Après un an d'entraînement intensif, Ryô n'est plus le souffre douleur de ses codétenus. Il s'est endurci et se bat maintenant avec efficacité pour survivre. Pourtant certains de ses adversaires lui restent bien supérieurs, en force ou en machination, comme le directeur de la prison qui voudrait le voir mort.
In Shamo's second volume, something like a motivation or perhaps a pathology of Ryo Narushima begins to emerge. In this volume, there are significant plot threads to trace and ostensibly meaningful character development. Generically, Shamo oscillates between a martial arts manga and a horror manga. Despite the horrific atmosphere permeating the series, familiar and almost shounen-esque tropes appear with training montages and the prodigy-like development of a particular skill. Ryo's progress is driven by a desire to avoid being killed, a constant refrain in this volume. This idea calls back to the thought that Ryo's spirit might have been killed had he not murdered his parents. It's difficult to reconcile the pitiable jailhouse Ryo with the fratricidal and matricidal Ryo who set the manga's entire story into motion. That disjunction, though, emerges with some deliberateness in this volume.
The brief digression into the background of Kenji Kurokawa is particularly interesting. Kurokawa's motivation for taking a particular interest in Ryo is never really explained, but learning about Kurokawa's politically radical orientation, anti-American sentiment, and attempt to murder the Japanese Prime Minister are all exceedingly interesting. The warden wars Kurokawa that Ryo will become just like him, but it is fairly unclear what exactly that means. What trait do Ryo and Kurokawa share? And how does Ryo's willingness to kill in self-defense, or engage in horrific violence as a "deterrent," (much like America's nuclear option) relate to the pathological murder of his parents?
Shamo also revisits the sexual assault from the earlier volume but the elaboration on the event's consequences are not at all satisfying. It still feels like a desperate plea for grittiness rather than a substantive inclusion, and harms the character arc and verisimilitude more than it helps it. However, this volume is a distinct improvement in the series.
This volume still feels like an introduction for something greater that is to come. Ryo has matured and is ready to return to his life outside the correctional facility. Will his new skill and experience allow him to do that?
Wow, 2 years have come and gone. Narushima will finally be going outside.
Wasn't surprised to find that Me-kim was actually a top boss in the prison. His fight with Narushima felt a bit unnecessary though. In the least, someone should've just died if they were going to go that far with the fight.
I'm impressed by how much Narushima diligently studied martial arts and used it to defend himself for those 2 years. It really paid off.
We still don't know why he killed his parents so I hope it's revealed soon. I wonder what's going to happen now that he's out.
Ryo discovers a passion for martial arts and a goal of returning to a normal life despite being a shunned criminal. He just might have a chance, or the chaos of life might turn him back to darkness. Only time will tell.
Le jeune Ryo continue son éducation au karaté dans sa maison de correction. Il y affronte des adversaires de plus en plus corriaces, dans un climat toujours aussi détestables : les matons ne font absolument rien pour "corriger" les jeunes gens sous leurs responsabilité, et les gangs sévissant à l'intérieur de cette maison sont une insulte au terme même. J'ai comme dans le premier tome été frappé et un peu écoeuré par l'unievrs décrit dans ce récit. Pas tant par la violence des prisonniers entre eux que par celle exercée par les gardiens, qui craignent ce qu'est Ryo : quelqu'un qui n'a pas renié les traditions, comme ils le croient, mais qui a su voir en quoi elles étaient perverties. Enfin, c'est comme ça que je le vois. Ce qui, en revanche, me choque encore plus, c'est la postface qui insiste lourdement sur la responsabilité éditoriale de livrer une oeuvre aussi visiblement dérangeante - chose que je comprend - en en profitant pour dénoncer la corruption de la société moderne - ce que je ne comprend ni n'excuse pas.