I have found that due to people’s association of Yu-Gi-Oh with the English dub of the Duel Monsters anime (amazing for wholly different reasons), they tend to not treat the story or characters very seriously. I will be the first to admit that Yu-Gi-Oh relishes in shounen tropes such as character archetypes, relationships, motivations, etc., as well as plot elements and progressions. However, I find that the execution is good enough that these borrowed storytelling elements do not bother me so much. One of the more popular criticisms of the writing is the ever-recycled “power of friendship” and so-called “heart of the cards” antics that allow Yugi and his allies to overcome hardships. While this is a valid criticism, I personally feel that this convenient writing actually functions well within this story.
One overlooked aspect of Yu-Gi-Oh is the absolute ridiculousness of it all. I do not mean this as a fault in the writing, but rather that it is hilarious that the events of the series are determined by the results of trading card game matches. Even the villains, evil as they are, are just as invested in this game as Yugi himself. One of the series’ primary antogonists, Seto Kaiba, is my favorite example for this. He is an ultra-rich, self-absorbed tech tycoon with dreams of power and influence. But above all, he just wants to be the king of games. The fate of the world comes to hinge on the outcomes of these matches, and it is for that reason that I can excuse some of the outrageous ways in which Yugi comes to seize his victories.
I should note that a crucial difference in the manga is that the first part is not exclusively dedicated to the game we know as “Duel Monsters.” There is an entire arc of Yami Yugi playing random “shadow games” with different people, usually bullies. It is quite sadistic and brutal at times, and is a sharp departure from the Yu-Gi-Oh that most people are familiar with. However, this portion is important for developing the bonds of friendship between our main cast, particularly Yugi and Jonouchi, which I feel is the most important character relationship besides Yugi his alter ego Yami Yugi. There is a noticeable disconnect between some characters and overall atmosphere from this first part to the Duelist Kingdom Arc and onwards, but I believe this to be an example of Takahashi being fluid and flexible with his work. Since his readers were so enthralled with the game of Duel Monsters, he decided to use that game as the core of the series going forward. This first portion is by no means bad, but is admittedly a bit of a slow start for those excited to get into the duels it is so famous for. Once this aspect takes over as the main drama, Yu-Gi-Oh truly begins to shine.
Takahashi hits his stride once the part known as “Duelist” begins. This is the bulk of the series and contains its most iconic characters and drama. I find Takahashi’s sense of style to be absolutely brilliant. The anime does not do his art justice in my opinion. In this manga you can really appreciate his talent for drawing. However, I should mention that there was certainly a strong sense of nostalgia for me as I was reading this series, which would come to affect my engagement with it on many levels. Since I have been interested in Yu-Gi-Oh for such a long time I have a strong appreciation for the characters and artwork – but that being said, such a long term investment is absolutely not required in order to cultivate a strong appreciation for its many brilliant qualities.
The duels themselves are certainly among the high points of action and drama in this series, as well as some of the best showcases of his art style – though many of my favorite panels were simply different characters standing around in stylish clothing. As with any shounen series concerned with action, there are numerous hits and misses with the battles. I did not find any of the duels to be “bad,” however, and just felt that they were either duller or had less important implications than others. Each reader will have their own favorites depending on their preference of characters, but they are still all expressive and unique. Every duelist employs a deck that is both reflective of their personality and overall aesthetic – which works so well with a game that has so many diverse archetypes and designs. I am still impressed at just how consistently good Takahashi’s card designs are, both in originality and memorability. This also goes for his character designs, which I have already mentioned as being iconic not just within shounen, but the entire medium.
This work is difficult to discuss in a concise manner because there is so much to appreciate. I doubt that Takahashi could have predicted the success of his series, as well as how profoundly influential it would come to be in the future. Although this could be said about many artists before their breakthrough work, I find it important to note with regards to Takahashi, because Yu-Gi-Oh is such a personal series for him. He is a gamer at heart and expresses his love for it within these pages. Before every volume he writes a brief author’s note that contains various observations or explanations of his influences – small pieces of information that I came to cherish due to his down to earth personality and disarming sense of humor. Yu-Gi-Oh has been a part of my life for a long time, and I am happy to have finally had my own experience with its foundation. I have been moved by this work, and hope that others will continue to find their own enjoyment with it in the future. The Yu-Gi-Oh manga is by no means perfect, but it is one of the most enjoyable pieces of fiction I have ever encountered.
