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Other than the inconsistency in tone I felt the characters and plot, at least the side ones, were largely inconsequential. Despite being interesting they don’t really add to the main story significantly. Even if you could enjoy them for what they are, they never go anywhere and don’t have much of a pay off if any at all. They also slightly suffer from the Tarantino effect where you hear the writer in them more than the character to the point of intrusion. It is not too bad, but I would say it walks a fine line. That said I still see a lot of talent in the writing concerning the side characters and plots, but one area that’s surprisingly lacking in writing is the relationship between Punpun and Aiko. Punpun’s obsession is questionably convenient and a hard sell at best, and considering that’s supposed to be the driving force behind most of his actions I was left wanting.

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[投稿:2022-04-23 01:34:16] [修正:2022-04-23 01:34:16] [このレビューのURL]

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Both the beginning and ending of Goodnight Punpun are beautiful in their own right, but they don’t necessarily work together. There is a weird disconnect where the first part of the story is melancholy but still hopeful while the ending is brutally unforgiving and cynical. Other peculiar choices put both stories at odds with each other as well. The soft but pervading super natural and mystery elements, ranging from serial killer confession tapes to psychic cults, work well for the beginning but not so much the ending and, ultimately, don’t go anywhere anyways. While I like both angles neither are nearly as effective as they could have been separately. Instead Goodnight Punpun is left in an awkward middle ground where it is too spectacular to be ordinary and too ordinary to be spectacular.

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[投稿:2022-04-23 01:33:51] [修正:2022-04-23 01:33:51] [このレビューのURL]

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The third story, told in book six and seven, sees the author being replaced by Gen Urobuchi (albeit he is less of hack than he usually is). Things take a turn for the edgy as Punpun reunites with Aiko only to be forced to kill her abusive mother in a bizarre encounter that quickly escalates. Punpun and Aiko then flee and the story fades away into a fever dream of an ending with Aiko hanging herself and an exhausted Punpun resigning himself to die at the abandoned factory he and his friends went to as kids. However, Punpun is “rescued” when his friend(?) Sachi finds him. In the final scene Punpun has a chance encounter with Harumi, a childhood friend who had moved away long ago, giving Punpun a fleeting sense of nostalgia and then the story ends. This ending is poetic in a number of ways. All of Punpun’s previous actions are made meaningless with nothing working out for him even in the end where he is denied a silent exit from this cruel world and is forced to continue a miserable existence. There is no fanfare, rather than burn out the story simply fades away. It is absolutely ordinary and realistic in a way that stories rarely are. For the story told in the last two books, I couldn’t think of a more fitting ending.

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[投稿:2022-04-23 01:33:09] [修正:2022-04-23 01:33:09] [このレビューのURL]

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I will admit Steel Ball Run has a very, very slow start. In fact, Stands aren't even introduced until like 20 chapters in. That's another thing: Steel Ball Run is seinen instead of shounen. That means each chapter ranges from 35 to 60 pages long in comparison to the 20 page long chapters of the Jojo Parts before. This may seem daunting at first, but once you get invested in Steel Ball Run it feels like the story was too short, despite being the longest Jojo Part to date. Steel Ball Run also changes the Jojo formula in its fights. Stands are no longer humanoid for the most part, and they function more as superpowers than spirits who fight for you. Each fight is engaging and unique, dealing with psychological warfare more than throwing blind punches. This makes the fights in Steel Ball Run among the best in the series.

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[投稿:2022-04-23 01:32:05] [修正:2022-04-23 01:32:05] [このレビューのURL]

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This series already gets plenty of praise, so I will mostly focus on criticism for this review, despite the fact that I do have plenty of positive things to say about Berserk. I want to make a review that will be legitimately helpful to people, rather than simply echoing the beliefs of every other reviewer on here. Look at the myriad "10" reviews for raving about how amazing it is, there is plenty of that already. This series does not get nearly enough proper criticism. Please read the whole thing before marking the review "helpful" or "not helpful." Because if you don't finish it then you don't really know, do you?

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[投稿:2022-04-21 12:28:52] [修正:2022-04-21 12:28:52] [このレビューのURL]

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The artwork in the first few volumes of Berserk won't do much to impress many of today's manga readers, but at the time when the series was first serialized (1992) it was certainly well above average. Those initial volumes feature many very unique character designs (especially the apostles) and also sport a relatively high focus on detail. However, where Miura really shows off his latent artistic talents early on is through his ability to create crisp, clear, and highly fluid fight scenes.

One of the few negative aspects of the early volumes can be identified as the simple shading techniques that Miura used. Also, sometimes the character faces will look just a bit "off" and it can be a little distracting. However, these minor quality issues were most likely due to the time constraints that were in place at the time and not entirely the fault of the artist.

Then as the series progresses the reader gets to watch the artwork literally evolve. As we learn more and more about the characters and the world in which they live, the characters themselves and their environments become more and more visually detailed. The simple shading from the early volumes is eventually replaced by a hand shading technique which gives the series a more gritty and surreal overall feeling. The character designs become more crisp and facial expressions sometimes are so vivid that one look at a character's face is often enough to tell the reader exactly what the character is thinking. By the time the reader makes it into volumes 20 and beyond Miura has made it very clear that he means for Berserk to be truly regarded as a work of art just as much as it is a masterfully epic piece of storytelling.

In my own experience I have seen very, very few other manga series that can even approach Berserk's later volumes on an artistic level and, unfortunately, I highly doubt that I will ever be able to find its peer.

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[投稿:2022-04-21 12:27:47] [修正:2022-04-21 12:27:47] [このレビューのURL]

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The manga introduces us to Peco, the energetic I-don't-care-what-people-think personality, and Smile, the reserved gentleman who would rather lose than make his opponent feel bad. The development of these two main characters is quite the journey. The supporting cast are thankfully there for a lot more than just to provide moral support, and during a ping pong game Taiyo Matsumoto never really attempts to make the readers favour one character over the other, which allows the manga to stay at a realistic and high quality standard. What makes Ping Pong different from most sport manga is the larger focus on the characters as opposed to the game. The rules are not explained, nor do we get any history lessons. Table tennis is there as a foundation for the story and a means of development. Instead of the game fueling the characters, the characters fuel the game.

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[投稿:2022-04-21 12:26:51] [修正:2022-04-21 12:26:51] [このレビューのURL]

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If you've read anything by Taiyo Matsumoto before then you know to expect nothing less than absolutely superb art that gives off a level of energy like no other. Matsumoto's art is very unique - his lines are often wobbly, the scale of things can sometimes be unclear and his shading is minimal while his inking is high. You won't find many sketchy effects usually associated with manga in Taiyo Matsumoto's works either, but what he does offer is something totally fresh and just as interesting - that being outstanding line art. A huge amount of detail is put into every single panel and during the ping pong matches the energy behind his art perfectly catches the nature and pace of the game.

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[投稿:2022-04-21 12:26:12] [修正:2022-04-21 12:26:12] [このレビューのURL]

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Ironically, considering the title and all, you can swap 'ping pong' with bowling, badminton, or watermelon smashing, and it wouldn't make that much of a difference; Ping Pong is really about the range of realistic emotion that'd be familiar if you ever engage in something competitive seriously. Questioning the exact purpose of spending so much time and energy at something. Wondering if it's really worth it. Crushing realization that no matter how hard and long you train, there's someone whom you'll never be able to surpass. It's all about those feelings, and also the universal theme of growing up and friendship, as illustrated through Peco and Smile.

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[投稿:2022-04-21 12:25:24] [修正:2022-04-21 12:25:24] [このレビューのURL]

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The story revolves around a quintet of young ping pong players, with the biggest spotlight trained on long-time friends Peco and Smile. Characters were assigned nicknames, a nice touch as it lends a sense of immediate intimacy with them. The heightened focus on the players (or rather, human beings that happened to play ping pong) over the sport itself is really apparent; While we were informed about the characters' basic playstyle and their general strengths/weaknesses (Peco, for instance, has a weak backhand), there's no technical breakdown or detailed rules explanation for ping pong newbies. Matches tend to be brisk, rarely extending beyond a couple of chapters at most (although as aforementioned, still exciting thanks to Matsumoto's art). It's also realistic and gritty; While in any other sports series a character nicknamed 'Dragon' would be able to strike flaming ping pong balls with literal dragon flying on the background, don't expect that kind of stuff here.

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[投稿:2022-04-21 12:24:57] [修正:2022-04-21 12:24:57] [このレビューのURL]