What do you think?
Rate this book
超人X [Chōjin X] #12
超人X 12 [Chōjin X 12]
ゾラが死ぬと、ゾラから力をもらった人間は死ぬ。乙田エリイは衝撃の事実を突きつけられた。ゾラを倒すべきなのか、そもそもこの話を皆にすべきなのか…。一方、BB率いる小隊は依然、“殲血の超人”バドロブラドを倒せずにいた。絶体絶命の状況で東アヅマは、ある場所である者からこう告げられた…。
ころせ
ころせ
228 pages, Paperback
First published April 17, 2025
5 people are currently reading
90 people want to read
About the author
Sui Ishida
254 books2,517 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.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 7 of 7 reviews
November 15, 2025
Chojin X Volume 12: World's End Talk no Jutsu
Wow. Just ... wow.
Don't let that eepy boy Tokio on the front cover fool you. This is the most action-packed, emotionally intense, and consequential volume of this series yet.
This volume wrapped up about a month ago, and I am still in awe from all the absolutely INSANE plot twists and lore reveals we got within the pages of this narrow volume. Azuma's tragic backstory is revealed, BB makes her last stand, Tokio tries to talk things out ... and actually gets somewhere? Sandek questions his life purpose. Zora shows us all once again that even in her severely weakened state she is not to be trifled with. Batista, our shadowy side villain, has A Moment. Naruto is referenced so many times that I am starting to think Choujin X is for Naruto what Madoka Magica was for Sailor Moon. I won't say any more than that. This epicness needs to be experienced firsthand for full impact.
Needless to say, the art is absolutely stunning this time around and complements the new directions in the story and characters in the best way possible.
This volume has made me seriously reconsider my take on the series as a whole. Finally, *finally*, Choujin X is beginning to reveal itself as a worthy successor to Tokyo Ghoul, not just in art, but in storytelling, themes, and character work. The superfans are right: we are in the Choujin Peak era, and it is truly a privilege to be able to follow along with this series in real time.
Now, I suppose, to go back to waiting for the next chapter of apocalyptic insanity that is Volume 13 to drop.
Review for Series as a Whole: Volumes 7-13 (so far)
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 a little 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). But unfortunately, with its weaker characters, uneven tone and pacing, and constant undercutting with jokes and fanservice, it lacks the raw emotional intensity that made Tokyo Ghoul such a fan favorite and masterpiece. 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.
Wow. Just ... wow.
Don't let that eepy boy Tokio on the front cover fool you. This is the most action-packed, emotionally intense, and consequential volume of this series yet.
This volume wrapped up about a month ago, and I am still in awe from all the absolutely INSANE plot twists and lore reveals we got within the pages of this narrow volume. Azuma's tragic backstory is revealed, BB makes her last stand, Tokio tries to talk things out ... and actually gets somewhere? Sandek questions his life purpose. Zora shows us all once again that even in her severely weakened state she is not to be trifled with. Batista, our shadowy side villain, has A Moment. Naruto is referenced so many times that I am starting to think Choujin X is for Naruto what Madoka Magica was for Sailor Moon. I won't say any more than that. This epicness needs to be experienced firsthand for full impact.
Needless to say, the art is absolutely stunning this time around and complements the new directions in the story and characters in the best way possible.
This volume has made me seriously reconsider my take on the series as a whole. Finally, *finally*, Choujin X is beginning to reveal itself as a worthy successor to Tokyo Ghoul, not just in art, but in storytelling, themes, and character work. The superfans are right: we are in the Choujin Peak era, and it is truly a privilege to be able to follow along with this series in real time.
Now, I suppose, to go back to waiting for the next chapter of apocalyptic insanity that is Volume 13 to drop.
Review for Series as a Whole: Volumes 7-13 (so far)
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 a little 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). But unfortunately, with its weaker characters, uneven tone and pacing, and constant undercutting with jokes and fanservice, it lacks the raw emotional intensity that made Tokyo Ghoul such a fan favorite and masterpiece. 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.
April 5, 2025
Tokyo Ghoul redux(?)
June 17, 2025
It is hectic, it is not my favourite series, but it is brutal, works well with the pacing and uses the visual medium to the fullest, and that is something I really like.
July 10, 2025
Fuck im caught up now
January 17, 2026
Non si capisce na minchia ma i disegni sono fire ngl🧍🏽♀️
December 1, 2025
I am foaming at the mouth. What do you mean Azuma is a copy??? That he is just a reborn creation that is forced to loop. That his body will break down and he will be a child again. That his family actually never existed. So he never even needed that shot. He was always destined to become this choujin. What has happened during his other reincarnations. Why doesn’t anyone know this. This was such a drop. An ouroboros. Also on a more important note, why is there mpreg?
Displaying 1 - 7 of 7 reviews