Today I’ve got a review of the second Promised Neverland, which dispenses somewhat with the thematic ambitions of the first volume to focus more closely on the tactical mechanics of the kids’ escape. It’s a fine enough volume, but its narrative ambitions make for a somewhat messy union with the shonen formula, as I discuss in my piece. Still very much enjoying the manga, though!
The Promised Neverland, Volume 2
I wonder how Togashi himself feels, moving around his hundreds of chess pieces on his massive, three-dimensional chessboard. Surely he himself has a clear ending in mind, right? How could anyone possibly have the confidence to throw this many balls into the air and start juggling, with no idea how the performance will end? Any other author would leave me certain that the Dark Continent, or at least the Succession Arc in particular, will end in unfocused, shambling tears – but this is Togashi, and he pulled off Chimera Ant, so I’ll give him as much rope as he needs. As for this volume in particular, Togashi works very hard to simplify the sprawling madness of the boat setup into three core, parallel conflicts, each of them intersecting, each of them containing within them a variety of sub-conflicts. Let’s start where the volume itself starts, and dig right in!
I’ll admit, looking at the color cover of Vinland Saga’s first volume did not inspire much confidence. The character art’s thick black lines, largely realistic proportions, and very stiff posing all brought to mind some kind of western comic anthology, or perhaps one of those “bringing history to life” educational comics designed to Make Learning Fun. The digital shading was just plain hideous, and there’s what, an actual lens flair pasted onto the subject’s dagger? All in all, the cover included enough misguided visual decisions that I was deeply uncertain whether I’d get much out of this volume at all.
Even from the cover of the first volume, it’s clear that The Promised Neverland isn’t your standard Shonen Jump property. The base art style favors delicate, almost wobbly linework and evocative scribbles over the bold splashes of black and white favored by, say, My Hero Academia or Bleach. The cover is confident in this fraying delicacy, happy to let a clearly defined spiraling staircase fade into half-imagined detail, and in doing so evoking the visual style of something like a children’s picture book. This doesn’t feel like the steady work of a Jump veteran; this feels like the first manga of a dedicated illustrator, perfectly suiting its fairy tale storytelling.
My Hero Academia followed up on what basically felt like its first act climax with some cooldown in this volume, focusing on lots of nitty-gritty tactical fights and introducing a whole country’s worth of new heroes in training. It’s a good time, you can check out my further thoughts through the link below, etc etc.
Togashi, what the hell are you doing.
I had assumed, upon reading and critiquing Hunter x Hunter’s thirty-fourth volume, that I’d essentially covered the gist of Togashi’s schtique – his tendency towards creating impossibly convoluted tactical setups, and his skill for resolving them as a series of dramatically coherent action beats. The fight between Chrollo and Hisoka was essentially that instinct in isolation, split between half a volume of expository notes on Chrollo’s powers and half a volume of evaluation time “I hope you got all that” payoff. Surely the complexity would let up just a tad for the next volume?
It’s the end of an era in My Hero Academia. This volume was easily one of Academia’s best yet, and All Might’s climactic battle gave me tons to sink into in both a craft and thematic sense. The themey-wemey stuff took precedence this time, though – All Might’s fight essentially condensed Academia’s views on the conscience of society as a whole into one furious bout, and the volume’s second half then returned us to the engaging parent/child focus of the sports festival. Ridiculously compelling stuff all around, and I had an excellent time writing about it.
You can check out my full review over at ANN.
One Piece’s sixteenth volume opens with the team in crisis. Having sailed to the island of the former Drum Kingdom in search of a doctor, they discovered the only doctor here lived on top of a towering mountain. Strapping the sickly Nami to his back, Luffy set off with Sanji at his side, fighting through snow drifts and giant killer rabbits on the way to the summit. But then, before they could arrive, their movements prompted a mighty avalanche. And so we find our heroes sprinting back down the mountain, time ticking down with the storm at their backs.
My Monster Secret leaned heavily on its most minor side characters this volume, with altogether disappointing results. This manga definitely can succeed as a full-on farce, but when it’s not relying on the emotional appeal of its characters, the jokes really need to show up… and this volume’s collection of mediocre sight gags and too-long gimmicks just didn’t cut it. Ah well.
You can check out my full review over at ANN.
Hunter x Hunter’s thirty-third volume was entirely dedicated to establishing the base conflict of the Dark Continent arc. Even with a full volume worth of board-adjusting and exposition, those chapters still felt like they were bursting at the seams with pure information. The king’s declaration, and his alliance with Beyond. The Hunter Association’s reaction to that announcement, and their conscription of Kurapika and other potential allies. The background interference of Ging and Paristan, and the concerns of the larger scientific community. The introduction of the king’s succession war, and Kurapika’s subsequent enrollment in the youngest prince’s service. All of that served as meaty but ultimately passive setup, setting the stage for volume thirty-four to come barreling out the gate with the true start of the arc.