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This series needed many more chapters.

While “FPS” is indeed from a first-person perspective, the ‘S’ is for “shooter”.

A masterclass in bad writing. Set-up a butt-hanger, then deliver a flash-back which is really a tedious exposition-dump.

No, Japan. In the West, a man who cannot expressive himself unambiguously, including in his contradictions of others, is viewed with contempt, and this ethos is millennia old. Dylan simply would not be screwing-up in this manner.

Why is this left-to-right? And why aren't we warned?

“… or the two that I knocked-out instead of killing or crippling …” Hey, kids, don't fuck monkeys.

This sure was.

Well, that sure was.

I'm guessing that the series ended with an adult Sayu making a play, and the audience not given the outcome. But one can check the raws.

Naturally, a fucking committee meeting to stall having the protagonist enter the dungeon.

No, this chapter wasn't thrilling; it was an extended exercise in passive aggression by the author.

Indeed. Brain scans show that psychopaths process words differently; for them, sequences of phonemes or of characters are basically ways of pushing buttons to get desired reactions. Pure psychopaths don't really recognize persons as such, and don't imaging an interchange of thoughts. People...

Whoa. I'm 37 pages into this thing, and so far it's been nothing but conferences and committee meetings. If the author throws-in some whooming, it'll be a hat-trick of mangashit.

Nah. If a reader enjoys a story that seems to be a one-shot, and then discovers a sequel, then the reader will be pleased or thrilled. Meanwhile, what most manga writers, editors, and publishers imagine as hooks are just annoying butt-hangers, that alienate a share of readers. The survivor...

This chapter gets its page-count by utterly wasting many panels. And, at the end of the last chapter, everyone should have seen exactly the revelation used as the punchline here.

Again with allowing opponents to escape, unmaimed.

Were I the editor, I'd remind the artist of the rules that I laid-out at the beginning, and then ask “Which eye do I poke for that tongue shit?”

Translators whose first language is not English ought to keep a table of the strong verbs in their work areas. The past participle of a strong verb is seldom or never of the same form as the simple past tense. “have run” and “had run”, not “have ran” and “had ran”

Given that the writer felt that he'd told the story that he'd set-out to tell, I wish that the series had gone from periodic to occasional, rather than ended.

Now your trolling is reduced to the equivalent of squealing “I'm rubber; you're glue!”