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超人X [Chōjin X] #8
超人X 8 [Chōjin X 8]
はっきり言ってオールドマーケット作戦は、難航していた。そんな中、とてつもなく大きな信号を察知したトキオ。作戦の続行を優先するべきか、信号の調査を優先するべきか。売人を見つけられないということはゾラに敗北することを意味する…。
感情に呑まれるな…。
感情に呑まれるな…。
252 pages, Paperback
First published December 19, 2023
15 people are currently reading
205 people want to read
About the author
Sui Ishida
238 books2,478 followersAlso known as 石田スイ.
Sui Ishida (石田スイ, Ishida Sui), born December 28, Fukuoka Prefecture, Japan, is a Japanese manga artist
In 2010 he won the Young Jump 113th Grand Prix award with Tokyo Ghoul (東京喰種, Tōkyō Kushu). In March 2011, the same oneshot was published in the 2nd Issue of Miracle Jump. And later in September 2011, Tokyo Ghoul started as a series in Weekly Young Jump 2011-41 Issue. In December 2011, he made another oneshot about Rize that was published in December 2011 in Miracle Jump 6th Issue, which was later collected in the 6th volume of Tokyo Ghoul.
In 2013, he also started Tokyo Ghoul: Jack in the digital magazine Jump LIVE.
Sui Ishida is his penname; nobody knows his real name or what he looks like.
Sui Ishida (石田スイ, Ishida Sui), born December 28, Fukuoka Prefecture, Japan, is a Japanese manga artist
In 2010 he won the Young Jump 113th Grand Prix award with Tokyo Ghoul (東京喰種, Tōkyō Kushu). In March 2011, the same oneshot was published in the 2nd Issue of Miracle Jump. And later in September 2011, Tokyo Ghoul started as a series in Weekly Young Jump 2011-41 Issue. In December 2011, he made another oneshot about Rize that was published in December 2011 in Miracle Jump 6th Issue, which was later collected in the 6th volume of Tokyo Ghoul.
In 2013, he also started Tokyo Ghoul: Jack in the digital magazine Jump LIVE.
Sui Ishida is his penname; nobody knows his real name or what he looks like.
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Displaying 1 - 21 of 21 reviews
January 16, 2024
I am still torn about Choujin X. On one side I am hooked, and this second part feels more mature and better and really is more "plot focuses", yet somehow it still feels super weird. The art is something unique, dynamic and dark, kinetic and chaotic, which enhances the experience and the overall atmosphere greatly. But at the same time, I feel a lot of time like "meh" because I have no idea what is happening and guessing a lot. It probably just means I'm stupid, though I can imagine that on a re-read this may be better and have a larger cohesion. I will definitely read it, as I think it is worth it, and I want to like it more, but for some reason, it just does not click with me as much as I would want.
April 7, 2025
In the midst of a drug operation takedown...Tokio heard a strange call/voice....he shouldn't be distracted but..
I know I shouldn't compare this to Tokyo Ghoul but.
I know I shouldn't compare this to Tokyo Ghoul but.
July 25, 2024
2.5 noooobre a mi se me hace q el azuma se está convirtiendo en malandro o.0
se acerca la pelea de los novios 💔💔 (azuma y tokio cof cof)
se acerca la pelea de los novios 💔💔 (azuma y tokio cof cof)
August 10, 2024
Only 4 stars because Azuma is annoying
May 13, 2025
Fully invested in this series by now - plot moves along some more, some great character moments and scenes. I want more scenes with Palma and Tokio now tho😙 especially after Azuma’s reveal about Ely. Now to wait patiently for the next volume😓
November 16, 2025
Chojin X Volume 8: Operation: Search And Rescue!
This is of course completely unrelated to my review, but I read this volume for the first time on an airplane flight to Japan about six months ago. Good times.
A significant portion of this volume is dominated by a three-on-one fight pitting the main trio against a chaosed-out Palma and her army of zombies. Ishida shows us just how much his fight choreography has improved since his Tokyo Ghoul days, giving lots of fun and creative (if a little silly) spins on bird/ironman/flame vs. chaos-hyena/zombies combat. But what really stands out about the Hyena fight scene is not the cool looking moves, but an eerie calm moment where Tokio sees into Palma's mind and hears her chaotic thoughts, making the split-second decision to rescue her when everyone else on his team is convinced she's beyond saving. It's an emotionally intense moment, the kind I've really been missing from Tokyo Ghoul and felt Choujin X was lacking on, so I was glad Ishida still has it in him to get my heart. The Hyena fight is also a good piece of writing from the perspective of Tokio's character development, recalling the earlier (and much goofier) baseball chojin combat from volume 2, but showing us just how capable of a leader Tokio has become since the timeskip. It's definitely one of Tokio's better moments, and helped with his character finally starting to grow on me when I'd not really been a fan of his before.
Also that panel with Tokio flying through the air carrying Palma over the clouds was adorable. Ishida may be a perv but he can also be the most hopeless of romantics :)
Once the team, with an unconscious but stabilizing Palma in tow, arrive back at Yamato Mori, it's back to business on the Zora drug bust. The pacing is still uneven, but it seems like it's starting to find its rhythm again after the timeskip. Tokio and Azuma finally have an *actual* conversation, but unfortunately, the reunion is reduced to a gag about Momo using her cute tsundere charms to manipulate the boys into talking into each other, and a quick slugfest, which is a real disappointment considering just how much it was built up over the last couple volumes. The intensity of the boys' friendship and rivalry, which really stood out in the otherwise goofy and inconsistent first chapters, feels a bit lost here.
But the true highlight of this volume is actually its short but powerful detour into the past where we learn about Batista's tragic backstory. In flashback form, we see the origins of the heartbreaking rivalry between everyone's favorite big-chinned chad chojin, Sandek, and his troubled genius little brother ... Batista. (Yes, that Batista, the menacing guy in the mask who has been creating artificial chojin by unethical means and was Palma's former boss). Along with the Palma rescue, it is one of the more truly emotionally engaging moments in the series so far. And it's *totally* not super important to the future direction of the series :)
This was one of the better volumes so far. Not my favorite series but it has been slowly growing on me for sure. Stay tuned.
Review for the series as a whole:
Choujin X is ... really weird. I think I like it? It's an acquired taste for sure, but I feel like Sui Ishida's latest series, despite some of my misgivings, is one of the more creative and intellectually interesting manga I've read.
At first glance, Chojin X (or Choujin X, depending on which Romanization you prefer) shares a lot of surface similarities with the mangaka's previous smash hit, Tokyo Ghoul . An every-boy protagonist dealing with sudden, grotesque changes to his body, themes of alienation and injustice, rival organizations of super-powered folk with their own mysterious goals ... it's all here, too. At the same time, though, it isn't really fair to compare this series to TG. It is its own beast (or rather, its own bestial Chojin) and there are several key differences.
For one, Chojin X is a far more humorous, and tonally inconsistent, affair than its predecessor. While Tokyo Ghoul was intense and deadly-serious with only occasional moments of lightheartedness, Chojin X swings wildly between graphic violence, serious philosophical musings, and high tomfoolery. For some readers, this is one of the highlights of the series, though I personally saw it as more of a weakness (I'll get to that in a bit...). Another key difference is that while Tokyo Ghoul, even with its excellent supporting cast, was mostly laser-focused on Kaneki's psychological journey, Chojin X isn't as clear-cut on its protagonist and toggles between a trio of main characters (plus one villain who emerges from the shadows over time). And, while Tokyo Ghoul was a psychological drama, a war story, and ultimately a love story, with challenging questions to ask about the nature of right and wrong, Chojin X tackles a different set of questions: fate vs. free will, adolescence, and what it means to be a "hero."
As I said in prior reviews, Chojin X feels pretty shonen-y for a seinen. Now, granted, even Tokyo Ghoul in its early arcs wouldn't have felt out of place in Jump+ alongside the likes of Chainsaw Man, Heart Gear, Spy x Family, and other "mature shonen" titles, but early CX handily out-shonen-ed most shonen in sheer youthful energy (and, alas, horniness) plus a liberal sprinkling of shonen tropes and cliches. But it was always clear that Ishida wasn't just being tropey for tropes' sake, but because he had something meaningful to say about the shonen genre as a whole.
In this latest batch of volumes, it has become abundantly clear to me that Chojin X is not just a particularly creative spin on the new-gen shonen, but something of a deconstruction of the shonen genre entirely. Much as Madoka Magica and Neon Genesis Evangelion used the vocabulary of the magical girl and mecha genres, respectively, to tell very dark and grown-up stories that seriously challenged and re-evaluated the core assumptions those popular genres are built on, Chojin X is shaping up to be the anti-battle-shonen of our era. All the standard-fare shonen elements are here, from the idealistic hero to the extended training arc to Naruto/Sasuke-esque best friend rivalry to the improbably successful talk-no-jutsu, but things consistently end up taking much deeper, and darker, turns than they would in a standard-issue Shonen Jump story. The meta aspect is genuinely interesting, but I feel it comes somewhat at a cost to the accessibility of the story and the relatability/likeability of the characters. Still, seeing the fantastically creative spins Ishida puts on the genre more than makes up for it.
I'm still not entirely connecting to the main cast, and I still feel like even the secondary cast of Tokyo Ghoul were far more interesting to me than any of the mains in Chojin X, but I have to say that in this new phase, post-timeskip, I am enjoying them more than before. Tokio has matured into a thoughtful, circumspect young man who is not afraid to march to the beat of his own drummer, which makes him a far more interesting, and likeable, character than before. Palma, a kindhearted necromancer and potential love interest for Tokio, is also a fascinating addition to the cast (at least, until she devolves into more of an ongoing fanservice gag than an actual character). Other than that, the individual characters are about the same as before. But where Chojin X really shines is in its character dynamics. The ways that Tokio, Ely, and Azuma play off one another in both casual and serious scenarios is what gives the series much of its charm. Each member of the leading trio has a distinctive and fascinating interpersonal dynamic with each of the others, and watching them work together and clash, whether in battles, quiet slice-of-life moments, or big moral dilemmas, is a real treat.
The art is incredible, with cute but distinctive and detailed character designs and bold, sketchy strokes bringing the run-down world of Yamato, the Chojin body horror, and the subtle facial expressions of the human characters beautifully to life. The fight choreography, it should be mentioned, is also a head and shoulders above that of Tokyo Ghoul :re and is not just readable but quite cool-looking. The artwork feels more stylized and shonen-y than Tokyo Ghoul, but it is still recognizably Ishida, and it is a cut above the typical manga illustration style. It's well-worth paying $15 each for the oversize tankobon volumes for the cover illustrations and artwork alone.
I think if there was one word I would use to describe Chojin X so far it would be "indulgent." That's both a criticism and a compliment. On the plus side, Ishida seems to be having a lot of fun with the process this time around, and his enthusiasm is infectious. An artist this talented being given this much freedom to let his imagination run wild is a joy to behold. The experimental art style yields some lovely surprises at every flip of the page. The sheer coolness factor of the Chojin powers and transformations (as well as the intricate worldbuilding that undergirds Chojin physiology and history) is pretty enjoyable. And even some of the sillier, what-the-hell-even-was-that sequences are at least visually fun. But on the other hand, the wild tone shifts between deadly-serious and sophomoric are way too frequent for my taste, and while some people would say this is a strength of the series, to me it just screams that Ishida needs to start listening to his editor. It's kind of impossible to take the story seriously, for me at least, when it is always undercutting itself with jokes and fanservice, and while that can be done, Chainsaw Man did it so much better. Ishida, and Choujin X, are really at their best when Ishida leans into the darkness, tragedy, and heartfeltness of his story rather than playing tricks with meme humor and cool visuals.
Oh and speaking of indulgent ... I feel obliged to say that the fanservice in Chojin X is absolutely heinous. Like I do not know how Sui Ishida managed to make the boob jokes in CX feel dirtier than the literal chapter-long sex scene in TG: re, but, somehow, he pulled it off. What's worse is when the fanservice jokes are at the expense of the younger female characters -- Ely, Maiko/Momo, and, eventually, Palma -- who are minors (Ely is stated to be 16 but looks like she's about 13. Momo is 18 and very much still in high school, Palma is 16). I would say that compared to Part I, the fanservice is a bit less frequent ... but when it hits, it hits BAD. It also has a way of coming at the WORST possible moments and completely undermining moments of serious emotion and dramatic tension, to the detriment of the manga as a whole. Sure, it may not be completely beyond the pale for manga and anime, but coming from an author like Ishida who has shown himself in Tokyo Ghoul and Jack Jeanne to be fully capable of writing about sexuality with the maturity and restraint befitting an actual, y'know, grownup, it is deeply disappointing.
Chojin X shines with its endless barrage of interesting ideas and clever deconstruction of the superhero/battle shonen genre, and especially in the climactic Zora Elimination arc, it consistently tops itself with new, wildly creative spins that leave the reader gasping for air and counting down the days until the next installment (the series is, as of this review, ongoing). It's self-aware, highly experimental, extremely visually inventive, and remarkably adept at turning philosophical axioms into relevant dialogue and plot points ... but it just doesn't have the heart or raw emotional sincerity of Tokyo Ghoul, and it's a series that I feel like I kind of have to convince myself to like, rather than just straightforwardly enjoying.
Still, I have to say that the last three volumes (12-14) have been insanely creative, and also a lot more emotionally engaging than most of the series, with long-running Chekov's guns starting to fire all at once in the climactic final battle (or is it ... ?) . The last 10 or so chapters have just been packing peaks upon peaks with new, ever more inventive and unexpected plot twists that truly push the boundaries of the manga genre. It feels like Ishida has truly hit his stride and may yet create something to rival Tokyo Ghoul, and I at least am excited to see how the series goes from here.
This is of course completely unrelated to my review, but I read this volume for the first time on an airplane flight to Japan about six months ago. Good times.
A significant portion of this volume is dominated by a three-on-one fight pitting the main trio against a chaosed-out Palma and her army of zombies. Ishida shows us just how much his fight choreography has improved since his Tokyo Ghoul days, giving lots of fun and creative (if a little silly) spins on bird/ironman/flame vs. chaos-hyena/zombies combat. But what really stands out about the Hyena fight scene is not the cool looking moves, but an eerie calm moment where Tokio sees into Palma's mind and hears her chaotic thoughts, making the split-second decision to rescue her when everyone else on his team is convinced she's beyond saving. It's an emotionally intense moment, the kind I've really been missing from Tokyo Ghoul and felt Choujin X was lacking on, so I was glad Ishida still has it in him to get my heart. The Hyena fight is also a good piece of writing from the perspective of Tokio's character development, recalling the earlier (and much goofier) baseball chojin combat from volume 2, but showing us just how capable of a leader Tokio has become since the timeskip. It's definitely one of Tokio's better moments, and helped with his character finally starting to grow on me when I'd not really been a fan of his before.
Also that panel with Tokio flying through the air carrying Palma over the clouds was adorable. Ishida may be a perv but he can also be the most hopeless of romantics :)
Once the team, with an unconscious but stabilizing Palma in tow, arrive back at Yamato Mori, it's back to business on the Zora drug bust. The pacing is still uneven, but it seems like it's starting to find its rhythm again after the timeskip. Tokio and Azuma finally have an *actual* conversation, but unfortunately, the reunion is reduced to a gag about Momo using her cute tsundere charms to manipulate the boys into talking into each other, and a quick slugfest, which is a real disappointment considering just how much it was built up over the last couple volumes. The intensity of the boys' friendship and rivalry, which really stood out in the otherwise goofy and inconsistent first chapters, feels a bit lost here.
But the true highlight of this volume is actually its short but powerful detour into the past where we learn about Batista's tragic backstory. In flashback form, we see the origins of the heartbreaking rivalry between everyone's favorite big-chinned chad chojin, Sandek, and his troubled genius little brother ... Batista. (Yes, that Batista, the menacing guy in the mask who has been creating artificial chojin by unethical means and was Palma's former boss). Along with the Palma rescue, it is one of the more truly emotionally engaging moments in the series so far. And it's *totally* not super important to the future direction of the series :)
This was one of the better volumes so far. Not my favorite series but it has been slowly growing on me for sure. Stay tuned.
Review for the series as a whole:
Choujin X is ... really weird. I think I like it? It's an acquired taste for sure, but I feel like Sui Ishida's latest series, despite some of my misgivings, is one of the more creative and intellectually interesting manga I've read.
At first glance, Chojin X (or Choujin X, depending on which Romanization you prefer) shares a lot of surface similarities with the mangaka's previous smash hit, Tokyo Ghoul . An every-boy protagonist dealing with sudden, grotesque changes to his body, themes of alienation and injustice, rival organizations of super-powered folk with their own mysterious goals ... it's all here, too. At the same time, though, it isn't really fair to compare this series to TG. It is its own beast (or rather, its own bestial Chojin) and there are several key differences.
For one, Chojin X is a far more humorous, and tonally inconsistent, affair than its predecessor. While Tokyo Ghoul was intense and deadly-serious with only occasional moments of lightheartedness, Chojin X swings wildly between graphic violence, serious philosophical musings, and high tomfoolery. For some readers, this is one of the highlights of the series, though I personally saw it as more of a weakness (I'll get to that in a bit...). Another key difference is that while Tokyo Ghoul, even with its excellent supporting cast, was mostly laser-focused on Kaneki's psychological journey, Chojin X isn't as clear-cut on its protagonist and toggles between a trio of main characters (plus one villain who emerges from the shadows over time). And, while Tokyo Ghoul was a psychological drama, a war story, and ultimately a love story, with challenging questions to ask about the nature of right and wrong, Chojin X tackles a different set of questions: fate vs. free will, adolescence, and what it means to be a "hero."
As I said in prior reviews, Chojin X feels pretty shonen-y for a seinen. Now, granted, even Tokyo Ghoul in its early arcs wouldn't have felt out of place in Jump+ alongside the likes of Chainsaw Man, Heart Gear, Spy x Family, and other "mature shonen" titles, but early CX handily out-shonen-ed most shonen in sheer youthful energy (and, alas, horniness) plus a liberal sprinkling of shonen tropes and cliches. But it was always clear that Ishida wasn't just being tropey for tropes' sake, but because he had something meaningful to say about the shonen genre as a whole.
In this latest batch of volumes, it has become abundantly clear to me that Chojin X is not just a particularly creative spin on the new-gen shonen, but something of a deconstruction of the shonen genre entirely. Much as Madoka Magica and Neon Genesis Evangelion used the vocabulary of the magical girl and mecha genres, respectively, to tell very dark and grown-up stories that seriously challenged and re-evaluated the core assumptions those popular genres are built on, Chojin X is shaping up to be the anti-battle-shonen of our era. All the standard-fare shonen elements are here, from the idealistic hero to the extended training arc to Naruto/Sasuke-esque best friend rivalry to the improbably successful talk-no-jutsu, but things consistently end up taking much deeper, and darker, turns than they would in a standard-issue Shonen Jump story. The meta aspect is genuinely interesting, but I feel it comes somewhat at a cost to the accessibility of the story and the relatability/likeability of the characters. Still, seeing the fantastically creative spins Ishida puts on the genre more than makes up for it.
I'm still not entirely connecting to the main cast, and I still feel like even the secondary cast of Tokyo Ghoul were far more interesting to me than any of the mains in Chojin X, but I have to say that in this new phase, post-timeskip, I am enjoying them more than before. Tokio has matured into a thoughtful, circumspect young man who is not afraid to march to the beat of his own drummer, which makes him a far more interesting, and likeable, character than before. Palma, a kindhearted necromancer and potential love interest for Tokio, is also a fascinating addition to the cast (at least, until she devolves into more of an ongoing fanservice gag than an actual character). Other than that, the individual characters are about the same as before. But where Chojin X really shines is in its character dynamics. The ways that Tokio, Ely, and Azuma play off one another in both casual and serious scenarios is what gives the series much of its charm. Each member of the leading trio has a distinctive and fascinating interpersonal dynamic with each of the others, and watching them work together and clash, whether in battles, quiet slice-of-life moments, or big moral dilemmas, is a real treat.
The art is incredible, with cute but distinctive and detailed character designs and bold, sketchy strokes bringing the run-down world of Yamato, the Chojin body horror, and the subtle facial expressions of the human characters beautifully to life. The fight choreography, it should be mentioned, is also a head and shoulders above that of Tokyo Ghoul :re and is not just readable but quite cool-looking. The artwork feels more stylized and shonen-y than Tokyo Ghoul, but it is still recognizably Ishida, and it is a cut above the typical manga illustration style. It's well-worth paying $15 each for the oversize tankobon volumes for the cover illustrations and artwork alone.
I think if there was one word I would use to describe Chojin X so far it would be "indulgent." That's both a criticism and a compliment. On the plus side, Ishida seems to be having a lot of fun with the process this time around, and his enthusiasm is infectious. An artist this talented being given this much freedom to let his imagination run wild is a joy to behold. The experimental art style yields some lovely surprises at every flip of the page. The sheer coolness factor of the Chojin powers and transformations (as well as the intricate worldbuilding that undergirds Chojin physiology and history) is pretty enjoyable. And even some of the sillier, what-the-hell-even-was-that sequences are at least visually fun. But on the other hand, the wild tone shifts between deadly-serious and sophomoric are way too frequent for my taste, and while some people would say this is a strength of the series, to me it just screams that Ishida needs to start listening to his editor. It's kind of impossible to take the story seriously, for me at least, when it is always undercutting itself with jokes and fanservice, and while that can be done, Chainsaw Man did it so much better. Ishida, and Choujin X, are really at their best when Ishida leans into the darkness, tragedy, and heartfeltness of his story rather than playing tricks with meme humor and cool visuals.
Oh and speaking of indulgent ... I feel obliged to say that the fanservice in Chojin X is absolutely heinous. Like I do not know how Sui Ishida managed to make the boob jokes in CX feel dirtier than the literal chapter-long sex scene in TG: re, but, somehow, he pulled it off. What's worse is when the fanservice jokes are at the expense of the younger female characters -- Ely, Maiko/Momo, and, eventually, Palma -- who are minors (Ely is stated to be 16 but looks like she's about 13. Momo is 18 and very much still in high school, Palma is 16). I would say that compared to Part I, the fanservice is a bit less frequent ... but when it hits, it hits BAD. It also has a way of coming at the WORST possible moments and completely undermining moments of serious emotion and dramatic tension, to the detriment of the manga as a whole. Sure, it may not be completely beyond the pale for manga and anime, but coming from an author like Ishida who has shown himself in Tokyo Ghoul and Jack Jeanne to be fully capable of writing about sexuality with the maturity and restraint befitting an actual, y'know, grownup, it is deeply disappointing.
Chojin X shines with its endless barrage of interesting ideas and clever deconstruction of the superhero/battle shonen genre, and especially in the climactic Zora Elimination arc, it consistently tops itself with new, wildly creative spins that leave the reader gasping for air and counting down the days until the next installment (the series is, as of this review, ongoing). It's self-aware, highly experimental, extremely visually inventive, and remarkably adept at turning philosophical axioms into relevant dialogue and plot points ... but it just doesn't have the heart or raw emotional sincerity of Tokyo Ghoul, and it's a series that I feel like I kind of have to convince myself to like, rather than just straightforwardly enjoying.
Still, I have to say that the last three volumes (12-14) have been insanely creative, and also a lot more emotionally engaging than most of the series, with long-running Chekov's guns starting to fire all at once in the climactic final battle (or is it ... ?) . The last 10 or so chapters have just been packing peaks upon peaks with new, ever more inventive and unexpected plot twists that truly push the boundaries of the manga genre. It feels like Ishida has truly hit his stride and may yet create something to rival Tokyo Ghoul, and I at least am excited to see how the series goes from here.
June 2, 2024
«Io credo sia impossibile… scegliere un'opzione che si riveli corretta in tutto e per tutto. So bene che, quando le cose vanno di traverso è importante avere il coraggio di tirarsi indietro. È solo che… se ci spaventassimo per qualunque cosa… non ci sarebbe comunque nulla da far andare per il verso giusto.»
Dopo aver calmato e preso in custodia Palma, e aver salutato Batista un po' troppo in fretta, si continua la ricerca dei fiori di papavero. La svolta sembra arrivare proprio dalla choujin resuscita morti, ma quando l'esito delle ricerche sembrava vicino, ritorniamo nel baratro degli imprevisti.
In questo volume Tokio è proprio bello. Sempre di poche parole e abbastanza schivo, ma, nella sua semplicità, è deciso e diretto in tutto quello che fa, esattamente l'opposto di Azuma che risulta un'anima tormentata in confronto. La scazzottata sarà bastata per riappacificare i due amici? Ho i miei dubbi. P.S. La copertina è meravigliosa, l'adoro.
October 2, 2024
Oh, i loved this one.
We got a little more backstory for the sandek brothers
Azuma's feelings are so understandable tho.
I wanna sort of quote something from a movie that i watched that fully resonates with what he felt.
G̶o̶n̶n̶a̶ p̶a̶r̶a̶p̶h̶r̶a̶s̶e̶, b̶u̶t̶ y̶o̶u̶ g̶e̶t̶ i̶t̶-
"It's fine if someone else gets better grades than you. But, if it's your own best friend..then that's a different feeling."
Simon's wide bombastic eye's when Momoma told both Tokio and Azuma that they were wrong was so cute lol.
Im gonna be honest I was pleasantly surprised finding out he wasn't going to be a "deadbeat-quiet-guy-living-only-for-revenge-and-doesn't-feel-any-positive-emotions" but an actual present human being!
And that ending two pages of was so shockingly cool!!
We got a little more backstory for the sandek brothers
Azuma's feelings are so understandable tho.
I wanna sort of quote something from a movie that i watched that fully resonates with what he felt.
G̶o̶n̶n̶a̶ p̶a̶r̶a̶p̶h̶r̶a̶s̶e̶, b̶u̶t̶ y̶o̶u̶ g̶e̶t̶ i̶t̶-
"It's fine if someone else gets better grades than you. But, if it's your own best friend..then that's a different feeling."
Simon's wide bombastic eye's when Momoma told both Tokio and Azuma that they were wrong was so cute lol.
Im gonna be honest I was pleasantly surprised finding out he wasn't going to be a "deadbeat-quiet-guy-living-only-for-revenge-and-doesn't-feel-any-positive-emotions" but an actual present human being!
And that ending two pages of was so shockingly cool!!
August 6, 2025
Tokio gets into a fight with a Hyena choujin who can bring corpses to life if she splashes them with her blood. Meanwhile, the rest of Yamato Mori are still hunting for the poppy fields. Also Chandra explodes.
But the bigger part of this one is the backstory that gets dropped. And the Tokio/Higashi friendship/rivalry mess. I'm still kinda confused as to the overall plot, but I'm trying to piece the parts I understand together.
But the bigger part of this one is the backstory that gets dropped. And the Tokio/Higashi friendship/rivalry mess. I'm still kinda confused as to the overall plot, but I'm trying to piece the parts I understand together.
November 5, 2024
Ça commence à être sombre comme Tokyo Ghoul et j’aime ça!
J’espère qu’Azuma sera développé à partir de maintenant car il était au final très peu présent et très silencieux. J’ai hâte de voir un meilleur duo Tokio-Azuma au cœur de cette aventure.
Palma est un personnage sympa et intéressant aussi!
J’espère qu’Azuma sera développé à partir de maintenant car il était au final très peu présent et très silencieux. J’ai hâte de voir un meilleur duo Tokio-Azuma au cœur de cette aventure.
Palma est un personnage sympa et intéressant aussi!
June 28, 2024
La trama si infittisce
October 19, 2024
It feels like we’re starting to actually get somewhere with the plot, and our boys Tokio and Azuma are actually somewhat communicating, so that’s good
February 20, 2025
great volume. shoutout white power bill and green power bernard
March 1, 2025
Dare I say the best part of this volume is how beautiful the cover art of Simon is? I need to paint it.
Sui Ishida remains one of my favourite manga artists of all time
Sui Ishida remains one of my favourite manga artists of all time
April 14, 2025
3.5 Stars
June 2, 2025
I love these character with my whole heart. They are all amazing
August 4, 2025
« Some baddies don’t know that they’re bad » -ely
October 17, 2025
La nueva saga de buscar plantíos de amapolas está buena pero no pasa mucho, o no interesante.
November 6, 2025
I did not expect a drug plot, interesting
Read
November 18, 2025das war so ein geiles volumes, perfekt
January 9, 2025
2025
The Hyena in the earlier chapters??? Palma presenting as a hyena after raising??? Azuma meeting the hyena who asked how to get to the beach??? Azuma meeting Palma for the first time when she was at the beach?? Talk about parallels. Ishida I hope I’m not reading too much into this!!
Tokio has such an extreme savior complex. He wants to save everyone. I think it’s also interesting that he can hear their voices when they’re in that chaos state and that’s how he knows he can still save them. Where will this lead him?
Azuma asking Ely to choose is difficult. It’s like that tiktok audio where it’s like “don’t make me choose.” “Why? Bc you’ll choose her?” Azuma has really come into his own with his choujin abilities. Much more so than when we first saw him raise. I do miss his mask tho. It was a good character design.
First time around I didn’t realize that Palma was an option too for the mark.
I keep forgetting that I think it’s all interesting this takes place in 1999.
Azuma having feelings for Ely knowing Ely has feelings for Tokio. Tokio is just there. I hope it was healing for them to beat each other up and kind of talk thru things.
2024
Once again I’m guessing on chapters and volumes. I like zombie girl tho
The Hyena in the earlier chapters??? Palma presenting as a hyena after raising??? Azuma meeting the hyena who asked how to get to the beach??? Azuma meeting Palma for the first time when she was at the beach?? Talk about parallels. Ishida I hope I’m not reading too much into this!!
Tokio has such an extreme savior complex. He wants to save everyone. I think it’s also interesting that he can hear their voices when they’re in that chaos state and that’s how he knows he can still save them. Where will this lead him?
Azuma asking Ely to choose is difficult. It’s like that tiktok audio where it’s like “don’t make me choose.” “Why? Bc you’ll choose her?” Azuma has really come into his own with his choujin abilities. Much more so than when we first saw him raise. I do miss his mask tho. It was a good character design.
First time around I didn’t realize that Palma was an option too for the mark.
I keep forgetting that I think it’s all interesting this takes place in 1999.
Azuma having feelings for Ely knowing Ely has feelings for Tokio. Tokio is just there. I hope it was healing for them to beat each other up and kind of talk thru things.
2024
Once again I’m guessing on chapters and volumes. I like zombie girl tho
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