DESCRIPTION

CAST

CHAPTERS

MOVIE ComedyDead Dead Demon's Dededededestruction Zenshou
MOVIE ComedyDead Dead Demon's Dededededestruction Koushou
ONA ComedyDead Dead Demon's Dededededestruction

REVIEWS

• 

  saulgoodman

  90/100
  An exploration of the mundane lives of two cute girls in the face of an alien apocalypse

  In the face a looming apocalypse and a fucking alien mothership hovering above you, what do you do? Dead Dead Demon's Dededede Destruction explores this question, through thorough character study, an intricate plot, realistic socio-economic and philosophical themes, and the lives of two cute girls being broken down.

  (Going to refer to this series as "DDDDD")

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  Story

  High-school girls Koyama Kadode and Nakagawa Ouran live their normal lives, normally hanging out with their normal friends, under your normal ginormous alien mothership. 3 years ago, the 8/31 incident occurred. Multiple alien ships crashed into Tokyo, killing thousands and misplacing many, including Kadode's father. In the present, many have taken up stances upon the threat of another alien massacre. However, Kadode and Ouran continue to live complacently. Enjoying their precious youth, questioning their mundane lives, pondering about their future. But it's inevitable that their lives will be shaken up by this alien crisis.

  • I liken this series to Girl's Last Tour. Two cute girls find themselves under an apocalyptic threat, but continue to lead their normal lives. DDDDD is a coming-of-age story through a philosophical, dark exploration of its characters. We see them going on dates, eating ice-cream at restaurants, going to the beach, goofing around. They think about their current lives and worry of the future. But soon, they find themselves trying to continue to lead normal lives, as the alien crisis increasingly becomes more integrated in their lives.

  • DDDDD's start was generally focused on the slice-of-life aspect, introducing and exploring the lives of our protagonists. However, the supernatural plot becomes much more explored as the story progresses. We witness multiple perspectives; from the aliens, politicians, a sly journalist, a pro-alien group called SHIP, etc; that magnify the world-building and gives us a birds-eye view. We learn how all these different, simultaneous plot-lines affect and connect with Kadode and Ouran's lives. Once supernatural and mystery became more integrated, the story rapidly turns into an intricate spider-web of suspense, unpredictability and OH SHIT moments. Truly, the heart-thumping mystery of this series reminds me of Naoki Urasawa's Monster.

  • DDDDD is heavy in addressing modern socio-economic and political issues. The alien crisis has spawned massive debate in the general public and political world. Those favoring the destruction of the aliens are referred to as "Octopi", those favoring pacifism and natural rights for the aliens are "Squids" and those complacent towards all of this are "Tuna". One of Kadode and Ouran's friends is a fervent squid, providing a strong perspective from a minority side. In addition, we see the social extremity of the situation through Kadode's mother. She lives in constant fear, always appearing in her gas mask and moves away to escape. Ouran's NEET brother constantly "monitors" the internet, where we see bizarre conspiracies on message boards and social media. The depiction of the intensity and hive-mind of these social movements clashing is one not detached from reality. The politicians' view is more economic-oriented. Through them, we find out how the crisis has affected the entire world, Japan's economy, and strained diplomatic affairs. However, I don't believe Asano's primary intent was to critique and analyze modern socio-economic state or political affairs, but instead to further drive the psychological and philosophical aspects of DDDDD.

  • In addition to the main story, DDDDD has a nested story; occasionally treating us to brief opening sequences of Isobeyan, am obvious mirror of Doraemon. However, it's much more darker in tone than the classic series it pays homage to. It entails a self-centered young girl who uses Isobeyan's magical tools for personal gain, fails and never self-reflects on her mistakes. Though these short strips certainly provide a chuckle, Isobeyan plays a critical role further into the story.

  • Though I don't think DDDDD is particularly dark compared to Inio Asano's other works, it certainly does have its dark moments as it progresses. I love the dichotomy between them and the goofy, dysfunctional scenes, like Kadode and Ouran's banter. It gives great motives and material for character development for a variety of characters, major and minor.

  • DDDDD give us multiple conflicts. Man vs Man, Man vs Self, Man vs Society, Man vs The Supernatural, etc. All of these give way to great characterization and development for minor characters, such as the JSDF soldier, Kohiruimaki, and Ai. I could write much, much more about every character, their conflicts and roles, it's amazing how much depth and thought goes into many of the characters.

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  Characters

  Asano does a phenomenal job making even the most minor character critical to the story and gifts them sufficient characterization. Even if a new character's screen-time was limited to a single line, I'll be feverishly expecting their next appearance and wonder what importance they play. Their interactions with each other heighten the story's complexity and builds up suspense. Though some minor characters receive development, I'd say our two protagonists are simply characterized more than developed as the story explores their pasts and motives.

  • Kadode: I'd argue she's the audience's self-insert. We see her frequently struggle with internal issues and react normally to real-life situations. She has a crush on her teacher, has a strained relationship with her mother, thinks about her missing father, etc. The more screen-time she has, the more down-to-earth she seems. However, the story explores some darkness in her later on that makes her character much more interesting.

  • Ouran: A very dysfunctional, seemingly-insane gamer girl. Where we have Kadode's down-to-earth character, we also have Ouran's over-the-top, cartoony personality. She has a normal family, with an almost as equally dysfunctional older brother. Much of her screen time is dedicated to her revolution declarations, gamer and conspiracy ramblings, and general comedy. However, we're occasionally allowed to peek at her true feelings that makes us question the authenticity and depth of Ouran's character. Just like Kadode, the story introduces a shocking dark blob in Ouran's character that has made it the biggest plot-twist in the series thus far.

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  Art

  If you're already familiar with Asano's work, it should come to no surprise that his art is the highlight. The detail and intricacy he puts into each panel is ... unbelievable. Gorgeous tone and shading, phenomenal use of perspective, subtle facial expressions. Asano utilizes his art to depict comedy, darkness, emotion, suspense, and elevate the story to another dimension. You will NOT be disappointed with DDDDD's art.

  (Here is an interview with Asano that showcases his art techniques. It's an interesting watch!)

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  Enjoyment

  Apocalypse? Cute girls? Conspiracies? A dark version of Doraemon? sign me the FUCK up good shit go౦ԁ sHit? thats ✔ some good??shit right??there right✔there ✔✔if i do ƽaү so my selｆ i say so thats what im talking about right there right there (chorus: ʳᶦᵍʰᵗ ᵗʰᵉʳᵉ) mMMMMᎷМ?НO0ОଠＯOOＯOОଠଠOoooᵒᵒᵒᵒᵒᵒᵒᵒᵒ Good shit. Ahem. But yeah, DDDDD is a 10/10 in the enjoyment dept. The comedy is top-notch, with its goofy character expressions and hilarious banter. The art is breath-taking, making me stare at panels for minutes on end. The characters are grounded and realistic, creating a iron-clad empathic chain between them and me. The story, oh man, the rabbit hole of mystery just digs deeper.

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  Final Words

  Asano brings us a story pitting the threat of a supernatural crisis against the anxiety and unpredictability of one's mundane life. Even in the extreme case of utter annihilation, our inner conflicts and personal fears don't simply dissipate now that something new has appeared. DDDDD explores the extent of our monotonous lives in the most bizarre situations, through our relationships and fun moments in life. I can't wait for new updates and it's shaped up as a phenomenal series that puts the fine detail into its art, characters and story.

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• 

  hoeberries

  85/100
  A new stage for Inio Asano, but he cannot escape himself.

  After giving us Goodnight Punpun and (much, much worse) A Girl on the Shore, Inio Asano finally just sat down and watched K-On. It was an experience. Here was something he enjoyed that did not summon depression, sex, or homicide. “Reality is tough,” the mangaka proclaimed, “so read this manga about cute girls and feel better.”

  He started Dead Dead Demon's Dededede Destruction in 2014, which he promised was going to be a nice escapist slice of life story with minimal pain, minimal suffering, and cute girls doing cute things. A break, you know? From everything we know him for. Hhahahahsg. Some of us believed. I believed he was going to create something that was not all… all this. And what is this? How to describe it? Cute as his girls are, this is no iyashikei buffet. I mean, sparingly it is, but it’s also everything else: a wild tragicomic hysteric postpostmodern slice of life soft sci-fi sociopolitical commentary with an ending that goes so far off the rails that I can’t decide if it’s disastrous or brilliant. It also has a bad title. I still don’t know what’s going on there. But that doesn’t change the fact that this confused thing is a step forward for Asano that is, if not the mangaka’s best, surely his most expansive, challenging, and ambitious work to date. I've a lot to say about it. Spoilers for the second half of this review (I’ll put a warning).

  

  "Holy shit, the earth is fucked!" So this manga writes and continues proving, almost to an obnoxious extent. I suppose it is true enough to excuse the heavy-handedness. The earth is fucked. Super fucked, from several directions. The ozone layer is thinning, the birth-rate is plummeting, the economy is collapsing, and, if that wasn’t enough for you, a gigantic alien spaceship is hovering above Tokyo, threatening to wipe the world out for good. Asano explains the questions that inspired this setting:

  The overall theme for the 2000s felt like stagnation, but it’s obvious that at this point we’ve entered the end of the world. The world isn’t going to end soon; it’s already starting to end now. The question is how to live in an age where the whole world is spiralling down, down, down…

  But this manga isn’t about what’s actually going on. Not right away. It’s about how we live in spite of it. Our protagonists are Kadode and Ouran: high schoolers making friends, planning their future careers, having their first crushes, so on and so forth. They’re trying to live normal lives as tragedy strikes around them, their futures dissolve piece by piece, and the hopeless mundanity of their lives withers within an intergalactic battlefield that pits humanity against an army of harmless Doraemon-inspired aliens.

  Ouran is the star of this manga, and for good reason. An insane, hysteric, misanthropic gamer obsessed with ruling the world, she shows the best way to reconcile absurdity is to fight fire with fire. Her antics are hugely entertaining, but she’s a lot more than a degenerate gamer girl mascot. She is a friend! A really good friend, actually, with a lot of love and empathy for those close to her. She is the beating heart of this manga from which heartfelt chaos spills out.

  Kadode is less explosive. The straight man, from time to time. More of an audience stand-in. She is lovely and a lot more relatable. Her friendship with Ouran is a joy to read. I will say that, venturing away from the main duo, the other girls are a bit of a letdown, and they never really approach all the personality or chemistry they maybe could have. The rest of the cast do pick up most of their slack, treating us to a funny, resonant coming of age story… among other things. Apart from that teacher. Ew. Miss me with that ironic lolicon shit.

  

  We cannot forget about the disorientating backdrop that is that big ass spaceship parked in the sky, looming over day-to-day interactions in the incredible paint job that is Inio Asano’s artwork. The perspective shots. They have always been a strength of his, I think, and they serve to paint an annihilating juxtaposition between cute, anime-looking girls and the metropolitan battlefield around them. Asano has stuck a lot closer to realism in the past, but working on a little manga called Ozanari-kun showed him how fun it can be to use less realistic, more cartoonish art. In DDDD he has combined those experiments with his usual photorealistic cities, meaning his style continues to evolve in exciting new ways—and he was already one of the most impressive manga artists working today.

  I’m getting side-tracked. That spaceship! Asano doesn’t let us forget about it. Even from early on, he gives a window into the political and pseudo-scientific inner workings of the ship and humanity’s ridiculous plan to take it out. Let me just say: I didn’t like these bits. They’re boring. But (and perhaps I’m giving Asano too much credit here) I think that’s what you’re meant to feel. Because we’ve all had the experience of watching the news, listening to these stupid politicians and having our eyes glaze over, knowing we should care but struggling to muster up the strength against rampant disillusionment.

  Although Asano said he wanted to turn his brain off and write an enjoyable manga, this is the most socio-politically engaged he has ever been. There is a lot of stuff here! Political overlords drunk on violence and ineptitude. Social activists that are all words, no actions. Alternative cults that run off to the countryside, making clowns of themselves. Conspiracy theorists seeking out alien life despite a literal spaceship parked outside. Not all of it is done well, but Asano also nails this creeping feeling of dread that only intensifies as the series goes on, involving more disturbing themes, more despicable political dealings—the ever-expanding dysfunctionality of a world that leaves you constant fear that something awful is going to happen to the girls. So effective! DDDD involves the friction between cuteness and violence, between mundanity and turbulence, between conspiracy and reality. I’ve seen people saying this is “light” compared to Asano’s previous work, but it is really the heaviest, most arguably pretentious thing he has ever written, even if it has so much humour mixed in.

  

  I’m trying very hard not to call this “postmodern” because no one actually knows what that means even after fifty years, but it ticks all the boxes if you want to sound extra white. Those grand metanarratives we’ve structured our lives around (faith, progress, happiness) are all fading into a fuzzy, irreconcilable mess. DDDD slaps us in the face with a world which has become oversaturated with information (the internet especially “poisoning” our young protagonists’ minds), using irony, parody and intertexts (texts within texts) scattered all around. I did not soak it all up in one read. Some of it I couldn’t be bothered with. This is echoed in Kadode, who carries around The Happy Youth of a Desperate Country by Noritochi Furuichi, an acclaimed book of sociology which her teacher lends her in exchange for a manga. It’s meant to explore Japanese young people and their attitude towards the world, but you know what? She never gets around to reading it. Too boring. Too long for her munted attention span. You and me both, girl.

  Broadly, this manga questions how we reconcile the world with an absurd, postmodern pallet. I suppose that makes DDDD pretty cool; and indeed the only thing that keeps me from recommending this to everyone I know is its deep-rooted connection to manga tropes and archetypes. Inio Asano has never been this relevant. He does go on those long characteristic philosophical tangents that sound wholly unrealistic coming from high schoolers, but I think we can forgive him for once.

  But I also note DDDD is not all that accessible. It is eclectic and all over the shop, and not always in a good way. We are smacked with seemingly inconsequential characters, long scenes of political technobabble, and pages upon pages of “Isobeyan” (oh boy, I’ll get into you in a sec), which is pretty dull to read. The plot is there, just paced oddly, moving at inconsistent speeds, veering unexpectedly into tonal shifts as the story goes on. Asano’s earlier work, even if it is more depressing, is a lot more straightforward. DDDD is worth the effort! That I can say for sure. Frustrating as it can be, this takes readers to a location beyond existential fluff, depressing nihilism, psychological horror, and all the other past Asano destinations. This is somewhere much harder to pin down.

  Okay. It is difficult to talk about this manga without mentioning that it is a very committed Doraemon parody. I wanted to ignore this part, because Isobeyan is odd and uninteresting and I always wondered what it did to deserve so many coloured pages, let alone a paragraph of my review. But it becomes more important as time goes on, unpackaging the ethos of Doraemon and what could be realistic consequences of a naïve middle schooler obtaining the cat’s gadgets. For those in Japan, this reference is a lot easier to access. It is unfortunate again as I try to recommend this to those who live elsewhere, because a Doraemon-less childhood is just another hump we will have to get over to fully get DDDD. Not that you absolutely need to. The general tone of this manga is good enough, following these young girls as they go about their lives, negotiating a disintegrating world that is familiar to us all.

  This manga could have continued in that direction forever, really. If it did, It would allow me to cut the discussion, labelling this terrific and relevant albeit a little confused, leaving off there. But Asano won’t let me. He has to complicate things!

  

  Spoilers from now on! Also, mentions of suicide and genocide and other things (jesus christ inio asano lmao). I’m starting off with a quote:

  Asano: Reality is tough, so read this manga about cute girls and feel better. I realized how important that is after watching K-On! (laugh) Girls having fun is cute, and cute is something that needs no explanation — that’s what’s so great about it. That’s all I need, I’ve decided.

  Interviewer: But to people who know Punpun and read that, it all sounds like one giant build-up: make them think it’s an Asano version of K-On!, and then partway through the series…

  Asano: The K-On! characters kill someone or something, yeah. (laugh) Now that’d be a shock. Even I would hate that. But then again, my personality is still basically what it’s always been, so if people start going on about what a fun manga it is and how I should keep it going forever and ever, I could always just make it all come falling down like that. (laugh) But I feel like maybe this time, I won’t do that sort of thing if it’s not what the readers want. That’s where I stand right now, in any case.

  Interviewer: I’d like to hear what you have to say about it by the time you’re at volume 3. (laugh)

  Well (laugh) I suppose I shouldn’t be surprised.

  I’ve always maintained that, barring a few exceptions, time travel sucks. It ruins good plots—tears them to pieces! I was trying to be optimistic here, because this is already an absurd, unhinged story, and surely a bit of time travel can’t piss me off too much. It’s also so into Doraemon that there had to be a time travel gadget somewhere. This gadget comes in the form of the invader’s spaceship, which is capable of sending your consciousness back in time and spawning multiple timelines. We learn that our protagonists have actually used it in the past, and there’s a dark backstory that they no longer remember. Uh Oh, A-Sa-No…

  If you’ve forgotten, here’s a summary: After saving an invader and gaining access to their Isobeyan gadgets, Kadode goes full on Light Fucking Yagami on the masses, becoming an agent of justice and murdering “evil” people. Only she isn’t a sociopath, so she kills herself from the guilt. This leads to the alien becoming disappointed with humanity and it tells its friends to piss off. But then Ouran goes back in time, becomes the deranged character we all know and love, and changes the course of history so Kadode stays alive and the aliens don’t piss off, indirectly causing the proper invasion that destroys the world.

  There’s the Inio Asano we all love and hate. The soul writes what the soul wants to write, every time, and his soul wants to write kids killing themselves and indirectly wiping out humanity. This is recursive and devastating. I wasn’t ready for this! Yes, I know they were foretelling ragnarok for a while by this point, but that’s different. I was expecting the cast to be obliterated in some Akira-esque explosion (which does of course happen, and I will get to that in a sec). What I was not expecting was the girls’ childish innocence to be sullied, turning them into characters I can no longer blindly love and relate to.

  

  It’s kind of brilliant, really. Asano has always liked this edgy stuff, but it hits so much harder here and completely changes the story, making it even harder to pigeonhole. Anyway, things go further off the rails from then on. We start leaning more and more into the sci-fi apocalypse that has been buzzing in the background from chapter one, but has always been possible to ignore. Not anymore. The spaceship breaks down. Ooba fails to deactivate it. Big boom. Almost everyone dies. The art is gorgeous. I seriously think this huge genocide might be the best I've read, and for some reason I've read a bunch. But then we jump forward to a post-apocalyptic future, and guess who wakes up? Kadode’s dead(beat) dad! He's our protagonist now.

  I’m not adverse to big tonal shifts. But this isn’t just a shift in tone. It’s a shift in time, perspective, everything—and all done very quickly. The whiplash is a tad severe, compounded by the fact that Kadode’s dad was never particularly interesting or likeable, and he does not seem intent on changing that anytime soon. We follow him through a post-apocalyptic wasteland which is brutal and dark, along with these two girls that die without me caring enough to locate their names.

  Asano speculated DDDD could go on forever and become his life’s work. I kind of wish it did. Instead of a fast-moving, abrupt conclusion…

  Sighhhh. I can see what he was doing here. He says it himself in that one interview—that this manga wasn’t planned in the slightest. He allowed himself to be “lax,” just taking one chapter at a time. In some ways that worked. I can even pardon his inevitable decision to make the girls murderers, because it was fascinating to reconceptualise their characters and give an explanation for why Ouran is the way she is. But when this train veers completely off the rails and becomes a serious post-apocalyptic thriller, disconnected from the slice of life, from the humour, from the protagonists we care about… I can’t help but feel that we’ve wandered too far from where we were meant to be. This future is scary, sure, but it left me numb. Especially because (and this is why time travel annoys me) there’s always the feeling the characters can just travel back in time and erase all their mistakes. I will say that, if Asano did want to explore the post-apocalypse through Kadode’s dad, he needed to give himself more time to do so. Certainly more than like ten chapters culminating in the abrupt moment where dad finds his way back to the time machine, enters the time-travel matrix (the art is still gorgeous, maybe even more gorgeous?? this guy is so good), and then—

  We’re back. Not everything is as it should be. Isobeyan is gone. The invaders are gone. Hiroshi is fit again, Ouran uses feminine pronouns and Kadode actually got with her teacher (ugh why), but all is mostly what we would have expected. Kadode and Ouran have grown up. They are still close. Life is resumed its usual pace and yet… here’s Isobeyan, appearing through some gap in the time-space, or perhaps through the improved time machine that the future gang were developing. The girls check it out and the story (ignoring an implied sequel) ends.

  

  Let’s backtrack just a little. In this future, Kadode is in the manga business, and she pitches an idea for her favourite parody-Doraemon mangaka. She wants to recontextualise the classic series for adults, reinvigorating the science fiction craze again. And what is the response? The agent says this manga won’t sell, time machines are dumb and impossible, and you’re an “asshole” for suggesting this.

  Once again, Inio Asano pitches and rejects his manga within the manga itself. Happens in Punpun too. And in the grim, realistic Downfall he wrote around the same time, which is seems to have absorbed a lot of his worst habits during this period.

  Why so sad, mangaka? From everything we’ve heard about him, he seems to be the type of guy that continually doubts and downplays the art he creates, so much so that he does so within the art itself. I kind of hope I’m wrong. I hope his takeaway from this isn’t that it was some obscure mess that no one likes. It won awards! It’s getting an anime! This is good shit, Inio Asano, no matter the ending! You don’t have to feel this way. He does, though. He is undecided and unconvinced with this manga and the zeitgeist he’s trying to capture. The chaotic nature of this story can only be a reflection of his search for an answer. The guy literally uses time travel to reset his own universe (twice!) just so he can come up with different possibilities, moving further and further away from its pure beginnings, muddying the water in the process. That final passage is really a fitting summary...

  Beyond youth, time and space, embracing unreasonableness and contradiction. And so their story continues.

  I wanted Asano to provide some sweet, simple, love-is-all-that-matters solution to our absurd world, but that was not the note he chose to end on. We are left in curious chaos that resists easy answers, unable to feel what should be warranted for characters we legitimately love; and though we successfully negotiate the landscape, hand in hand, these crisscrossing timelines tangle our heartstrings and leave us in emotional flux.

  Well, heck. This is not absolutely satisfying, but it is absolute. Farewell to Kadode and Ouran, interdimensional genociders who remain the very best of friends. Farewell Inio Asano, till next time. You are someone who's given me a lot, and I have the feeling you are not through with us yet.

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• 

  yeetuso

  85/100
  A great story with amazing characters and art that stumbles due to pacing issues in the second half.

  Spoiler Free!

  When making a story, one of the main things an author should consider is pacing. Having the perfect pacing is essential to make the reader not feel overwhelmed. Dead Dead Demon's Dededede Destruction is an example of a flawed, yet great manga (which is slated for an anime release) that suffers from major pacing issues in the second half, and minor ones throughout the story. DDDDD is a manga that ran for 8 years, thanks to the hard work of mangaka Inio Asano. I have not read any of Asano's work before, nor did I know this manga's story, but the art style intrigued me; the way that his characters looked was unlike any other, the faces felt very different from the usual anime-esque/like faces. The backgrounds felt real, as if I was standing there at the same moment as the character. The look of his characters matches their personalities perfectly, with each detail also assisting to giving the reader more information about the characters.

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  Simply put, there is a alien threat, and the government is tasked to stop it, but what the story focuses on are the daily lives of girls in a post-apocalyptic world. The first half is a good introduction to both the main and side characters. The main characters overall are very good- there is Ouran Nakagawa who initially appears as a sort of hyped-up gamer girl, she gets her character development after meeting Keiba Oota, who greatly compliments her character by helping her emotionally. In a major twist, although she forgets, Ouran and another main character (trying not to put spoilers) change the present and future and make major changes to the world around them. At the beginning to the 70% mark her character is done perfectly, and the twist is excellent. The major problem is after that threshold, the speed of the story increases, for a certain time (around 8 chapters) she isn't even mentioned, then at the end, it acts as it her arc wasn't even there. The next main character is Kadode Koyama, who is mainly complimented, and you could even say has most of her character development made because of Ouran Nakagawa. She is a chill, down to earth, teacher loving, third year (at the start of the story- refers to third year in high school) who, like Ouran, her development is weakened after a point within the story. Last but not least, there is Keita Ooba, whose existence is pretty much a walking spoiler (even though he is part of the main cast before the end of first half). So, while I won't go into detail about him, his character development is similar to Ouran and Kadode, in which it is stalled after a certain point

  Some side characters are done very well, such as Kenichi Kohiruimaki for his relationship to and events with another side character, Tarou Miura as his backstory is explored more thoroughly, and Outan's brother, who we learn is more complex than he may initially appear to be. Other side characters unfortunately don't get this same degree of development treatment - Hikari Sumaru barely complements any other characters, and her morals make it difficult to follow her motivations. All the arcs are paced very well until the beach arc, which is the threshold I mentioned before. Characters that once were relatable and understandable now are not (or their relatability are much lower), and the final twist took such a left turn (also could use something like "came out of nowhere") that no one could've expected it. The final arc also feels quick, but the pacing problems are much more apparent from the beach arc ----> 2nd twist or beginning of final arc (mainly because the impacts and lack of information the 2nd twist has on the final arc).

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  While the art and story are good at the beginning, all main characters and even some side characters suffer from the pacing after the threshold, and the ending, while not bad within itself, suffers from everything that comes before it. Sure, it has issues, but there are so many good things that it would have to get an 8.5/10 score.

  Thanks @ZNote for helping me with this review. Seriously, without him the review would have so many errors!

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