Souboutei Kowasubeshi - Vol. 8 Ch. 72 - The Basement
- Thread starter MangaDex
- Start date
Man.... If Deido could see digital works and how one can easily change colors in a myriad of ways in digital programs, pretty sure that would make him lose his shit.
Or maybe it was a way for the author to nod the differences between how one used to make art then, and how one can do it now, and how much easier it is now days?
Hm.....
Or maybe it was a way for the author to nod the differences between how one used to make art then, and how one can do it now, and how much easier it is now days?
Hm.....
Power Uploader
- Joined
- Jan 25, 2018
- Messages
- 1,389
@Doomroar No, the story has a precise year, 2017. It says so on chapter 2, when Morita tells Takoha about the plane that vanished in 1971 and landed 46 years later. And they're inconspicuous, but people are seen using smartphones and high-tech stuff.
Personally, I consider the two forms of art complementary.
Takoha also comments on chapter 21 how he only saw oil painting in school and everyone colours digitally nowadays.
Personally, I consider the two forms of art complementary.
Takoha also comments on chapter 21 how he only saw oil painting in school and everyone colours digitally nowadays.
Dex-chan lover
- Joined
- Jan 20, 2018
- Messages
- 7,961
@Kendama i get it, but his art hasn't evolved that much in 2 decades, and his writing is the same cliche as always, i was forgiving him thinking things like "oh well can't be helped, it was the 80s, or 90s, he doesn't knows better" but if this is actually brand new i will have to be more harsh on him, there are limits to how anachronistic someone can be.
Power Uploader
- Joined
- Jan 25, 2018
- Messages
- 1,389
@Doomroar Isn't it a matter of taste, though? I don't like vintage manga, but I'm enjoying all the nonsense, the crazy drawings and the plot twists very much.
In the end, anachronism is just a label. If a story is good and compelling, it doesn't matter what conventions the author decided to follow.
(And in terms of popularity, Fujita seems to have quite a following. He has been in continuous serialisation since his debut, and his series have run as long as 44 volumes in the case of Karakuri Circus. So the readers don't seem to be complaining.)
And if you don't like it, there's always the option of dropping.
In the end, anachronism is just a label. If a story is good and compelling, it doesn't matter what conventions the author decided to follow.
(And in terms of popularity, Fujita seems to have quite a following. He has been in continuous serialisation since his debut, and his series have run as long as 44 volumes in the case of Karakuri Circus. So the readers don't seem to be complaining.)
And if you don't like it, there's always the option of dropping.
Group Leader
- Joined
- Jan 6, 2019
- Messages
- 96
@Doomroar there aren't anachronisms. you're probably thinking of stuff from Seiichi's backstory (1972), or the prime ministers' backstory (1940-ish to present), or the historical characters (from late-1800s). in the present day of the comic itself, there's been cell phones and stuff so it clearly takes place in a mostly regular world. (except magic and ghosts exist).
Dex-chan lover
- Joined
- Jan 20, 2018
- Messages
- 7,961
@Kendama i like vintage manga, i however don't like modern manga that keeps the same flaws as vintage manga, repeating the same patterns, story telling, with the same characters, and you know, i may actually do just that and drop it, is not like i am getting anything new from him at this point.
@MisterSteak at first i was going from the art style, it does feel dated for the most parts, and yes he has some great surreal panels but those are special pieces here and there, but i digress, what had me convinced about this being an older work, more than the art was the writing, his cliches, he has the same writing pattern he had with Ushio to tora and Katakuri Circus, is the same MC, the same supporting cast, i am surprised he hasn't introduced an harem... yet, but i can already see it coming, since he is making pretty much the same here i was convinced this was an old manga, and that he wrote all those stories around the same time, as if they were period pieces by the same author, but no, is just him not changing.
But well if he has a formula that works, and has given him a following, there's little incentive for him to change it, but i don't think i am willing to read the same story a 3rd time.
And i know he can do better than this, "The Wicked Eyes Fly to the Full Moon" is one of his works i enjoyed the most, and is pretty much what got me trough a lot of his other manga while expecting to find something similar, or better (because that one had his flaws too), but it doesn't seems like that will happen here.
So yeah Kendama my be right, i should just stop dealing with this manga, or maybe with Fujita Kazuhiro in general.
@MisterSteak at first i was going from the art style, it does feel dated for the most parts, and yes he has some great surreal panels but those are special pieces here and there, but i digress, what had me convinced about this being an older work, more than the art was the writing, his cliches, he has the same writing pattern he had with Ushio to tora and Katakuri Circus, is the same MC, the same supporting cast, i am surprised he hasn't introduced an harem... yet, but i can already see it coming, since he is making pretty much the same here i was convinced this was an old manga, and that he wrote all those stories around the same time, as if they were period pieces by the same author, but no, is just him not changing.
But well if he has a formula that works, and has given him a following, there's little incentive for him to change it, but i don't think i am willing to read the same story a 3rd time.
And i know he can do better than this, "The Wicked Eyes Fly to the Full Moon" is one of his works i enjoyed the most, and is pretty much what got me trough a lot of his other manga while expecting to find something similar, or better (because that one had his flaws too), but it doesn't seems like that will happen here.
So yeah Kendama my be right, i should just stop dealing with this manga, or maybe with Fujita Kazuhiro in general.
Group Leader
- Joined
- Jan 6, 2019
- Messages
- 96
Member
- Joined
- May 4, 2018
- Messages
- 88
@MisterSteak
If I had to say how it's similar, it's how it has this blend of Sci-Fi and the Occult. He's definitely mixing them more than ever in this series, but there's always been dabbles in previous works. Even if it was only really one arc, Ushio and Tora had the scientists come by (And a later revelation). How Chinese Kenpo Qui(Chi?) in Karakuri Circus reacted with the complex science of the Aqua Vitae. I haven't gotten enough in Moonlight Act but I kind of imagine something will tangent to a harder science (Maybe it's the Blue Moon being alien brain waves I dunno). He's kicking that up to the max here with how ghosts and psychics are mixed up in shape-shifting bio-organisms.
As for the beats of the story, it's definitely not as episodic as his other works have been. I do think there's still that sort of reliance on long flashbacks, but nothing as lengthy as Karakuri Circus' stuff. I think you can say he does that thing where he introduces a lot of interesting characters but some get slaughtered awfully quickly.
I really think his art has only improved. Sometimes it's cluttered but that goes hand in hand with intense action. There's this sort of roughness to his lines that I like as well. I don't know how someone can say they've read his other works and not see how he's changed in that regard. In fact the art stuff IN THIS VERY CHAPTER is him flexing on what he can do. His action and choreography is consistent though. His fights play out in a way that's easy enough to understand. They're not drawn out in long ways like some battle shonen where there's a secret trick to beating the people. It's intense strikes and pure guts that get the characters through, and that's kind of the essence of these stories. I don't know how you'd get this far into his bibliography and expect otherwise.
If I had to say how it's similar, it's how it has this blend of Sci-Fi and the Occult. He's definitely mixing them more than ever in this series, but there's always been dabbles in previous works. Even if it was only really one arc, Ushio and Tora had the scientists come by (And a later revelation). How Chinese Kenpo Qui(Chi?) in Karakuri Circus reacted with the complex science of the Aqua Vitae. I haven't gotten enough in Moonlight Act but I kind of imagine something will tangent to a harder science (Maybe it's the Blue Moon being alien brain waves I dunno). He's kicking that up to the max here with how ghosts and psychics are mixed up in shape-shifting bio-organisms.
As for the beats of the story, it's definitely not as episodic as his other works have been. I do think there's still that sort of reliance on long flashbacks, but nothing as lengthy as Karakuri Circus' stuff. I think you can say he does that thing where he introduces a lot of interesting characters but some get slaughtered awfully quickly.
I really think his art has only improved. Sometimes it's cluttered but that goes hand in hand with intense action. There's this sort of roughness to his lines that I like as well. I don't know how someone can say they've read his other works and not see how he's changed in that regard. In fact the art stuff IN THIS VERY CHAPTER is him flexing on what he can do. His action and choreography is consistent though. His fights play out in a way that's easy enough to understand. They're not drawn out in long ways like some battle shonen where there's a secret trick to beating the people. It's intense strikes and pure guts that get the characters through, and that's kind of the essence of these stories. I don't know how you'd get this far into his bibliography and expect otherwise.
Group Leader
- Joined
- Jan 6, 2019
- Messages
- 96
@SPTCoyote
I appreciate how Fujita's been able to keep the series totally non-episodic (heck, I can barely see clear arc distinctions), yet also paces the chapters as really satisfying chunks somehow. That's why I also love the flashbacks, because they're kept to mostly 1, sometimes 2 chapters at a time (with the exception of super important stuff like the Seiichi flashback, which, lets be honest, would have been just as amazing if it were 3 times longer), so they feel kinda like really good one-shot drama stories.
I've also noticed that Fujita has been expressly avoiding character deaths in this series, which I really appreciate as well because it means all the work he spent building those characters won't go to waste. I also think it's funny how he keeps setting up the "heroic sacrifice" trope *just* well enough for us to accept it if the character dies, but then someone (usually Takoha) goes nope not today!
I appreciate how Fujita's been able to keep the series totally non-episodic (heck, I can barely see clear arc distinctions), yet also paces the chapters as really satisfying chunks somehow. That's why I also love the flashbacks, because they're kept to mostly 1, sometimes 2 chapters at a time (with the exception of super important stuff like the Seiichi flashback, which, lets be honest, would have been just as amazing if it were 3 times longer), so they feel kinda like really good one-shot drama stories.
I've also noticed that Fujita has been expressly avoiding character deaths in this series, which I really appreciate as well because it means all the work he spent building those characters won't go to waste. I also think it's funny how he keeps setting up the "heroic sacrifice" trope *just* well enough for us to accept it if the character dies, but then someone (usually Takoha) goes nope not today!
Similar threads
