Talentless Nana Chapter 67, Beginning of the Revolution Review: It Finally Happens.

I have been keeping up with the Talentless Nana manga, created by Looseboy and illustrated by Iori Furuya, ever since I finished the anime. 
While I have been enjoying the story, for the most part, I did feel that the plot was beginning to get a bit dragged out. 
Nana was constantly being framed for crimes she did not commit, followed by her innevitably proving her innocence, and there was even a cliffhanger where she promised to tell Kyoya everything… only to not tell him everything.
With moments like these, it made me wonder how much more story we would have to go through before Nana finally admitted to her crimes and we got to see some substantial fallout from that.
Well, turns out, we did not have to wait long.
I knew I was in for a treat as soon as I saw the title of this chapter, “Beginning of the Revolution”, an on the nose title that perfectly represents the events of the chapter both in reagards to Nana’s beginning revolution against Tsuruouka and Tsuruoka’s fake one to justify taking out the Talented. 
Chapter 67 begins with Moe having a dream about her grandmother, finally coming to terms with her death, saying she now has a vague sense of what life is about. 
Nana’s efforts to keep Moe from killing and to protect her have really paid off and this is further confirmed when Moe wakes up in the hostpital and Nana affirms their friendship. 
However, despite this happy start, “Beginning of the Revolution” quickly follows this up with an event that will clearly shape the story for some time. 
The cliffhanger from the last chapter was Nanao arriving to free Soma, and we get the payoff for that here, in gruesome fashion for Soma. 
After questioning Soma on his “friendship” with Saijo and the nature of his Talent, Soma admits that it would be dangerous to use his electricity talent in this room because it could cause a “phreatic explosion.”
Nanao says he wants Soma to do it and Soma calls him an idiot because that would kill them both. 
Unfortunately for Soma, this is exactly what Nanao wants, minus the killing himself part, just Soma. 
Using his Talent, Nanao orders Soma to create this phreatic explosion and cause a major incident to frame the Talented, which is Tsuruoka’s plan, before he leaves Soma to die. 
Soma can do nothing but scream for help as he activates his Talent, sealing his fate.
Before we see the result of this act, however, we get the moment Talentless Nana fans have been waiting for forever: Nana’s confession. 
Kyouya, Fuko, and Sachiko are wondering why no police invesitgation has been opened up for the numerous murders, including Saijo’s, and Kyouya speculates that the military actually approves of them killing each other. 
Nana then marches in and announces that he is right stating, “Talented individuals are the ‘Enemies of Humanity.’ They should be killed off secretly.”
I got chills when I read this moment. 
For so long, I and many others had waited for the moment when Nana would confess her to murders and how the military wants to kill all of the Talented and she finally did it. 
She leads them all outside and gives a full confession, even taking the blame for Ryuji’s death by creating the environment where was killed, which I never thought of. 
Fuko and Sachiko are stunned by this, but Kyouya is as level-headed as ever, taking control of the situation by deducing that Tsuruoka put Nana up to murdering the Talented. 
Nana, relieved that Kyouya believes her, offers to tell everyone else about her crimes to get them to evacuate, however, Kyouya points out that they are more likely to swarm her and order her execution for everything she did. 
With a panel above showing all the people she murdered and whose deaths she indirectly caused, Nana says she knows this but still looks determined to risk it to protect the other Talented students, showing just how far she has come since the beginning of the story. 
Kyouya considers this and then agrees to work with Nana, not because he is on her side, but for the good of all. 
They will not have to work alone though because who should show up but none other than Jin, who followed them as a cat before revealing himself. 
He tells Kyouya and the others that he can testify about the military’s crimes because of what he went through five years ago. 
Kyouya and the others are naturally shocked to see Jin appear as if from nowhere, but what I find most interesting is the actual first interaction between Kyouya and Jin… well, their first interaction where Jin isn’t disguised as a cat.
The reason I was excited to see these two meet is because I am a firm believer in the theory that Jin is secretly Kyouya’s sister. 
We know that Jin is not who he appears to be, due to him keeping the real Jin safe because he is in a coma.
So, since Jin’s identity has been built up as a mystery, he is most likely someone important, like Kyouya’s sister.  
There have even been some signs that Jin is actually a girl, like when he jokingly asked Tsuruoka if he was inviting him on a date in their first interaction, and he refrences religion a lot, just like the girl in his story who killed people for religious reasons. 
Ignoring this, the only other person Jin could be that would have a significant impact on the reader is Nana’s brother but Jin actually mentions him in this chapter, telling Nana he found out some information about him, so that would seem to eliminate that theory. 
Speaking of Nana’s brother, though, we will have to wait to find out exactly what it is that Jin discovered about him because, before he can say, he is interrupted by the massive explosion caused by Soma.
The blast is so huge that it looks to have taken out some of the city as well. 
So Nanao has graduated from killing Talented people, to apparently innocent civilians as well, which is way worse than anything Nana did, so it will be interesting to see how Nana reacts to have causing Nanao’s descent. 
Just as Nana realises that the explosion came from the warehouse Soma was kept in, Tsuruoka arrives, declaring Nana a suspect in this terroist act and placing her under arrest, ending the chapter. 
This was a great cliffhanger, unveiling Tsuruoka’s plan to frame the Talented for a terrorist attack to get the public on the side of executing them all so they won’t have to do it covertly anymore. 
Sure, this is yet another instance of Nana being framed for something she did not do, but at least it has the variety of coming with her confession to the crimes she did commit and this being the biggest framing of all, considering its for a terrorist attack not just murder.
I wonder if this will end in a fight with Nana and the Talented against the soldiers, or if Nana will go quietly, giving her allies the chance to escape? 
Either way, it really feels like we are approaching the final arc of this story, if we’re not in it already.
Nana has confessed to her crimes, Jin has also introduced himself, and Tsurukoa and Nanao have initiated their master plan to frame the Talented for a terrorist attack. 
I am eagerly anticipating the next chapter after all of this,  

Berserk Chapter 364, A Tear Like Morning Dew Review: The Final Chapter(?).

When I first read Kentaro Miura’s Berserk and reached Chapter 363, I remember excitedly going to read the next chapter, only to realise it was the last one released before Miura’s tragic passing.
I was sad to see that I and many other fans would not know how Miura intended to continue the story, especially after the cliffhanger of the Moonlight Boy meeting Guts again.
This is why I was very excited to hear that there was one final chapter Miura completed that would be released, Chapter 364, “A Tear Like Morning Dew.”
After eagerly anticipating the chapter for a while, I finally read it and am pleased to say that what may be the final chapter of Berserk we ever get did not disappoint.
Picking up from the end of the previous chapter, “A Tear Like Morning Dew” begins with the first of many father and son antics, with the Moonlight Boy instantly climbing atop Guts’ Berserker Armour to rest on his head.
Guts brings him inside so he can be with Casca and what follows is a humorous sequence where Schierke mistakes the child for a disguised Danann.
The face she pulls when she realises she was wrong is so comically out of place with the rest of Miura’s artwork that it heightens the comedy of the moment.
After this scene, we get our reunion between Casca and the Moonlight Boy, only now Casca has all of her memories.
The connection between the two is obvious and Danann quickly picks up on it, along with the boy’s connection to Guts.
The following panel of Guts sitting outside while everyone reunites with the Moonlight Boy is both beautifully drawn and also highlights his purposeful distance from Casca, due to her trauma, as illustrated by the bottom panel of Casca lying in bed with the Moonlight Boy, seperated from Guts.
Once this distance is illustrated, we get many more wholesome moments between the seperate parents and their child, as Casca continues to bond with him while Guts trains.
This training does not last though because the Moonlight Boy quickly interrupts, sneaking into Guts’ Berserker Armour in a downright adorable moment.
After helping the boy out of the armour, Guts then leads him back to Casca, telling him to go be with them, once again keeping a respectful distance from Casca.
Their relationship is truly tragic and it is a sad thing we may never know how it ends for them.
Even sadder is the scene that follows, the final scene of this potential final chapter, which serves to punch us all in the gut.
This is Berserk after all, so we all knew there just had to be a catch to the numerous wholesome scenes with the Moonlight Boy in this chapter.
Turns out that catch is the brutal confirmation of the theory that the Moonlight Boy and Griffith are connected.
As Casca has a dream remembering her connection with her mutilated ghost baby and how this saved her during the Conviction Arc, she seems to awaken with a realization and runs outside to see Guts standing before the Moonlight Boy.
The child begins to speak, however, as he does so, their body begins to change.
“I had a dream. Under the fool moon, I was a child embraced by a nostalgic warmth. But when I wake from the dream, only a vague sense of longing remains… that too, will soon disappear… with a single tear like morning dew.”
With these fittingly poetic lines, the speaker turns, revealing the Moonlight Boy to have transformed into a Griffith, tears spilling from his eyes, bringing the chapter and potentially the story of Berserk to a close.
This was a fantastic chapter, full of both wholesome moments and gut punches.
If it really is the final chapter of Berserk, then I think it is a fitting one.
Is it frustrating for it to end on such a massive cliffhanger?
Certainly, however, it is important to take into account whether this story should continue without Miura’s guidance.
What were his wishes concerning the future of the story in case of his passing, if he had any, and will anyone be able to take over the story until its conclusion?
It is not unheard of.
For example, Brandon Sanderson took over the Wheel of Time after Robert Jordan’s unfortunate passing due to a terminal illness.
Maybe there is someone who could take over Berserk and end it for Muira.
Again, though, Muira’s wishes do need to be considered here first and foremost.
He is the creator of Berserk and his wishes for his series should be respected.
Whether this magnificent story ends here or continues, “A Tear Like Morning Dew,” is yet another brilliant Berserk chapter and Muira deserves all the thanks for gifting this great story that has influenced so many other creators.

Choujin X, Chapters Eight and Nine Review: Dreams of the Choujin.

Chapter Eight: My Benefit.
The eighth chapter of Sui Ishida’s Choujin X, “My Benefit,” is another solid chapter that picks up well with the aftermath from Tokio and Ely’s fight with the Snake Choujin, Nari.
It starts off by immediately dismissing my theory that Tokio’s name being mistaken for Zaven in the last chapter would allow him to hide his true identity from the Choujin organization, while continuing to help them.
It actually turns out that whole Zaven thing was just a gag because the organization of Yamato Mori knows who Tokio is and have given him the story that he is now a witness for a secret agent, so his family and people at school will not learn that he is a Choujin.
The only one who does know from Tokio’s life is obviously Azuma, who takes the time to apologise to Tokio for yelling and not helping him when he needed it.
Tokio forgives him and admits Azuma was right about him constantly relying on people.
Things seem good between the two but the next panel displaying the light reflecting off Azuma’s glasses, hiding his eyes, does raise some suspiscion.
I wonder what is truly going through Azuma’s head?
After this, Tokio goes to Yamato Mori to learn about his registration.
It’s here that he meets up with Ely and two other Choujin, Simon Kagomura, who was the Choujin who saved them from Nari last chapter, and Maiko Momoma, the woman seen with Ely in the last few chapters but who had her face hidden previously.
The two inform Tokio and Ely about the registration system.
Simon and Maiko, along with others at Yamato Mori, have Class A registration, meaning they can use their powers for research or the betterment of society, like protecting people from Choujin attacks like Simon did with capturing Nari.
Tokio and Ely are about to receive Class B registration, which will only allow them to use their powers if they or others are in danger, or by accident since Choujin powers are connected to emotion.
Tokio does express some interest in getting Class A registration but Simon’s scolding gets him to meekly relent.
We then get our first look at Maiko’s powers when she uses super strength to clear a fallen tree.
She makes Tokio and Ely look away when she does this though, so she must be shy about it for some reason.
Either that or there is a practical reason for her trying to hide her power, which could be revealed later.
Following this, Tokio and Ely are interviewed by Sandaq, who drills them on what they consider to be good and evil, and who they consider their allies and enemies to be.
He then hits them with the impotant question that shapes the chapter and possibly Tokio’s life going forward: what do they hope to benefit from their lives?
For Ely, the answer is easy: money.
That’s right, we got another Ochako Uraraka on our hands here.
Although, the dream for money to make them and their loved ones happy is pretty much the only similarity between the two.
On another note, I’m interested to see what the other character’s thought about Ely’s declaration, since it could be interpreted as not being noble and the reaction panels we get from Tokio, Sandaq, Simon and Maiko are interesting.
Yet, this bit is cut short for a comedic moment when Sandaq questions if it will make all of her wishes come true and Ely says most of them, reminding us again of her crush on Sandaq.
I wonder if this will become a running gag or if Ely’s crush on Sandaq will become disillusioned in the future?
Maybe like how Tokio and Azuma’s friendship could become broken if their bond is going the way I think it is.
Once this comedic moment is over, Sandaq turns to Tokio and asks him the same question but, unlike Ely, Tokio has no idea what he hopes to benefit.
It is interesting how most other protaganists in manga have some kind of goal or dream to achieve at the beginning of their stories.
Izuku from My Hero Academia wanted to become a hero, Eren from Attack on Titan wanted to exterminate the Titans, Denji from Chainsaw Man wanted a good life and to touch some boobs.
Tokio, on the other hand, does not know what he wants and it is a pretty good change of pace.
He and Ely really are complete opposites.
Whereas Ely is already certain about what she wants in life, Tokio is hesitant and uncertain.
Ely later confronts him about this, asking what’s the point of living without a dream, probably coming off more insulting than she intended.
With this scene expanding on the opposites dynamic of Tokio and Ely, it also offers a possible character arc for Tokio in the future, as he could slowly begin to sperate from needing Azuma and discover his own dream and strive towards it.
This could also be foreshadowed in the next scene where a news report states that a vulture and a tiger remain at large, having escaped from the zoo Tokio and Ely fought Nari in.
Tokio is definitley being represented by the vulture and Azuma most likely the tiger.
Whatever Tokio decides his dream is though, there will probably be complications to achieving it, no doubt mostly caused by the enemy Choujin out there.
We get our first look at two of them after the zoo symbolism, and these Choujin are revealed to be named Ririka Umezawa, or Ume, and Richard, or Ricardo, in the next chapter.
These two dangerous Choujin have been sent to clean up after Nari, probably by the masked Choujin who started this whole thing.
But, because this is Choujin X, there has to be some comedy so, instead of ending on this ominous note, the chapter instead ends with Tokio curiously asking his sister what dreams she has, only for her to shout that it is to marry into money.
I guess her and Ely would get along then.
Overall, “My Benefit” is another solid chapter for Choujin X. 
It formly introduces us to some interesting characters and excellently sets up the future of Tokio’s character arc, wherever that may take him.

Chapter Nine: Sinker, Part 1 – Grounder Boy.
Chapter Nine picks up from “My Benefit” in an interesting way because, while it continues to expand on Tokio’s lack of a dream, it seems to contrast this with a new character whose dream was destroyed by him becoming a Choujin.
This contrast starts with two sets of characters, Tokio at his home, and the Choujin Ume and Richard in what appears to be a motel, watching Azuma’s baseball match on TV.
On a side note it is intriguing to see how this world differs somewhat from our own through the portrayal of baseball, with the bases seemingly being in the shape of a hexagon.
The main focus is on how this sets up the introduction for the new character though, with Azuma’s skills being compared to that of a student who was even better than Azuma.
However, Richard says that he had to quit because he turned into a Choujin in the middle of a match.
This student is then revealed as Tezuya Shiozaki, who will clearly be a big focus of the next chapter, if the Part 1 in the title refrencing him is any indication.
From his introduction, we cut to an expansion on Richard and Ume, as Tokio sees their wanted posters.
Noticing this, another new character, Ichiro Sato, who is explained by Simon to be Sandaq’s protege, tells Tokio that Ume is the Paper-Cutout Choujin who is responsible for numerous bank robberies.
As for Richard, he is a Tentacle Choujin who works as a bodyguard for criminal organizations, but also betrayed one of these groups, killing all of the members.
Since we have seen Richard working with Ume, I wonder if that means she hired him to help her in whatever job she has been tasked with?
Back to Tokio, he sees Ichiro taking Tezuya for his latest Choujin evaluation and Tokio becomes intrigued when Simon tells him that Tezuya used to go Tsuru High, like him.
This intrigue is interrupted by anoter great gag when Ely wonders aloud if Yamato Mori could make her some cash, and her eyes become coins, much to Tokio’s exasperation.
From here, we get a brief look at Ichiro’s evaluation of Tezuya, during which he claims to not be interested in baseball anymore, and afterwards has a brief interaction with Tokio.
Following this, Tezuya goes home to his siblings, only to take part in a bank robbery later.
It would seem losing his dream of baseball thanks to his Choujin powers caused Tezuya to go down a dark path.
Once this is displayed, we get another showcase of Tokio and Ely’s days at Yamato Mori, with them watching a presentation on what the consequences can be if they lose control of their Choujin powers.
Maiko also falls asleep during this, which is comedic since it seems she was supposed to be supervising.
In the next scene, we then get an expansion on Tokio and Ely’s growing friendship, with Tokio teaching Ely how to use a phone so she can call her grandfather.
The two then walk out, with Ely consoling Tokio, telling him it does not matter if he does not have a dream, motivating Tokio begin trying to find his own dream .
This causes Ely to ask if he can help her find something, but we don’t hear what.
Then, for the last scene, we cut back to Tezuya, who discovers one of Ume’s cutout dogs, which shocks him when he grabs hold of it.
This is concerning because if Ume and Richard learn of Tezuya’s darker side then they could try to recruit him, maybe even blackmailing him.
Yamato Mori certainly would not be pleased if they learned of Tezuya’s nightly activities, after all.
Still, Tezuya has a chance of redemption from Tokio and Ely, as the chapter ends with the two of them seeing him illegally use his Choujin Powers to steal a soft drink when the vending machine won’t accept his money.
How fitting that the chapter ends with the Choujin whose dream was destroyed by becoming one about to have a conversation with the Choujin who does not have a dream and the one who does.
This could lead to some interesting growth for all three characters, so I am intrigued to see where Chapter Ten will go.
The ninth chapter of Choujin X is another solid one from Ishida.
He has yet to release a bad chapter for this series.

Choujin X, Chapter Seven, Broiler Review: Where Does the Story go From Here?

In the previous chapter of Choujin X, the cliffhanger was of Tokio about to use his Full Bestifaction transformation for the first time.
There was quite a lot of speculation about what he would look like but the general consensus was that it would be something like the very first panel of the story.
As opposed to that, what Tokio transforms into appears to be a different variant from his initial Choujin transformation at the end of chapter one, only much stronger.
Chapter Seven of Choujin X, Broiler, centers around the aftermath of Tokio’s first transformation, with him using this power to take on the Snake Choujin Nari with Ely in what is both a well drawn and quite funny battle.
The first gag comes right after Tokio deals a good blow to Nari and lunges at her again, naturally assuming that his second punch will have the same effect… only for him to injure his hand in the process, forcing Ely to temporarily take over, but her smoke attacks have no effect.
She is saved by Tokio, who jumps in to save her from getting crushed by Nari and appears to temporarily float, making me wonder if Tokio could grow wings like an actual vulture later on.
He is inexperienced with his beastification form, after all, so there are a lot of areas he could grow in.
Back to the chapter, Ely convinces Tokio that it would be better to fight rather than flee, and Tokio suggests broiling Nari from the inside, hence the same of the chapter.
Running right at her, Tokio has a pretty cool moment for him as he takes on the Snake Choujin with some quips, saying that if she’s still testing him then she should give him his score.
Well, I would think she should score him pretty highly considering how easily he gets the best of her, grabbing a hold of her Medusa hair to fling himself to her mouth and then yank it open, yelling at Ely to broil her.
It was a good plan, if it wasn’t complicated by the fantastic comedic gag of both Tokio and Ely’s powers failing at the exact same time.
Thankfully, the two are saved by a Choujin with incredibly powerful knife powers arriving on the scene.
It’s not clear if this Choujin is a man or woman yet but they make an intimidating first impression as they march towards the badly wounded Nari, telling her they intend her to tell them everything about who hired her.
This knife Choujin user also seems like a very official person, used to rules and regulations, unlike Hoshi, who seemed quite a bit like a super hero when he was introduced back in chapter two.
It will be interesting to see if there could be some conflict between the two.
After capturing Nari and lecturing Ely about escaping from her teacher Monoma, who I assume is the woman Ely was wirth at the beginning of last chapter, the knife choujin then demands to know who Tokio is.
Tokio, however, can only get out his last name before he remembers he has been poisoned by Nari, only being able to say “the ven-” before collapsing.
This causes Ely to think his name is Zaven Kurohara, although I’ve been informed that a more accurate translation may be Dokuga Kurohara, but it’s only one person who I’ve seen say that.
We then get a quick look at a Choujin facility Tokio has been taken to following the battle with Nari, which has a flag with three arrows, possibly refrencing an earlier moment in the chapter when Tokio brought up a story about three arrows before being cut off by Ely.
Waking up, Tokio deleriously shouts that he has to go to school in an exaggerated panel.
Being met by Hoshi, the Choujin explains that they gave Tokio some serumn to deal with the poison and that the Choujin facility he is at is called Yamato Mori, then offering Tokio some apples.
Tokio narrates that this is the sweetest apple has ever tasted while Ely and supposedly Monoma, whose face is still hidden, sneak a peak from outside, brining an end to the chapter.
Broiler is another good chapter for Choujin X, with some great action and especially funny moments.
The question is, where does the story go from here?
Well, I think Sui Ishida has perfectly crafted a situation where Tokio could begin to live a double life.
The Choujins now think his name is Zaven Kurohara, so this could allow him to go back to being Tokio Kurohara at times, without his family figuring out he is a Choujin.
This would make Azuma only person from his true life who knows he is a Choujin , however this could have plenty of unforseen consequences for Tokio.
Many have speculated about Azuma’s potential darker side, which could become more apparent as Tokio begins to move further away from him.
Tokio may state how much he wants to be like Azuma at the beginning of Broiler but by taking action without relying on him he has already taken his first step to seperating from him.
This could eventually push Azuma into the clutches of the masked Choujin who sent Nari after Tokio.
Think of it as a darker version of the friendship between Kaneki and Hide from Tokyo Ghoul. 
Other than these predictions, though, I’m fairly clueless about where the story is going to go from here on out, so it will be interesting to see what Ishida has planned for subsequent chapters.

Frieren: Beyond Journey’s End: An Adventure After the Heroes’ Adventure.

I remember scrolling through Reddit a while back and coming across a fan animation for an ongoing manga called Frieren: Beyond Journey’s End of an elf doing a weird dance.
I thought it was funny so I decided to give the first chapter a read and it immediately sucked me in to the point that I binged the whole thing and have been reading every chapter upon its release.
Written by Kanehito Yamada and illustrated by Tsukasa Abe, Frieren: Beyond Journey’s End has one of the most interesting and emotional openings to a story that I have seen in a long time.
We have all seen the typical fantasy story where the hero overcomes the big, evil dark lord, right?
It is by no means original.
However, what is original is to focus an entire story on what happens after this point in the many years following the dark lord’s defeat.

Frieren: Beyond Journey’s End explores what happens to the fantasy heroes and the world they live in long after they have completed their epic quest.

This is how the first chapter begins, with the hero Himmel and his party of the titular mage Frieren, priest Heiter, and dwarf Eisen, returning from their successful ten year journey to kill the demon king.
After much celebration, the group separate, deciding to meet up again to see a meteor shower that occurs once every 50 years.
Sure enough, 50 years later, Frieren returns to meet up with her party, only to reconnect at the end of Himmel’s life.

In all this time, little has seemed to pass for Frieren as, being an elf, she can live for thousands of years, with the time she spent with the hero party being little more than a blink in her long life.
Yet, despite knowing this, she still finds herself crying at Himmel’s funeral and wondering why  she did not take the time to understand him.
As the years pass, Frieren is eventually tasked with taking on the dying Heiter’s student Fern and Eisen’s former student Stark.
Together, the three of them begin their long journey to a place where souls rest so Frieren can see Himmel again.

The manga mainly follows Frieren, Fern and Stark on their long journey to find Himmel’s soul, going through many, many minor adventures along the way.

Make no mistake, Frieren: Beyond Journey’s End is mostly a slife of life story, with the adventure of Frieren, Fern and Stark exploring this fantasy world decades after the demon king’s defeat, while occasionally flashing back to Frieren’s time with the hero party.
All of the character’s, whether from Frieren’s current or past party, are fantastic, with a lot of great, funny and emotional moments.
These emotional moments come specifically during the first few chapters, where Frieren has to experience the deaths of many of her old friends who are dying of old age while she continues to live.
It really makes you think about how Frieren’s current adventure with Fern and Stark could also be so fleeting for her.
All those little slice of life adventures they have could become just another blink in Frieren’s eye and that is a sad thing to consider.
Speaking of slice of life, though, this is not all the manga is because there are actually some plot progressing storylines in Frieren’s current journey as well, like the demon arc, one of the early arcs in the story, which has what is easily one of Frieren’s best moments.

Frieren is at her coolest when facing off the demon army lead by Aura the Guillotine.

There are great moments spread out like this across the manga actually, although, there are some parts of the slice of life that are less interesting than others and some of the big storylines do seem to overstay their welcome a bit, like the most current one. 
And that is pretty much my only problem with Frieren: Beyond Journey’s End.
I find the rest of it to be a great comedic, sometimes emotional story with good action and artwork.
It is a highly interesting take on what happens after the hero’s journey we are all so familiar with comes to an end. 

Choujin X, Chapter Six, Apostasy Review: Full Bestification Time!

Sui Ishida is continuing to put out some great chapters for his latest manga, Choujin X, as Chapter Six, “Apostasy” centers around a fun action sequence with some excellent artwork and good character development.
After Chapter Five, I figured that the next chapter would start with a flashback explaining how Ely located Tokio and I was right on the money with that because this is exactly how “Apostasy” starts.
We first see Ely walking down a street with a shaded figure talking about her powers.
It’s revealed to have been less than ten days since we last saw Ely in Chapter Two, and whoever this new shaded in character who she had befriended is, she does not seem to be a Choujin based on how she does not sense the powers like Ely does.
It is this Choujin homing beacon that draws Ely to Tokio’s side, where she immediately accesses the situation before trying to save Tokio by using her smoke powers to blast off with him, away from Nari.
Unfortunately, still being pretty new to her powers, Ely cannot get them far and Nari quickly catches up, wondering if Ely is Sandaq’s trainee before launcing another attack at her.
Ely is ready though and, after a tense moment where her power temporarily seems to fail, she manages to blow a blast right at Nari, engulfing her head in flames.
However, this does not put Nari down because she has one more big trick up her sleeve: Full Bestifcation.
With these words, Nari transforms into a giant snake in a fantastic panel, which Ishida actually colours in with a red background, potentially highlighting Nari’s deadly personality.
In this form, she easily defeats Ely but at a cost because it is explained that in this form she is way dumber than she usually would be.
This results in her getting stuck in the cage to a monkey enclosure, giving Tokio enough time to react now that Ely is too injured to fight anymore.
So, what does our hero do?
Well, wonder what Azuma would do, of course!
It’s what Tokio always does when he gets in dangerous situations and it’s no different here, however, this may actually be the start of him breaking away from this mindset.
One reddit breakdown of the chapter I saw speculates that the title “First Apostasy” hints at the beginning of many instances of Tokio moving away from Azuma.
This seems to be the case in the chapter as well because, after Ely tells Tokio to run, he instead looks up at the sky and sees a vulture, apparently causing him to come to some inner realization.
Not only does this moment show him going from thinking about what Azuma would do, to making his own decisions, but it is also another instance of great artwork from Ishida, as the vulture panel is coloured green, much like Nari’s was coloured red, potentially hinting at Tokio’s cautious personality.
Well, Tokio quickly throws this caution to the wind because, as Nari finally breaks free, Tokio makes his own effort to unlock his Choujin powers, trying to go Full Bestification in another really good cliffhanger panel.
So, next chapter we are most likely going to see what Tokio looks like in his full beastial Choujin mode.
It seems likely that he will look similar to the vulture monster we saw in the first panel of the story.
Another thing that will be interesting to see is if transforming will make him less intelligent, like Nari.
Speaking of, could this lessening intelligence for Nari be something similar to how the Johnny character went crazy after he became a Choujin?
Maybe it has a different mental effects on people.
Either way, I am excited to read Chapter Seven when we get it and see just how far Tokio will go with this new transformation.

My Hero Academia, Chapter 322, Great Explosion Murder God Dynamight Review: The Bakugo Moment We’ve All Been Waiting For.

I can remember beginning to read the My Hero Academia manga right after I finished Season Three, however, I have reviewed very few chapters since then.
This was because, with a very frequent release schedule, I was concerned focusing on it could put other reviews I had planned on the backburner.
So, I decided to only review chapters that really impacted with me.
One of these was Chapter 290, “Dabi’s Dance”, which is currently my favourite chapter of the manga and was so good it had me reviewing its follow up chapters for a few weeks until I stopped again.
Well, I just read another top ten My Hero Academia chapter, so I just had to review this one, which is Chapter 322, “Great Explosion Murder God Dynamight.”
The reason this chapter is so amazing is because of how it masterfully delivers a scene that Bakugo fans have been waiting years to see: his apology to Izuku.
Back when I watched the first season of My Hero Academia, I could not understand why so many people liked Bakugo.
I certainly understood his character and why he was so mean to Izuku but it in no way made him a likeable character.
However, as the series went on, I began to slowly realize why people loved Bakugo’s character and honestly I came to feel the same way as I watched him progress, realizing his own weaknesses and beginning to regret his past actions.
His breakdown in front of Izuku at the end of Season Three, showing how he blamed himself for All Might losing his power, really floored me the first time I watched it because I had no idea Bakugo was suffering internally like that.
As I read the manga, I continued to watch him grow as a character, liking his development more and more, especially the moment where he recreated Izuku saving him at the beginning of the story, with his body moving on its own to save him in the War Arc.
Well, in Chapter 322 we finally get the culmination of Bakugo’s character arc, which was all building up to this moment.
As the fight between Izuku and Class 1-A winds down, Bakugo explains to Deku why he saved him during the War Arc, following this up by explaining his horrible actions at the beginning of the story, how he came to realize his own weaknesses and how the time has finally come to tell “Izuku” his truth.
And yes, he does actually call Izuku by his real name instead of Deku, the name Bakugo has used to degrade him throughout the series.
He follows this up by finally apologizing in a fantastic panel, even bowing slightly during his apology.
This, right here, is already one of My Hero Academia’s best moments.
It’s honestly baffling and kind of concerning how some people are against Bakugo apologizing to Izuku because they saw themselves in him when he was unrepentant.
Relating to a remorseless bully who doesn’t change… okay?
Thank goodness this is not what Bakugo’s character is actually like.
Not only is his apology to Izuku the culmination of his character arc up until this point, but it is also beautifully highlighted by Kohei Horikoshi how far both Bakugo and Izuku have come to get to this point.
As Bakugo prepares for his apology, explaining his actions and how he has changed to Izuku, the two symbolically change appearance throughout the panels.
First, we them as kindergarten students, then middle-schoolers, then in their UA uniforms, and finally their hero costumes.
Along with this, Izuku’s expression also changes across the panels, being as dead-eyed as Shigaraki before Bakugo brings him back to himself.
All of this comes togethor to create what is, again, one of My Hero Academia’s best scenes.
It is not the only moving moment in the chapter, though, because there are multiple parts like this throughout, like at the beginning when Mina tells Izuku to come back to UA because she cannot stand the thought of losing anyone else, obviously calling back to Midnight’s death.
Then there’s Kirishima calling back to Izuku saving Bakugo, Bakugo catching Izuku when he falls, and the final scene, where it looks like Uraraka is about to stand up for Izuku.
This scene happens when Class 1-A brings the unconcious Deku back to UA and are met by Thirteen, who we see unmasked for the first time.
What is more surprising than this, especially so for Izuku, is the state of U.A.
With its giant wall constructed to keep citizens safe, it looks a lot like Tartarus prison once did.
Let’s hope it’s even more secure than that was because, if it’s not, then we’re going to be in for a world of hurt once All For One attacks.
The citizens taking refuge at UA are just as concerned about this.
When they recognize Izuku as the one Shigaraki was after, they demand he leave for their own saftey, so Shigaraki will not attack.
Izuku is about to do so when Uraraka grabs his hand and assures him it will be okay.
She thinks about how Ida and Bakugo started to bring Izuku back, and now it might just be her turn because she again wonders who will will protect the heroes when they need it, as she appears to step towards the angered crowd.
I hope this means next chapter we will see Uraraka speak up for Izuku and convince the crowd to allow him inside.
After all, Bakugo and Ida both got their big moments in bringing Izuku back to UA and now I think it is Uraraka’s turn.
In any case, “Great Explosion Murder God Dynamight”, along with being a mouthful of a title, is one of My Hero Academia’s best chapters.
It has a lot of great moments but Bakugo’s apology scene just steals the show.
I wonder how his character will continue to grow from here?

Look Back, Oneshot Review: Tatsuki Fujimoto is Brilliant.

Ever since Tatsuki Fujimoto released his one shot manga Look Back weeks ago, I have found myself returning to it time and time again, finding new meaning in it every time.
It’s funny because, even though Fujimoto is the author of one of my favourite mangas, Chainsaw Man, I honestly wasn’t expecting Look Back to be all that much.
Just a fun little story to read once and then move on from.
Boy, was I wrong.
I came out of Look Back an emotional wreck and I have felt just as impacted every time I have reread it since then.
It’s clearly not just me either because I have seen so many other people who feel the same way and come out of reading it with different interpretations of what it all means.
Look Back begins with a simple, single page panel of a room with an empty desk and chair, the importance of which will be realized by the ending.
We then meet our main character, Fujino, through the four panel manga strip she entered as homework for her school’s newspaper.
Fujimoto does an excellent job presenting her to us, as first we see the teacher giving his class the newspaper, then them passing it down and laughing with and appreciating Fujino’s art, and next we actually see the comedic strip before we are finally introduced to Fujino herself.
However, despite the class’ praise of her artwork, Fujino is actually not too receptive to the idea of becoming a manga artist when she grows up, perferring the idea of becoming an athlete instead.
It is on the following page where we first hear of the character who will change all of this for her, Kyomoto, when her teacher asks her to give up one of school paper manga slots to her, since Kyomoto is a recluse who doesn’t come to school but wants to explore her own artwork.
This news causes Fujino to cockily wonder how someone who is afraid of coming to school could draw manga well.
Her arrogant claim made it all the funnier when I turned the page and saw her horrified reaction when she saw Kyomoto’s artwork next to hers and realized it was much better than hers.
Fujimoto is really good at drawing hilarious character reactions and he doesn’t disappoint with Fujino’s.
It is not just her who realizes that Kyomoto’s artwork is better because everyone in her class does as well.
Remembering how everyone first praised her, wanting more of that, and realizing that Kyomoto is so good because she practices all the time at home, Fujino decides to devote even more time than the “five minutes” she spent on her earlier manga strip.
Following this moment, we get the first of many montage panels where time passes as Fujino practices her drawing at her home, school, the library, the park, and other places, along with buying various different guide books to help teach her.
At least a year passes during this montage, with the snow on the roof being in one panel then gone the next highlighting this.
We then get confirmation on how much time has passed, when one of Fujino’s friends says they will be middle schoolers next year and rhen asks if Fujino thinks that she herself is too old for drawing because she doesn’t want to be thought of as a creepy otaku at her age.
This, her sister’s discouragement and urging to try karate instead, and her seeing that Kyomoto’s background art is still better than hers, causes Fujino to give up.
There even seems to be a slight tear when she does so, showing how much this decision hurts, but she turns this emotion away to instead join up with her friends and spend time with family.
She even has her old drawing guide books thrown out.
It would seem that she is distancing herself from the passion of drawing forever but fate has other plans, as Fujino’s teacher again asks her to go to Kyomoto and deliver her graduation certificate to her.
No one answers the door, so Fujino goes inside and finds the walls outside of Kyomoto’s room lined with journals for drawing.
Seeing one bare manga strip, a moment of cruel inspiration strikes Fujino, as she draws Kyomoto winning the shut-in world championship because she is dead.
Epic foreshadowing (only kidding).
Just as she is wondering what she is doing, she drops the strip, which slides under Kyomoto’s door, causing Fujino to flee in panic, only for a disheveled and awkward Kyomoto to pursue her outside.
The symbolism of this first meeting is pretty great, as Fujino’s feet are in the light and Kyomoto’s are in the shade of her house, showing their different standings in life, with Fujino currently being outgoing and Kyomoto an introvert.
It is then that Kyomoto nervously admits to being a fan of Fujino’s, followed by another great reaction shot of Fujino.
Although, while the previous reaction shot of her was comedic, this one is dramatic, as her face is bathed in light, the only panel in the entire page where a character’s face is not in the shade.
This shows the importance of Kyomoto’s confession to her, as it resparks her passion for drawing manga, only this time not to gain praise which I will explain later.
Kyomoto follows this up by getting Fujino to autograph the back of her shirt, and then asks why she stopped drawing manga after sixth grade, causing Fujino to expertly lie, highlighted by her refusing to look at Kyomoto.
Fujino claims that she hasn’t been drawing as much because she is preparing to create a story, which she will submit for a manga award and promises to show Kyomoto once she is done.
She then leaves as it starts to rain and begins to skip and dance, no longer having to lie to herself about lacking the passion to draw anymore.
The full page spread where she skips and dances through the rain in a way that is somehow both awkward and triumphant is excellently drawn by Fujimoto and one of my favourite moments in the one-shot.
Que another, much longer montage of panels, as the years pass and Fujino and Kyomoto grow closer, beginning to work togethor and inspire each other it their own artwork.
After a day out on the town, spending the money they earned from their manga, Kyomoto admits that, just like Fujino starting to draw manga because of the praise she got from others, she began drawing manga not for fun but because otherwise she was bored, thanking Fujino for bringing her outside.
Eventually, the two become successful enough to become seralized, however, Kyomoto cannot help Fujino with the new manga series because she wants to go to art school to hone her craft.
Fujino does not take this news well, using Kyomoto’s earlier confession to try and manipulate her into staying and helping her, saying she will become bored at art school.
This argument seems to cause a seperation between the two because, as time passes in the next montage, with Fujino becoming successful with her manga, Shark Attack, which is then set to get an anime adaptation, we don’t see them interact, which makes it all the more heartbreaking when it happens.
Fujino looks at the news one day and sees that an attack has happened at Kyomoto’s art school and unfortunately she did not make it.
This is clearly a representation of the tragic Kyoto Animation arson attack in 2019, which claimed 36 lives.
It is particuarly sad to then notice in hindsight that the first part of Kyomoto’s name is also the beginning of the name of the animation studio where the real life attack took place.
This all goes to show just how devestating the attack on Kyoto Animation and the loss of life was for many creators out there who had been inspired by their work, seemingly Tatsuki Fujimoto among them.
Kyomoto’s death affects Fujino especially hard, as she goes on a highatus afterwards, claiming an illness to be responsible.
She then visits her old friend’s house where she finds the manga strip she wrote which accidentally drew Kyomoto out of her room.
This causes Fujino to blame herself for Kyomoto’s death because, as she sees it, if she had never drawn that manga strip then Kyomoto never would have come out of her room and thus never would have died.
It is then that we see what appears to be a fantasy of Fujino’s of what Kyomoto’s life would have been like had they never met.
In this fantasy alternate universe, only the torn part of Fujino’s manga strip where the onlookers tell Kyomoto to not come out of her room slips under her door.
So, Kyomoto never overcomes her insecurities to interact with others but still gets into art school.
Then, the attack happens, only this time there is a hero to save the day.
It is none other than Fujino who, in this alternate universe, focused on karate like her sister asked, so was able to thwart the attacker and save Kyomoto’s life.
This leads the two to become friends in this fantasy as well, with Fujino offering Kyomoto a place as her assistant, inspiring Kyomoto to go home and draw more manga strips, one of which blows away in the wind and under Kyomoto’s door to meet Fujino, the fantasy ending.
Fujino reads the strip, which has the titular title Look Back, and is a comedic version of her saving Kyomoto, possibly something the shy girl imagined back when she was Funjino’s biggest fan.
Entering Kyomoto’s room, Fujino sees that Kyomoto indeed still was a fan of Fujino, as she had all of the volumes of her manga and still kept the shirt she signed with a place of honour on the hook of her door.
This all causes Fujino to admit to herself that she never really enjoyed drawing manga because of how unfulling it was and wonders why she did it all?
The answer comes in a flashback to Fujino gifting Kyomoto with the manga she promised back when they first met, resulting in an overjoyed expression from Kyomoto, along with all the times they inspired one another.
This all shows how Fujino’s passion for writing manga changed from first being to get the praise of her peers to then making her readers happy once she saw how happy it made Kyomoto.
And right there came the tears from me because this broke me the first time I read it.
If this is not a direct message from Fujimoto to his readers then I don’t know what is.
Especially considering the characters’ names of Fujino and Kyomoto, which makes up his name.
Looking at her Shark Attack manga, eerily similar to Fujimoto’s Chainsaw Man, and realizing what it all meant to Kyomoto, Fujino goes back home to continue her serialization.
The one-shot then ends on another single paged panel of Fujino sitting in her chair at her desk, continuing to write her manga, directly paralleling the beginning of the one shot where we saw Fujino’s chair and desk but no one was sitting in it.
Look Back seems to be detailing Fujimoto’s experience as a mangaka primarily through Fujino, as she starts off writing it for praise and to beat a rival but then starts doing it for the experience of the readers, as seen through how Kyomoto inspires her.
It’s also neat to note how the Oasis song “Don’t Look Back in Anger” is shown to be an inspiration through how it is placed by Fujimoto throughout the one-shot, with the opening black board saying “Don’t”, Kyomoto’s manga strip of Fujino saving her being titled “Look Back” and one of the books Fujino has on the final page being titled “In Anger.”
There are a lot of other subtle details to this one-shot, like the infamous Chainsaw Man door at one point.
It can take multiple read throughs to find many of these and some of them had to be pointed out by others for me to get, like the already mentioned “Don’t Look Back in Anger” reference.
Along with these details, there is the emotional power of Don’t Look Back, which hit me with the weight of a truck when I first read it.
It is a fantastic one-shot and I have the exact same thought every time I finish: Tatsuki Fujimoto is brilliant.

Choujin X Chapter Five Review: An Anticipated First Meeting.

Sui Ishida is still maintaining his quick pace with releasing new Choujin X chapters, and chapter five is another good one.
After last chapter’s cliffhanger, I thought the snake Choujin would try to eat Tokio, like Rize tried to eat Kaneki in Tokyo Ghoul, since both the snake Choujin and Rize cornered their prey in similar ways.
However, the opening panels of this chapter instead reveal that the woman, whose name is Nari, was hired by the masked man to hunt down Tokio and kidnap him if his abilities are dependable.
From here, the chapter cuts to the present, where Nari begins her testing of Tokio.
But first, she reveals an interesting tidbit about Choujins, that they can sense one another when their powers are used.
Nari used this to her advantage by allowing Tokio to sense her last chapter.
This technique is also probaly how Hoshi found Chandra attacking Ely in Chapter Two.
Once this information is revealed, Nari gets down to buisness and provides the rules of her test for Tokio.
He gets three attempts to prove his worth to her and if he fails then she kills him.
So begins yet another chase sequence, only this time Tokio is far less competent with his Choujin powers than Ely was in her chase scene, as he cannot find himself to muster any defence against Nari.
What results is a scene that is full of both great comedy and intriguing flashbacks.
First comes the comedy, with what is undoubtedly the funniest moment in the manga so far.
This moment comes when Tokio is fleeing from Nari and hears the birds surrounding him begin to make bets on who will win, him or Nari.
I laughed my head off at this gag.
Also, I do feel kind of sorry for the lone bird who bet on Tokio, the guy clearly was not going to win anything.
This is the same in the intriguing flashback as well, with a young Tokio shown to be losing a relay race for his team.
The reason this flashback is intriguing is because of Azuma.
Not only does this moment serve to again highlight his strengths compared to Tokio, as he wins the race single-handedly, despite Tokio holding him back, but it also potentially highlights his darker side once more.
As Tokio runs towards his friend, we get a close look at Azuma’s face and he does not look happy at all.
In fact, I would say his look towards Tokio is rather disdainful.
Yet, this look completley vanishes when he wins the race and goes to help Tokio.
Interrupting this flashback, which gives us further insight into Tokio and Azuma, Nari continues to torment Tokio, catching him twice and infecting him with toxic venom to motivate him in this chase.
Unfortunately for Tokio, this has no effect and he is captured for a third time and dubbed “ordinary” by Nari.
She goes to kill him, when suddenly an unexpected person literally falls out of the sky to help.
Ely bursts onto the scene, tumbling through her Choujin smoke before salvaging it with a suitable superhero landing.
She and Tokio look at each other and both with confusion ask,”a person?” bringing an end to the chapter.
This cliffhanger is interesting because not only does it finally result in our two main characters meeting but it also highlights how they are different from the other Choujin in the story.
The two of them have both been called Choujin constantly by others, Ely by Hoshi and Tokio by Nari, yet here they are the first ones to refer to the other as a person.
Along with this, Ely’s appearance does raise a few questions about what happened in between her being rescued by Hoshi and now.
I assume she was alerted to Tokio’s situation, either by his cries for help, her sensing Choujin powers or both, and rushed to help.
Now that she is finally here, I wonder how Nari will react to her?
Chandra said Ely was full of potential and Nari could see this and try to recruit her as well.
I also wonder where Hoshi is, since Ely was with him last we saw of her?
Not to mention the question of how much time has passed for Ely since Chapter Two.
If I am not mistaken, she is wearing the same clothes from that chapter and canonically speaking that was at least three days ago, unless the time difference between her story and Tokio’s is different, which could be elaborated on later.
Either way, I expect that what led Ely to Tokio will be explained in the beginning of the next chapter.
Overall, Chapter Five is another great chapter for Choujin X, as it provides another fun chase sequence, an interesting flashback, hilarious comedy, and the long awaited meeting between out two main characters.
I am intrigued to see how Tokio and Ely will interact with one another next chapter and in the future of the story.

Choujin X Chapters Two-Four Review: The World of Choujins.

I have been quite surprised at the rate of speed Sui Ishida has been releasing chapters for his latest manga, Choujin X. 
When I heard that there would be no set timeline for release dates so he could focus on his health this time, unlike with Tokyo Ghoul where he was really overworked, I thought that we could expect a few months between each chapter.
So, it was a pleasant turn of events to see Ishida release Chapter Four not long after Chapter Three.
I do hope he is continuing to keep healthy, though.
In any case, I have been falling behind on reviewing these chapters since I reviewed Chapter One, so now I’m going to review Chapters Two, Three and Four in one big post.
I will also be sure to write more reviews as the story goes on.

Chapter Two:

The second chapter of Choujin X picks up with our secondary protaganist, the little girl from the plane crash that happened in the first chapter.
Her name is revealed to be Ely Otsuta, and it is explained how she helped her adopted grandfather with farming tomatoes, showing that she is a child prodigy in that regard.
However, this backstory is interrupted by a tomato Ely picks up screaming as it bursts into flames, as she wakes up in a construction site with a concerned construction worker standing over her.
A dazed Ely asks for directions, only for the helpful construction worker to be burned to death right before her eyes by Chandra Hume, the Choujin who attacked the plane.
Que the big chase scene of the chapter as Ely makes a break for it after Chandra offers to escort her.
It is during this chase where we once again see how Ishida is going in a more comedic direction with this manga, as we get plenty of gags from Ely riding a skooter, to her miraculously finding a tractor and then using this to escape from Chandra and a group of gang members wearing sheep masks for some reason.
These comedic gags are quickly cut short when Ely and the gang members begin falling to their deaths and Ely uses her newly aquired Choujin powers to save them all.
She obtained these smoke powers through being infected by Chandra’s, or so he says, claiming this was just a “first attempt.”
It will be interesting to see why Chandra is so interested in creating other Choujins.
Not to mention that the way Ely became a Choujin seems to be a completley different from how Tokio did since he did so by injecting himself with the strange serumn.
Coming back to Chandra, he offers to teach Ely everything he knows about her power but she obviously does not accept this offer, thinking back on the kind elderly woman who Chandra murdered in the first chapter.
However, she does seem to hit a nerve with Chandra when she calls his power “worse than a turd.”
Chandra is clearly a very insecure person because this insult causes him to nearly go all Firelord Ozai on her face.
He would have succeeded too, had it not been for Hoshi Sandek, “Yamato Prefecture’s Choujin Protector,” or as I like to call him, Captain Chin.
Seriously, his chin is so freaking gigantic it takes up more than half his head.
Ely is clearly enamored by him, based off the heart eyes Ishida draws her having.
Not to mention that this guy resembles her imagined husband she talked about in the first chapter pretty closely, so of course she would have an instant crush on him.
Hoshi’s arrival on the scene also proves one of my previous theories to be false.
I predicted that because of what Azuma said in Chapter One there were no good Choujin, but there clearly are based off Hoshi.
We will probably get more information on the Choujin system when his character returns, along with Ely.
It would also be good to know what exactly his power is.
We seem to see him use it but I cannot quite tell what it is yet.
Following Hoshi and Ely’s first meeting, we get a pretty cool cut to Tokio’s story, as Hoshi asks Ely, “What’s your name, little Choujin,” only for us to then see Tokio’s sister calling her brother’s name.
Tokio has reached home after his transformation into the Beastial Choujin but his vulture-like appearance has not dissipated yet.
As he rests in the shower, Tokio wonders if he has become a Choujin, which should be pretty obvious to the guy, given what his face looks like.
This brings an end to what is a pretty good chapter.
The chase between Ely and Chandra is entertaining and quite funny at times, especially one joke where Chandra’s car is hit by a truck that says “we love saftey.”
Along with this, Hoshi’s appearance raises some questions about the Choujin system that I am interested to see answer.
One criticism I do have is that the action is a little bit hard to follow during the chase scene.
The artwork is still great, though, so it mostly makes up for that.
So, overall, Chapter Two does a good job of continuing Ely’s story and I am intrigued to see how it will progress further.

Chapter Three:

Out of these three chapters, Chapter Three is definitley my favourite because of how it handles the aftermath of Tokio becoming a Choujin and its impact on his and Azuma’s friendship.
The chapter begins with a flashback to Tokio helping Azuma after he collapsed due to the injection.
However, Azuma wakes up after Tokio falls over and looks horrifed at his friend’s appearance.
Tokio is just glad that Azuma is okay and says he will take him to the hostpital.
Azuma is quick thinking, though, and tells Tokio that if people find out he is a Choujin then he will never have a normal life, so he should just go home while he goes to the hostpital.
Tokio takes this advice, yet I am not so sure that Azuma’s actions were quite so innocent here, especially given how he acts later on in the chapter.
Also, keep in mind that the two still did not know if Azuma had Choujin powers here, so Azuma going to the hostpital could have exposed him to being a Choujin if he was one, yet he suggested Tokio go home.
From here, the chapter cuts to the present again where Tokio’s vulture face mask has still not come off.
Tokio fakes being sick so he will not have to go to school and be revealed as a Choujin to everyone and we get some really good artwork of what his face looks like now as he tries to eat breakfast.
This makes it really funny when, in subsequent panels, Tokio’s Choujin face honestly looks pretty derpy.
I am sure this is intentional by Ishida and it has great comedic affect.
Again, Ishida cuts the comedy short, this time by Tokio breaking down into tears because he is scared he will look like this forever.
This leads to him going to see Azuma for reassurance after he doesn’t pick up his calls, acting like he is going out shopping to his father and sister, while hiding his face.
He calls Azuma outside his house and this time his friend picks up but is very standoffish.
Azuma claims to have gone to the hostpital and got a bloodtest, only for nothing out of the ordinary to be found.
Azuma then makes the connection to Tokio looking like a vulture because it is the form he desires.
This leads to Tokio asking Azuma what he should do, only for Azuma to yell at him to think for himself for once.
Tokio hangs up and leaves, even more depressed, before Azuma can apologize.
Azuma says to himself that it isn’t Tokio’s fault, but his actions make me wonder if he is jealous that Tokio got these Choujin powers instead of him.
It seems many other readers are starting to suspect Azuma and Tokio may turn out to be rivals in the future of Choujin X and I am beginning to think so too.
Think of it as the opposite of Kaneki and Hide’s friendship from Tokyo Ghoul.
After this great scene, which may be hinting at a potential rivalry between Tokio and Azuma, we then cut to the Mr Fantastic Choujin, Johnny, and the masked man who gave him the injection.
It is here that I see what may be another Tokyo Ghoul refrence, since the man’s mask looks a lot like the ones the Clowns would wear.
The masked man learns about Tokio turning into a Choujin but not who or where he is, and kills Johnny when he refuses to say anymore.
His Choujin power seems to be related to cutting people up, since he decapitates Johnny fairly easily.
This looks to be the main antagonist of the story, or at least this part of it, as he seems to be preparing to hunt down Tokio, maybe for the same reasons that Chandra wanted to recruit Ely.
Overall, Chapter Three is a great chapter that does a really good job of characterizing both Tokio and Azuma, while getting us hyped for the future of this story, as we get more insight into the mysterious masked villain who is now after Tokio.

Chapter Four:

Okay, so Ishida had to have had a terrible first date, right?
I mean, first he has Kaneki nearly get eaten by Rize in Tokyo Ghoul, and now Tokio is currently being eaten by a snake Choujin in Chapter Four.
It can’t be a coincidence.
Jokes aside, Chapter Four is another good chater of Choujin X that starts off by continuing to expand on Tokio’s power set as a Beastial Choujin.
This comes through the comedic surprise of Tokio being able to talk to pigeons, who refer to him as the bread atelier, due to how much he feeds them.
It seems that talking to animals is not just a power only Tokio has, though, because the snake girl also appears to talk a snake in the chapter.
This makes me think that there are different categories of Choujin.
For example, the Beastial Choujins, which includes Tokio and the snake girl, would be in its own category and those who have it can talk to animals but only the ones that resemble their specific Choujins.
Tokio is a bird Choujin so he can talk to pigeons, and the girl is a snake Choujin so she can talk to snakes.
If only Tokio was observant about this, it may have saved him from becoming snake food by the end, as the girl lures him into a zoo and leans in to kiss him, only to take a bite, just like Rize did in Tokyo Ghoul. 
Again, it really seems like Ishida is trying to tell his readers how awful his first date was.
Much like Kaneki, I do expect Tokio to get out of this one, he is the main character after all.
Maybe he will be able to gain help from the vulture he couldn’t communicate with at the zoo.
Maybe he will unlock part of his Choujin powers to escape.
Or maybe he will be tracked down by the masked Choujin currently after him.
It will be interesting to see if any of these happen or if it will be something different entirely.
All in all, the fourth chapter of Choujin X is another solid one, with a great blend of horror and humor, which seems to be the norm for this manga.
If I had to rank the chapters we have got so far, I would probably go with Chapter One, Chapter Three, Chapter Four, and then Chapter Two.
They have all been really good reads so far and I am excited to read more of Choujin X and keep reviewing it.
So, you can expect a review for Chapter Five whenever that comes out.