Between its rapidly escalating narrative turns, infinitely unlikable lead, and contradictory thematic conceits 16bit Sensation: Another Layer made for thoroughly exasperating viewing. Desperately seeking a comparatively grounded exploration of its premise, however, I found myself kneeling and all but weeping at the alter of progenitor 16bit Sensation.

Alleviating virtually every issue I had with the disaster of an anime, its characters have time to breathe, facilitating a pleasant level of introspection with the media they engage with. You have thoughtful, page-long observations about era-defining shifts ranging from why a particular game ended up being so impactful that year, to how earlier censorship laws were implemented. For any would-be aficionado of the medium, it makes for an informative read.

Despite Chainsaw Man once putting me off something fierce its frenzied, fanaticized fandom seeping into every corner of the internet, I was pleasantly caught off guard through monstrous transformations being utilized as an oftentimes gory vehicle to examine stirrings of longing through Denji. One must admire CSM, for its subversive take on a horndog protagonist wishing to cop a feel being channelled into the desire to experience normality; to escape the miserable confines where he had no upward social mobility, no education, no anything in fact save for a pocketful of dreams where exploitation was a grim inevitability.

The shift to Asa that came with part two remained arresting as ever, plumbing the depths of adolescent anxieties utilizing transformative elements/the hostile devil takeover. This time though it’s the id quite literally splitting off, at perpetual odds with the ego. Certainly worth all the hype.

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While the emergence of potentially provocative subject matter such as teen pregnancy have been portrayed within the monochromatic, oftentimes escapist realm of manga, seldom has the topic been portrayed with this level of refreshing nuance. As opposed to the tawdry, salacious affairs lining the medium’s archives, My Girlfriend’s Child emerges as a remarkably distinct entity, carefully exploring the emotions of those involved. While affixed with the ‘drama’ tag, what the couple experiencing the pregnancy and those in their vicinity go through is by no means driven to absurdly melodramatic heights. Every decision, every single page cautiously depicts what is a life-altering event with care and sensitivity.

Notably, with the second volume’s afterword creator Aoi Mamoru mused on there being a need for more accessible information regarding pregnancy and wishing to depict scenes that are otherwise seldom explored in otaku media. As of that volume, what stands out is a scene where its protagonist gingerly sprawls out on a hospital bed, her attending consultant prodding around which made me think “goodness, we sure have come a long way since chaste love scenes of old!”.

For those intimately acquainted with GL, no doubt the distinctive hue of radioactive, puke-green evokes nonchalant half-smiles, piercings dotted down an ear’s expanse, and t-shirts adorned with ‘90s grunge acts. With The Guy She Was Interested In Wasn't a Guy at All, its concise 4-page stylings due to being a Twitter-hosted manga may ostensibly afford its leading pair little room to breathe, yet it exudes an undeniably snappy flair, lending a spirited, clipped pace to their evolving relationship which suits the manga's tone.

Always living in the moment, the hearts of Aya and Mitsuki pulse in time to frenetic, guitar-heavy pieces they listen to. Between excitedly gushing over Bikini Kill contributing to the riot girl movement amongst a record store sale’s throng, to sparkly-eyed enthusiasm and flushed cheeks belting out Joan Jett at karaoke, this manga will always warrant a suitably disruptive playlist while reading.

What appears to be an office romance gradually shifts into something altogether more surreal and unexpected, bathed in the illusionary stupor of the midsummer haze. Haven’t caught up with this one in a hot minute so will add more once I do!

Expected Noa is My Senior, and My Friend to be a gaudy wish-fulfilment staple, ended up bearing witness to something altogether more challenging through social roles reflected within the confines of a post-Riamu bishoujoscape - and how that fact seems to horrify some people. I wrote a post about this on my blog, too (click here to read )!

Beyond the glitzy veneer of a quasi-yuri comedy submerged in standom culture, Oshi ga Budoukan Ittekuretara shinu examines the commodification of interactions within the entertainment industry, often to the detriment of those held captive within its dazzling nexus. Eripiyo’s infatuation with Maina raises ethical considerations, as in many ways she is essentially buying her time.

And yet, within this same space Maina similarly grapples with the prospect of reciprocating emotions (whatever form they may take) in an authentic manner, away from the weight of the clock’s hands being propelled mercilessly forward. They share a complex relationship, enmeshed within the fraught complexities of clearly defined roles from a societal perspective as ‘fan’ and ‘entertainer’. Although I have complex issues towards standom culture generally, within this fictional space I find the societal underpinnings that are difficult to navigate fascinating, particularly should the pair be afforded a chance to transcend it.

Oshi to no Yuri wa Arienai makes for an unexpectedly entertaining read. A goofy GL venture exploring the hijinks of an otaku gyaru who is reduced to a drooling, dribbling mess when she gets anywhere near her beloved, this austere ojousama, chaos ensues amidst saliva-drenched pages. Given the otaku element there’s this light-hearted friction emerging from gyaru (does she feel fan-driven adoration, or stirrings of a crush?!), which pairs nicely with ojousama's shtick (she strives for perfection, yet getting involved with gyaru keeps tripping her up?!). A fairly simple opposite attracts premise on paper yet the central pairing are absurd, larger-than-life beings operating within a screwball comedy paradigm which certainly adds to the appeal.

cute...... ooooo my heart cute..............

TRAIN CAN’T STOP WON’T STOP (I am waiting on this to end to catch up, I think. I have not read Shounen no Abyss in well over a year but I’m like (SCREAMS INTERNALLY -> positive) every time my mind turns towards it).

I recall being particularly impressed at what a refined and introspective work Konishi’s debut Haru no Noroi ended up being, so I was optimistic about Yakuza Fiancé: Raise wa Tanin ga Ii. Enjoyed what little I read, but need to head back to it so will adjust this section once I do!