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海獣の子供 [Kaiju no Kodomo] #4
Les Enfants de la mer T04
Ruka, une collégienne éprise de liberté, vit au bord de la mer. Pendant les vacances d'été, elle fait la connaissance de deux garçons, Umi et Sora, qui ont été élevés par des Dugongs, des mammifères marins menacés de disparition. Quand ils nagent dans la mer, ils donnent l'impression de voler et parfois se mettent à briller. Qui sont réellements ces deux garçons fascinants ?
Paperback
First published July 30, 2007
13 people are currently reading
311 people want to read
About the author
Daisuke Igarashi
49 books165 followersDaisuke Igarashi (五十嵐 大介, Igarashi Daisuke) is a Japanese cartoonist, acclaimed for his refined art style and philosophical themes. His manga often use sci-fi or magical elements to touch on the relation between mankind and nature.
Igarashi began his professional career in 1993 on the pages of the magazine 'Monthly Afternoon'. Therein, he published the stories composing Hanashippanashi (1993-1996), a few other shorts collected in the volume Sora Tobi Tamashii (2002), as well as his first minor success, the series Little Forest (2003-2005).
In 2003 the author started a fruitful collaboration with the alternative manga magazine 'Monthly Ikki', in which he serialised his most famous works to date: the anthological Witches (2003-2004) and Children of the Sea (2006-2011). Both series were awarded an Excellence Prize at the Japan Media Arts Festival, respectively in 2004 and 2009.
Igarashi's latest works are Umwelt (2017), collecting short stories appeared in various magazines between 2004 and 2014, and the 5-volume long manga Designs (2016-2018).
Igarashi began his professional career in 1993 on the pages of the magazine 'Monthly Afternoon'. Therein, he published the stories composing Hanashippanashi (1993-1996), a few other shorts collected in the volume Sora Tobi Tamashii (2002), as well as his first minor success, the series Little Forest (2003-2005).
In 2003 the author started a fruitful collaboration with the alternative manga magazine 'Monthly Ikki', in which he serialised his most famous works to date: the anthological Witches (2003-2004) and Children of the Sea (2006-2011). Both series were awarded an Excellence Prize at the Japan Media Arts Festival, respectively in 2004 and 2009.
Igarashi's latest works are Umwelt (2017), collecting short stories appeared in various magazines between 2004 and 2014, and the 5-volume long manga Designs (2016-2018).
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Displaying 1 - 30 of 67 reviews
February 18, 2021
Absolutely incredible. This volume is basically the rehearsal before the final performance, bringing all the threads together to prepare for the finale. Some more clarity is reached before the inevitable final revelations.
August 17, 2013
Reason for Reading: next in the series
This is the stage of a manga series where it gets difficult to give a plot summary without giving away what has happened so far. Possibly cryptic generalities include Ruka's mother finally becoming a main character involved in the plot, flashbacks to her past, flashbacks to Anglade's past and even Dehdeh's past. Thus we are filled in on a lot of backstory as to why these people are all joined together in this bizarre marine story. A new theme is approached, that of birth and death, which engulfs the whole story from a metaphysical point of view. The act of birth is the main theme, with death closely tied to it. Things are both becoming clearer and more confusing at the same time. This volume is one that gets deep into the "whys and wherefores" of the plot without too much actually happening to further it along. The artwork in this series, as usual, is absolutely gorgeous. An intense ending leaves one eager for the following volume. This is one of the more unique manga series I've read and while this volume isn't the best of the lot so far, it is a needed one, story-wise, and I anticipate reading vol. 5 greatly .
Re-Read Aug/2012: My original review for this volume gave a rating of 3/5 but I am certainly raisong that up to 4/5 this time. It makes a lot more sense reading the books back to back than it did originally waiting 7 months between reads! My original review pretty much covers everything except I am not confused as I was then; I actually am piecing things together; absolutely love the life/birth references and am hoping the finale will bring that all together with a birth.
This is the stage of a manga series where it gets difficult to give a plot summary without giving away what has happened so far. Possibly cryptic generalities include Ruka's mother finally becoming a main character involved in the plot, flashbacks to her past, flashbacks to Anglade's past and even Dehdeh's past. Thus we are filled in on a lot of backstory as to why these people are all joined together in this bizarre marine story. A new theme is approached, that of birth and death, which engulfs the whole story from a metaphysical point of view. The act of birth is the main theme, with death closely tied to it. Things are both becoming clearer and more confusing at the same time. This volume is one that gets deep into the "whys and wherefores" of the plot without too much actually happening to further it along. The artwork in this series, as usual, is absolutely gorgeous. An intense ending leaves one eager for the following volume. This is one of the more unique manga series I've read and while this volume isn't the best of the lot so far, it is a needed one, story-wise, and I anticipate reading vol. 5 greatly .
Re-Read Aug/2012: My original review for this volume gave a rating of 3/5 but I am certainly raisong that up to 4/5 this time. It makes a lot more sense reading the books back to back than it did originally waiting 7 months between reads! My original review pretty much covers everything except I am not confused as I was then; I actually am piecing things together; absolutely love the life/birth references and am hoping the finale will bring that all together with a birth.
October 18, 2020
The truest moment in this book: when Anglade says, "As you can see, I'm very talkative" (320).
At this point, the story has become so ethereal and dream-like, I'm rarely certain what chronological point we're at, where anybody is, why they're doing what they're doing, or how I'm supposed to feel about it. The mythology is getting so big and unwieldy, the story seems about to collapse on itself. It's interesting, but it's losing me.
Unfortunately, the local public library doesn't have the fifth and final volume in the series, so this is it for me. I look forward to watching the anime, to see how that version of the story resolves everything.
At this point, the story has become so ethereal and dream-like, I'm rarely certain what chronological point we're at, where anybody is, why they're doing what they're doing, or how I'm supposed to feel about it. The mythology is getting so big and unwieldy, the story seems about to collapse on itself. It's interesting, but it's losing me.
Unfortunately, the local public library doesn't have the fifth and final volume in the series, so this is it for me. I look forward to watching the anime, to see how that version of the story resolves everything.
January 20, 2022
Oh this is getting so good!! Just one last volume.
I think Anglade is my favorite character.
And I like the inclusion of the ama a lot (women divers).
And there is a whole section devoted to space science and the conditions required for a planet to have water (which will allow it to contain life).
Super excited to have randomly stumbled across this series at the library.
I think Anglade is my favorite character.
And I like the inclusion of the ama a lot (women divers).
And there is a whole section devoted to space science and the conditions required for a planet to have water (which will allow it to contain life).
Super excited to have randomly stumbled across this series at the library.
March 17, 2018
The art is gorgeous as usual, but good grief is this story confusing.
June 19, 2013
Children of the Sea has been consistently lovely, with a strange, dreamlike quality. And very, very slow plot development. This volume in particular is oddly and uncharacteristically full of it, with an awful lot of backstory coming in to start to explain what is going on and why. The fifth and final volume is due to be released this month, so now is probably a good time to jump on board. I do like this series, and I'm now invested in seeing where this goes, but I might have been every bit as happy if Igarashi had done a marine-themed art book instead. It would have been a breathtaking art book.
October 17, 2024
my favorite series from when I was young... the thread vein of life beats strongly here. mythologies, coming of age, mystical ocean lore, animism.. life evolved in the oceans first and our foray onto land gave us thicker membranes and glands of micro oceans inside to keep us alive <3 the salinity of the human body mirrors that of the ancient ocean
January 5, 2015
Not much happens in this, the fourth of five volumes of a justifiably celebrated seinen manga series, but we learn more about what the story is essentially about, and we get plenty of back story as the search for Sora and Umi continues. The art takes an even more central focus as things proceed. Talk proliferates early on, but as we proceed, images take on what we have know from the beginning are the central focus… and sound. Early on, we get backstories of DehDeh and Ruka's mom, with lots of philosophizing and not much action and this is useful information to know if you want to know what the heck is the purpose of this series, but in terms of action, everything feels slow. And that is the point, in a way. If you want a page-turning thriller, if you want an action-filled plot, you need to go to another series. We're talking future of the planet here, people!
There's a lot of metaphysical talk in the first third of this volume which is useful in a number of ways. As story it is slow and plodding and somewhat annoying if you like traditional narrative progression; after four volumes we know very little about the kids who are central images in this tale. We know, however, lots of ideas about the universe put out there by various characters, much of it mystical and metaphysical. The kids are essentially these images of connections to the natural world, the sea; they are largely absent in terms of the plot, having left to go where all the fish and other sea creatures seem to be going, but even when they were with us, they didn't talk much, they are representations of close natural world relations. But another purpose for this lack of language from the kids becomes clear as we proceed, as we move to the climax of this tale: language is itself limiting, rationality is limiting, scientific conceptions are limited… Again in this volume, whale song--and even a whale chorus!--becomes a central image. The sea, the universe, speaks to us and marine biology, or for that matter astronomy, science in general, while necessary in some ways for understanding what is going on in terms of statistics, is woefully limited.
Igarashi, primarily an artist, of course, cares most for poetry, for music, for drawn and painted images of beauty. Increasingly, he wants us to learn that words are only one form of communication; all creatures, and the sea and sky itself, speak to us. And what are they telling us? Among other things, that birth and death are central to our becoming part of the universe. We are the world! This is an environmental tale, an Earth Day (no, Earth Life) tale for the present and decidedly scary environmental future. If we only pay attention to human language and ways of seeing, we will continue to kill the planet, as we have been doing. We have to listen to the planet and non-human creatures, and water… and mystery. It makes me think of Adam Hines's amazing ecoterrorist comic, Duncan the Wonderdog, Show One, which replaces analytical conceptions of the world with a pastiche, a bricolage, of representations and performances, beyond rational and scientific understanding. Both Duncan and Children of the Sea are among other things affirmations and assertions of the importance of art, in the scope of environmental politics. Which is deeply sad when we think that art and music have largely been cast aside in the epistemologically corporatized American schools.
Think about art, music as partners in researching and knowing the world with science. Complementary partners,perhaps, and ultimately, Igarashi does not disrespect science; there's a lot of attention to and knowledge of science in this series. One other way of knowing and research that Igarashi cares about is myth, especially long told oral stories about the origins of the world. These he spends some time working through, even as he (possibly?) invents his own.
There's a dramatic trip to Antarctica in this volume, led by Jim, where a couple ancient sea creatures are discovered, perhaps echoing an event that happened a few years ago Igarashi would be well aware of off the coast of Japan:
http://www.vidoevo.com/yvideo.php?i=R...
There have actually been sightings of several prehistoric sea creatures in the past several years around Japan. Why? Climate change, for sure, is part of it, probably some disruption in the melting of Antarctica. Igarashi seems to speculate (as many are speculating variously about this amazing series of events), that the death of the planet we are witnessing might also be signaling its rebirth in some way, some tapping into the collective consciousness/memory of the planet through the ocean. Stay tuned for volume 5!
There's a lot of metaphysical talk in the first third of this volume which is useful in a number of ways. As story it is slow and plodding and somewhat annoying if you like traditional narrative progression; after four volumes we know very little about the kids who are central images in this tale. We know, however, lots of ideas about the universe put out there by various characters, much of it mystical and metaphysical. The kids are essentially these images of connections to the natural world, the sea; they are largely absent in terms of the plot, having left to go where all the fish and other sea creatures seem to be going, but even when they were with us, they didn't talk much, they are representations of close natural world relations. But another purpose for this lack of language from the kids becomes clear as we proceed, as we move to the climax of this tale: language is itself limiting, rationality is limiting, scientific conceptions are limited… Again in this volume, whale song--and even a whale chorus!--becomes a central image. The sea, the universe, speaks to us and marine biology, or for that matter astronomy, science in general, while necessary in some ways for understanding what is going on in terms of statistics, is woefully limited.
Igarashi, primarily an artist, of course, cares most for poetry, for music, for drawn and painted images of beauty. Increasingly, he wants us to learn that words are only one form of communication; all creatures, and the sea and sky itself, speak to us. And what are they telling us? Among other things, that birth and death are central to our becoming part of the universe. We are the world! This is an environmental tale, an Earth Day (no, Earth Life) tale for the present and decidedly scary environmental future. If we only pay attention to human language and ways of seeing, we will continue to kill the planet, as we have been doing. We have to listen to the planet and non-human creatures, and water… and mystery. It makes me think of Adam Hines's amazing ecoterrorist comic, Duncan the Wonderdog, Show One, which replaces analytical conceptions of the world with a pastiche, a bricolage, of representations and performances, beyond rational and scientific understanding. Both Duncan and Children of the Sea are among other things affirmations and assertions of the importance of art, in the scope of environmental politics. Which is deeply sad when we think that art and music have largely been cast aside in the epistemologically corporatized American schools.
Think about art, music as partners in researching and knowing the world with science. Complementary partners,perhaps, and ultimately, Igarashi does not disrespect science; there's a lot of attention to and knowledge of science in this series. One other way of knowing and research that Igarashi cares about is myth, especially long told oral stories about the origins of the world. These he spends some time working through, even as he (possibly?) invents his own.
There's a dramatic trip to Antarctica in this volume, led by Jim, where a couple ancient sea creatures are discovered, perhaps echoing an event that happened a few years ago Igarashi would be well aware of off the coast of Japan:
http://www.vidoevo.com/yvideo.php?i=R...
There have actually been sightings of several prehistoric sea creatures in the past several years around Japan. Why? Climate change, for sure, is part of it, probably some disruption in the melting of Antarctica. Igarashi seems to speculate (as many are speculating variously about this amazing series of events), that the death of the planet we are witnessing might also be signaling its rebirth in some way, some tapping into the collective consciousness/memory of the planet through the ocean. Stay tuned for volume 5!
December 4, 2010
Originally posted here at Anime Radius.
If you have been reading Children of the Sea so far, you are familiar with the permanent hallmarks of the series: the deeply involving introspective moments; the gorgeous art that sometimes verges on the abstract; a colorful and developed cast of characters; a progressive and slowly blooming plot that develops at a pace that always leaves readers wanting more by chapter's end. If you haven't been reading it yet then - well - you should go on and read the previous three volumes, savoring them slowly, before reading volume three because this is not a manga you can jump in the middle with both feet and expect to enjoy it to the upmost levels possible. So fellow readers can understand when I say that the fourth volume is, for lack of better words, rather monumental.
What's so major about this volume of Children of the Sea? There is plot development - and tons of it. And with all of the development, we get insight into more and more mysteries. For one thing, we get to look deep into the pasts of both Kanako and Anglade, giving their characters some much needed expansion. Granted, Anglade is still a bit of a mystery - and very mysterious in nature - but I'm glad for the look at Kanako's youth and the circumstances that led to Ruka's birth. She's turned from a slightly developed character to one that is well-rounded and terribly interesting; I'm looking forward to more of the chapters with Kanako and Dehdeh. Their trip across the sea in search of Ruka and Umi is immensely fascinating, as is Ruka's descent into the ocean with the meteorite in her body - although who knows how long that odd relationship between human and stone will last, if the volume's cliffhanger ending is anything to go by.
Fish are disappearing, the ocean is becoming more active than ever, the creatures of the water are continuing to attract attention from not only the marine biologists but also the world at large - and in the middle of everything are Ruka and Umi and Sora, the children of the sea. There's drama and action and mystery and beautiful art and everything you could ever ask of a seinen manga. You want a deeply underappreciated series that deserves all the critical acclaim it garners from day one? You want Children of the Sea - and if the latest volume is anything to go by, Daisuke Igarashi is doing his best to make it a modern-day manga classic.
If you have been reading Children of the Sea so far, you are familiar with the permanent hallmarks of the series: the deeply involving introspective moments; the gorgeous art that sometimes verges on the abstract; a colorful and developed cast of characters; a progressive and slowly blooming plot that develops at a pace that always leaves readers wanting more by chapter's end. If you haven't been reading it yet then - well - you should go on and read the previous three volumes, savoring them slowly, before reading volume three because this is not a manga you can jump in the middle with both feet and expect to enjoy it to the upmost levels possible. So fellow readers can understand when I say that the fourth volume is, for lack of better words, rather monumental.
What's so major about this volume of Children of the Sea? There is plot development - and tons of it. And with all of the development, we get insight into more and more mysteries. For one thing, we get to look deep into the pasts of both Kanako and Anglade, giving their characters some much needed expansion. Granted, Anglade is still a bit of a mystery - and very mysterious in nature - but I'm glad for the look at Kanako's youth and the circumstances that led to Ruka's birth. She's turned from a slightly developed character to one that is well-rounded and terribly interesting; I'm looking forward to more of the chapters with Kanako and Dehdeh. Their trip across the sea in search of Ruka and Umi is immensely fascinating, as is Ruka's descent into the ocean with the meteorite in her body - although who knows how long that odd relationship between human and stone will last, if the volume's cliffhanger ending is anything to go by.
Fish are disappearing, the ocean is becoming more active than ever, the creatures of the water are continuing to attract attention from not only the marine biologists but also the world at large - and in the middle of everything are Ruka and Umi and Sora, the children of the sea. There's drama and action and mystery and beautiful art and everything you could ever ask of a seinen manga. You want a deeply underappreciated series that deserves all the critical acclaim it garners from day one? You want Children of the Sea - and if the latest volume is anything to go by, Daisuke Igarashi is doing his best to make it a modern-day manga classic.
March 6, 2022
This is the kind of thing I would love to write
August 7, 2017
This is the fourth book in the series. We get a flashback to the trip to Antarctica and to when Ruka's mother was a girl. Ruka and Umi are in an unspecified location.
This manga continues to be very strange.
This manga continues to be very strange.
January 21, 2015
I'm not even sure what just happened. XD
August 10, 2024
Le tome est excellent mais je suis pas vraiment à l'aise avec l'idée que l'océan soit un utérus geant
aussi Delcourt pourquoi vous mettez la dernière planche en couverture ?!?!!??! ça va pas la tête
aussi Delcourt pourquoi vous mettez la dernière planche en couverture ?!?!!??! ça va pas la tête
This entire review has been hidden because of spoilers.
January 31, 2024
Ipak mi ispada prosečan serijal. Nadao sam se nekom preokretu u četvrtom tankobonu, ali obzirom da se nije desio (bar ne onako kako sam očekivao) sumnjam da će se desiti nešto epohalno i u petom.
Vrti Igaraši u krug i razvlači priču. Volim onu izreku i često je koristim da "posao nije gotovo kad nemaš više šta da dodaš, već kad nemaš više šta da oduzmeš" pogotovo u kreativnom procesu. Igaraši kao da je izostavio taj najbitniji korak da sa priče skine višak. Jer da je ovo priča u tri tankobona sa najznačanijim delovima, mislim da bi priča mnogo bolje sela i bila efektnija.
Ovako se priča pomalo razvlači, autor nas vodi kroz vreme u ovom četvrtom tankobonu napred-nazad, kao i kroz san i javu, što nije toliko teško za praćenje ali postane monotono.
Takođe, nakon ovog četvrtog tankobona problem su mi likovi. Nisu dovoljno razrađeni i ostaju nekako "bezukusni". Anglad i Džimi su možda i zastupljeniji u ovom četvrtom tankobonu od tri glavna junaka, ali nekako kao likovi nisu uspeli da se razrade. Anglad je potpuno nedefinisan da li je dete ili nije i na momente ima neke detinjaste reakcije a u sledećoj sceni se budi pored neke devojke, dok Džimi je isto izgubljen lik, što delom i jeste njegova uloga, ali opet deluje nezamljiv. Roditelji Ruke kao da su trebali da imaju neku dublju karakterizaciju koja se nikad nije desila, kao i Dede koja je kao neki duh prošlosti i samo se pojavi od nekud.
Kako priča odmiče ni glavni likovi Ruka, Sora i Umi mi ostaju nedorečeni, kao i njihov odnos koji ostaje površan. Čak sam razmišljanja da deca kao nosioci ove priče nisu bila dobar izbor. I Hemingvej je pisao o stracu! i moru, nekako uz more bolje ide starost i mudrost, nego deca koja na momente deluju nezrelo (jer su deca) a na momente kao sveznalice i onda se stvara neki nerealan kontrast koji je neupečatljiv.
Pada mi na pamet par stripova koje sam nedavno čitao sa kojima se da porediti "Deca mora".
"Planete" u izadnju Čarobne knjige su možda najbolje za poređenje jer su em japanske mange em imaju tu neku paralelu sa kosmosom i životom koju Igaraši pokušava da napravi sa morem, ali i kosmosom. Ali Planete imaju priču i kostru priče ili bar par kraćih priča koje produbljuju likove i njihove odnose i time grade neku priču o kosmosu koja raste kao produkt glavnog narativnog toka. Igaraši u tome ne uspeva, on konstantno ubacuje neke motive i priče pokušavajući sa njima da izgradi glavni narativni tok, što je obrnut metod, ali on u tome nekako ne uspeva.
Što me je podsetilo na "Kartoline" Tomislava Košte u izdanju Fibre koje su zbirka kratkih priča na par strana. Ali kroz priče u ovom skupu priča Tomislav nam daje osećaj života u Dlamaciji i dalmatinskog priobalja kao jednu celuinu koja izlazi iz ovih ničim povezanih priča osim što se dešavaju na istom mestu u isto vreme.
I dok sam čitao ovo neizbežno je bilo setiti se Emanuela Lapaža (Fibra izdavač) i njegovih dela na morima i okeanima i nekog ko je po meni najbolje nacrtao i obojio sve te plovidnbe, kitove i talase. Iako je Lapaž meni uvek sa slabijom malo pričom, njegovi kadrovi mora su nešto čemu se uvel vraćam. E pa ni to nema Igaraši.
Ostaje da pročitam i taj poslednji tankobon, ali očekivanja us mi minimalna da će se išta novo i već neviđeno ovde desiti.
Vrti Igaraši u krug i razvlači priču. Volim onu izreku i često je koristim da "posao nije gotovo kad nemaš više šta da dodaš, već kad nemaš više šta da oduzmeš" pogotovo u kreativnom procesu. Igaraši kao da je izostavio taj najbitniji korak da sa priče skine višak. Jer da je ovo priča u tri tankobona sa najznačanijim delovima, mislim da bi priča mnogo bolje sela i bila efektnija.
Ovako se priča pomalo razvlači, autor nas vodi kroz vreme u ovom četvrtom tankobonu napred-nazad, kao i kroz san i javu, što nije toliko teško za praćenje ali postane monotono.
Takođe, nakon ovog četvrtog tankobona problem su mi likovi. Nisu dovoljno razrađeni i ostaju nekako "bezukusni". Anglad i Džimi su možda i zastupljeniji u ovom četvrtom tankobonu od tri glavna junaka, ali nekako kao likovi nisu uspeli da se razrade. Anglad je potpuno nedefinisan da li je dete ili nije i na momente ima neke detinjaste reakcije a u sledećoj sceni se budi pored neke devojke, dok Džimi je isto izgubljen lik, što delom i jeste njegova uloga, ali opet deluje nezamljiv. Roditelji Ruke kao da su trebali da imaju neku dublju karakterizaciju koja se nikad nije desila, kao i Dede koja je kao neki duh prošlosti i samo se pojavi od nekud.
Kako priča odmiče ni glavni likovi Ruka, Sora i Umi mi ostaju nedorečeni, kao i njihov odnos koji ostaje površan. Čak sam razmišljanja da deca kao nosioci ove priče nisu bila dobar izbor. I Hemingvej je pisao o stracu! i moru, nekako uz more bolje ide starost i mudrost, nego deca koja na momente deluju nezrelo (jer su deca) a na momente kao sveznalice i onda se stvara neki nerealan kontrast koji je neupečatljiv.
Pada mi na pamet par stripova koje sam nedavno čitao sa kojima se da porediti "Deca mora".
"Planete" u izadnju Čarobne knjige su možda najbolje za poređenje jer su em japanske mange em imaju tu neku paralelu sa kosmosom i životom koju Igaraši pokušava da napravi sa morem, ali i kosmosom. Ali Planete imaju priču i kostru priče ili bar par kraćih priča koje produbljuju likove i njihove odnose i time grade neku priču o kosmosu koja raste kao produkt glavnog narativnog toka. Igaraši u tome ne uspeva, on konstantno ubacuje neke motive i priče pokušavajući sa njima da izgradi glavni narativni tok, što je obrnut metod, ali on u tome nekako ne uspeva.
Što me je podsetilo na "Kartoline" Tomislava Košte u izdanju Fibre koje su zbirka kratkih priča na par strana. Ali kroz priče u ovom skupu priča Tomislav nam daje osećaj života u Dlamaciji i dalmatinskog priobalja kao jednu celuinu koja izlazi iz ovih ničim povezanih priča osim što se dešavaju na istom mestu u isto vreme.
I dok sam čitao ovo neizbežno je bilo setiti se Emanuela Lapaža (Fibra izdavač) i njegovih dela na morima i okeanima i nekog ko je po meni najbolje nacrtao i obojio sve te plovidnbe, kitove i talase. Iako je Lapaž meni uvek sa slabijom malo pričom, njegovi kadrovi mora su nešto čemu se uvel vraćam. E pa ni to nema Igaraši.
Ostaje da pročitam i taj poslednji tankobon, ali očekivanja us mi minimalna da će se išta novo i već neviđeno ovde desiti.
September 21, 2019
Четвертая книга открыто говорит – это история о рождении и смерти. Завязывает два фундаментальных состояния всего сущего узелками и отпускает в море. Кажется, она готовит нас к кульминации, но я, как и все ограниченные языком сообщения и приобретенным страхом, не могу воспринимать стремительно приближающийся финал иначе как трагедию. А для героев этот финал, скорее всего, будет лишь переходом из одного естественного состояния в другое.
Много предыстории персонажей, что лишний раз подтверждает – в воронке этого тайфуна нет случайных людей. Всех в какой-то мере задело море, погрузило ли с головой, или оттолкнуло – не столь важно. Просто их связь с морем настолько сильна, что им ничего не остается, кроме как плыть к центру происходящего. Отдельное спасибо за историю Канако, благодаря ей она избавилась от ярлыка апатичной и незаинтересованной фигуры.
Последняя глава меняет курс всей истории. Кажется, время неторопливого рассказа прошло, и реальность наконец догоняет героев.
hisashiburi
Много предыстории персонажей, что лишний раз подтверждает – в воронке этого тайфуна нет случайных людей. Всех в какой-то мере задело море, погрузило ли с головой, или оттолкнуло – не столь важно. Просто их связь с морем настолько сильна, что им ничего не остается, кроме как плыть к центру происходящего. Отдельное спасибо за историю Канако, благодаря ей она избавилась от ярлыка апатичной и незаинтересованной фигуры.
Последняя глава меняет курс всей истории. Кажется, время неторопливого рассказа прошло, и реальность наконец догоняет героев.
hisashiburi
June 20, 2022
Me pareció un libro cautivante, un viaje a las oscuras profundidades.
Este anteúltimo tomo deja de lado la trama y la heroína principal para contar una historia del pasado de los Niños del Mar: su viaje para bucear en las peligrosas aguas antárticas.
Una aventura llena de imágenes sorprendentes de criaturas marinas, encuentros oníricos loquísimos, personajes curiosos, misterios mágicos y... alguna que otra clase de ciencias naturales.
Este anteúltimo tomo deja de lado la trama y la heroína principal para contar una historia del pasado de los Niños del Mar: su viaje para bucear en las peligrosas aguas antárticas.
Una aventura llena de imágenes sorprendentes de criaturas marinas, encuentros oníricos loquísimos, personajes curiosos, misterios mágicos y... alguna que otra clase de ciencias naturales.
May 2, 2019
This one slowly starts to build toward something climactic on the horizon, but all the pieces aren’t all in place yet. I both wanted to turn the pages to know more and yet savour the unique and detailed art. Continues to be viscerally visual, mysterious and mythic.
December 8, 2022
Disegni dallo stile particolare, ma affascinante, riflessioni profonde sulla realtà e sul destino umano viste attraverso la vicenda di due "bambini del mare". Una bella lettura in cinque tomi, di lettura (iconografica e testuale) non sempre facilissima.
October 10, 2017
This volume of the series really had me wondering, where is Anglade and Umi? AND is Ruka going to die?! *insert very sad face* I hate when books leave you confused. Although I know that this is a good thing for authors since it would make us read/ buy their other books, but really? -__- I hope I can find a copy of the 5th volume in one of the SF libraries because curiosity is killing meeee!! Overall, I really love this series, it made me think, feel, and it is very entertaining especially when you commute home.
April 22, 2018
2.5
This series became boring and wtf in every volume .... I hope I'll like the final book
This series became boring and wtf in every volume .... I hope I'll like the final book
April 24, 2018
probably the creepiest out of all the volumes.
August 27, 2018
Good.
September 28, 2018
Ah! So confusing and intriguing at the same time! What is to happen? My brain is befuddled.
October 12, 2018
Wait what? I'm confused
November 2, 2018
Lots of naval gazing in this volume. Super slow. When will he get to the point already???
July 3, 2019
It’s fine, getting bored of this series though.
October 22, 2020
3.5* I don’t dislike these books by any means. In fact I throughly enjoy them. I also love and appreciate the weirdness. I’m just confused how they can wrap up the many questions in a single volume.
October 26, 2020
🦪🏔️🧓🏿🦈☄️
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