already proven difficult.

Thank you for reading up to this point. I wish you all the very best. Kind regards.

This deserves a higher rating. Lavish praise will take up most of the review. However, I am simply unable to rate it higher.

If this manhwa caught your eye via its cover (as was in my case), you won't be let down. The art is stellar. If you have a habit of saving good-looking panels on your phone, expect your storage to take a hit as Park Jin-Hwan is not pulling punches. Clean, concise, yet knows to be gritty; fights have a dark tone to them that lets you feel the stakes. It sells the rigidness and harshness of this world really well. Speaking of the ... world:

Through Shi-Woon the reader slowly descends into the world of Murim. I'll tell you right now: he will never see the bottom of it. It is a world of rich tradition and culture. Names, terms, and techniques will quickly pile up and you will most likely lose track. Yet, I'd say it benefited my experience. It adds to the idea of this world being vast and explorable. Even if you ignore them, you will be able to follow the story. But eventually you will start memorizing all those names, and it feels rewarding. It connects you to the protagonist as he is also a commoner thrown into Murim and knows to feel lost. You are a novice, as is Shi-Woon.

The one thing this world has more of than tradition are beasts. As it is naive to believe you came to the bottom of Murim, it is also naive to think you are some hotshot in Murim. No matter how great you may be, never will it be a challenge to find someone greater. Numerous characters will make an appearance over just a few panels, yet they will terrify you. Even if a rookie lands a blow on a master, no matter how great he may be, bones will get crushed. When you are hit, you are HIT, and that hit WILL have its consequences. Strength is not defined only in power backing up the fist, but also in movement, evasion, respective techniques, resolve and willpower... Shi-Woon, thou not to be underestimated, will always feel beatable, even laughably weak compared to many others. Everything said above tells you that if one is regarded as "a master" here, he is truly worth being afraid of.

It isn't all fighting, however. Sometimes it's a death match; other times it's a dumb comedy/romance; it even knows to be a serious drama. Characters are over the top. Allies and enemies sprout out of nowhere in some of the most bizarre ways (a fucking janitor rides to school in a Lamborghini, that's the level of shit we are talking about). In times of peace hell can break loose with a snap of a finger. The entire journey feels like a mad fun movie you'd go watch with friends on a Friday night.

I've read this manhwa in little more than two days. Once you get hooked, it's over.

"But it's generic", to which I agree. Shi-Woon is an average commoner, thus he will be a victim of "generic" things. And some of those "generic" things have some truth in them. Being bullied can take vicious forms, many of those forms feeling, and sometimes even being, inescapable. A human can be pushed to the limit where there is nothing holding him onto living. However, revenge will only add to the problem. There are grim moments in the story. And I agree, there knows to be Deus Ex Machina in play, problems won't always be resolved by Shi-Woon's will and action (cliché of the protagonist being thrown into a new world where he isn't only welcomed but is also very talented, maybe even a prodigy, in contrast to reality where he is plain and insignificant) ... I am not defending it, I am saying it isn't something that can't be seen in other works as well, and that it knows to be done shallower than this.

In an odd way, that "generic" nature adds to his character when compared to others toughened up by the mercilessness of Murim. You will see him softening up those around him exactly because he does not give value to ways others see as tradition. Among an already solid main and side cast, Shi-Woon ends up earning his rightful spot.

It is a simple and fun manhwa with its fair share of hard hitters. Despite its flaws and often-times poor humour, it's bingeable and entertaining throughout the whole read.

Where does the problem lie then?

The problem lies in that this manhwa was planned to be a trilogy. The Breaker is followed by The Breaker: New Waves and The Breaker: Eternal Force (still being written at the time of this review). This leaves many themes, connections, and conflicts unresolved, alongside one part of the ending feeling underwhelming, and the other losing its value. After finishing The Breaker, you are incentivised to read New Waves.

New Waves, however, (in my humble opinion) is awful. Not only is it painfully average, but it also ruins the appreciation for the first part. It ruins it because New Waves has so many problems, bad enough that you can't look back on the first part without noticing those same errors in it. You won't be seeing them at first because part one is brimming with action and novelty, next to it being 10 volumes long; on the other hand, New Waves is 20 volumes long, thus those flaws have MUCH more time to reveal themselves and bother you. The third act is expected to be 40 volumes, and I personally have a hard time envisioning how will it evade those very same problems.

This leaves a reader in a conundrum: you can opt out when finishing the first part, leaving a fair share of the work unresolved / unrewarding; or you can continue to New Waves, and waste your time on an average 20 volume manhwa which kills your sympathy for the first part. It is underwhelming in both ways. I really enjoy the breaker as a whole (even the second part has some charms, simply I don't think it is worth it), yet I can't help but think the writer accidentally caught lightning in the bottle while writing the first act.

No matter what the ultimate decision may be, I recommend reading the first part, then deciding for yourself. I still think it is a very entertaining story with memorable scenes. To say that I enjoyed it is an understatement. Personally, I am sad it couldn't have gotten a rightful successor...

Thank you for reading this far. I wish you all the very best. Kind regards.

It's odd looking back on the beginnings and how humble they were.

Dogs: Prelude, also known as Dogs: Stray Dogs Howling in the Dark, is a collection of four one-shots written by Shirow Miwa, published between 2000 and 2001. Four years later it escalated into a full series named Dogs: Bullets and Carnage, even getting a drama CD alongside two OVAs. However, it never hit it big in terms of widespread success.

The work consists of four independent short stories, each belonging to one of the four "dogs" yet to be met by circumstance. They are simple yet engaging, laser-focused on the narrative and action. Each tale ... has its own distinct mood and tone respectful to the main character: Mihai, a veteran grown serene with time, is struck with a terrible realization; Badou again takes up a job that ends comedically bizarre; Naoto's puzzling and monotonous reality finally collapses within itself; Heine is sent to dispatch a group of criminals holding a hostage. Only after a few panels will they give you the picture of every protagonist, as you are very quickly thrown into the heat of things. They leave room for future stories and questions, but they aren't necessary for the reader to be entertained.

I hold Shirow Miwa in high regard when it comes to his capabilities as an illustrator. This work does not disappoint. The appearance of these characters won't leave your memory, let alone will you ever mistake them for someone else. The art style often gives a noir feel, especially during the first story, reminding that less is often more. I urge you to explore his art regardless of your decision to read Dogs.

But why can't I recommend it? First off, these stories aren't some peak literature. They are short, simple, and enjoyable; they are far from something never seen before (which is completely fine). Secondly, these stories belong to Dogs: Bullets and Carnage. When finishing the one-shots, you have a choice: to read the rest of the series or skip it. The first I don't advise because Bullets and Carnage is not a good read. Thou it solves questions and has its moments it is ultimately very flawed. The second I am hesitant to recommend either, as thou one could say these stories are self-contained, they aren't "finished"; they do leave a lot of unresolved issues and questions. Lack of said information doesn't allow the stories to stand fully alone.

Why would I recommend this title then?

Because it comes from a different time. Manga was a less "mature" medium then. I think simpler ideas had more breathing room as generic tropes and clichés weren't so overdone as they are today. This is the first solo work of a young author who had a cool idea, and many readers, including my younger self, liked it because of just that: It was cool.

It never found greater spotlight, but it is still remembered in an odd way. The work got a CD drama and two OVAs down the line; they, alongside some old AMVs, can still be found on YouTube and are over ten years old. The cover for Nightcore - My Demons has Heine on the cover (which fits him oddly well if you decide to read the entire series). You might have come across Miwa's work as he later illustrated the RWBY manga adaptation and worked on some other projects regarding anime and games (Soul Hackers 2). And for how long, whenever I stumble upon one of these four characters, I couldn't help but smile.

Personally, I've always found charm in older works. If you share the habit, or have your curiosity peaked, I recommend you give this title a read. It's short; even if you don't like it, you aren't losing much.

I wish you all the very best. Kind regards.

Knowing from which manga is the cover of Nightcore - My Demons fills one with joy.

Reading this manga, however, won't fill one with joy. Quite the opposite: it will most likely make you feel indifferent. Shame, as I don't regret reading it. There is a lot of good to remember it for; but memories are prone to idealisation, and the reality will remind you that it wasn't so spectacular when seen for what it really was. I view it as a product born from passion of an author who had many cool ideas but falls short in the execution.

Speaking of the author, Shirow Miwa is ... an absolute killer of an illustrator. The characters don't only look good, they are DRIPPED out of their minds. References related to music (Badou Nails and Heine Rammsteiner have surnames inspired from Rammstein and Nine Inch Nails) and the weaponry (Heine uses a Mauser C96 connected to his belt, alongside a Luger P08) are awesome. One may forget the story, but they won't forget the appearance of said characters. Honestly, I would recommend you go Google his art regardless of if you want to read Dogs or not. His work oozes with style you won't be able to get enough of.

Miwa, on the other hand, is not a good writer. This fictional universe somehow manages to feel unimportant. There is too much explaining and barely any showing. Fighting boils down to unstructured clashing until someone falls down. There is no power scaling or hierarchy. The pacing is all over the place. The reveals and twists feel bland... Eventually, you will start numbly flipping pages. For the vast majority it feels like the story is barely moving from how much useless dialogue is being held. And when it's not empty talk, the story loves to uncontrollably digress. It's sad, as when the story is actually being told, it knows to be interesting.

In an odd way, those flaws add to the main cast. They might ultimately be one-dimensional, but that lack of focus in the story flashes them out. Each of the four "dogs" has their own story (with some fairly memorable moments), their own character traits (a smoker so addicted to nicotine he needs gun smoke to substitute for the lack of cigars is so good), and their own goals. Their chemistry, although often weak, knows to be fun. Main complaint is that some are given more spotlight than others, and that becomes more evident as the plot progresses. Their aims and journeys feel too independent from one another. The side cast, however, is mainly weak and forgettable.

Most of Dogs' value is found in the action department, and the art style reflects that. It is focused, focused to the point of feeling minimalistic. It does not want to waste any time nor detail on anything but the action at hand. When it works it is incredible; it gives a noir feel to some parts. But, unfortunately, it often does not land. It can feel lazy and uninspired, especially when the story decides to drag its feet for hours on end.

So, are the fights and spectacle worth it?... Most of the time no. Same as the art: when it works it is amazing. Stylish in the true sense of the word. But most of the time it just becomes a monotonous exchange of blows without any suspense or risk. There is no risk at all. There is no sense of danger even when these hyped-up cataclysmic phenomena occur. The lack of danger waters down the conflict. And if it's not the lack of danger that waters it down, it's the dumb humour that kills the vibe.

A great majority of this work feels like a chore to read. There is just so much talking, cheap ways to end a conflict, no stakes on the table... And then the last act happens. The story is still weak, but it plays with your curiosity. The gloves are off. It's going all in. The last chapter happens and...

And you realize this manga has been on a hiatus since 2015.

To repeat: I don't regret reading this title. You can see the passion behind it. If it ever continues, I am certain to come back and finish it. I do have a light sense of nostalgia for this work... But it wasn't an enjoyable read. It is very much flawed. For most of my reading time I just wanted to reach the end. I advise you to look for something else to sate your hunger, as I don't think this one will do it. But, of course, this is only my experience. I can't stop you.

Thank you very much for reading up to this point. I wish you all the very best. Kind regards.