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Pluto – Spoiler Free – Recommended

TLDR
Story – 8/10 – 8 x 0.275 = 2,2
Art – 9/10 – 9 x 0.2 = 1,8
Characters – 8/10 – 8 x 0.225 = 1,8
Enjoyment – 8/10 – 8 x 0.3 = 2,4
Total: 8,2 -> 8

Story – 8/10
... Pluto’s story is special: it is the mixture of two genius mangaka – Osamu Tezuka and Naoki Urasawa – that resulted in an adaptation of one of Astroboy’s Arc – The Greatest Robot on Earth – by the pen of Urasawa’s impeccable story-telling abilities.
The story, designed to be a reinterpretation of Tezuka’s arc, follows a detective’s story through the suspenseful and thrilleresque webs of the world of the most advanced robots. It is a reimagining of a world where robots coexist and form an integral part of society, be it as pets, detectives, or regular citizens.
We are introduced to Gesicht, an Europol robot and one of the most advanced robot in the world, as he investigates the murder of Mont Blanc, another very advanced robot in Switzerland.
One is quickly immersed in the plot and Urasawa doesn’t lose time in gripping the reader with a succession of cliffhangers and suspense ridden moments. It is a very engaging story and quite entertaining to read – especially if you are already a fan of his previous works, such as Monster. If you are, you will quickly detect his touch in the story, based with realism and a sense of stakes. Like in Monster, Urasawa is able to maintain the sense of tension throughout the entirety of the manga – without a doubt, a feat. Moreover, the story is robust enough to sustain itself even without its main character – Gesicht. He shows, once more, why he is one of the most influential mangaka of his generation.
One of the main topics of Pluto is definitely the relationship between humans and robots, as well as Isaac Asimov’s Three Laws of Robotics – that are here elevated as rule of law. More than just a quick reflection, what Urasawa proposes is a deep questioning about emotions in robots, how emotions can create the perfect robot, how can robots love one another, how can they detect emotions, the mimicking of humanity as a way of integrating in human society, what is, in fact, being human, and, naturally, the role of memory in shaping the robots as individuals. Robot rights are, thus, discussed and are a central part of Pluto.
Robots don’t fit the story as enemies of humanity, nor as diametrical opposed to them. Instead, Pluto takes a step further and blurs the line between human and robot, friend and foe, good and evil – in the sense that evil requires a will, a intention, and an emotion.
One of the strong points of Pluto is the worldbuilding: from a federated Europe, where Germany takes a role, to a futuristic society, Pluto has it all. One also notes Urasawa’s tendency towards some Germanophilia – as is seen in some of his other stories – or, at least, his tendency towards putting German names and German cities in his stories.

Art – 9/10
Urasawa’s artstyle is always impeccable. The art that sustains the worldbuilding is stellar, full of movement, details and a great shadowing. Character design is rich and expressive; emotions are used with great proficiency. It is also quite balanced – i.e., it fits the world perfectly, with no over-the-top elements. There are almost no awe-inspiring panels, although base art is great.

Characters – 8/10
The cast is of great quality. Robots play a major role in the development of the story, although they bear emotions, complicating everything further. The bluring of the line between robots and humans – emotionless machines and creatures with emotions – is very relevant to development of the characters, and form part of several individual character arcs. Moreover, as already mentioned, and without going into spoilers the cast is able to sustain the story even without this main character.
There is also an element of playing God, where characters aim to create, through robotics, the perfect sentient being. This adds a degree of complexity to the pride and ego of the human characters.

Enjoyment – 8/10
The enjoyment of Pluto can only be high. The union of Tezuka and Urasawa is a perfect blend that keeps the reader hooked for hours. The story is filled with cliffhangers, being a thriller of great quality. Moreover, it makes us questions our relationships with robots, what makes us humans, and how emotions play a role in defining everything. For all these reasons, it can only receive a recommendation.

Stargazing Dog – Spoiler Free – Recommended

TLDR
Story – 6,5/10 – 6,5 x 0.275 = 1,7875
Art – 7,5/10 – 7,5 x 0.2 = 1,5
Characters – 6/10 – 6 x 0.225 = 1,35
Enjoyment – 8/10 – 8 x 0.3 = 2,4
Total: 7,0375 -> 7

Story – 6,5/10
Stargazing Dog is a story by Takashi Murakami. We follow the life and death of the main character – Happy, a dog. But don’t let his name deceive you: the story is anything but happy. It is divided into two segments: 1) the first, called Stargazing Dog, follows Happy’s life and subsequent death; 2) the second one, called Sunflowers, serves as an ... epilogue to the whole story. The first part of the story is much more emotional than the second one, with themes such as frailty of the human condition, regret, divorce, and pet loyalty – in this case, dogs. However, the second part is uninteresting and lighter compared to the first one – we are suddenly met with characters that we have no affinity for and don’t care about.
The fact that we already know what is going to happen in the beginning also removes some of the suspense that the manga could have had, making the ending less impactful.
The story is the definition of short but sweet, and the manga's length is justified in the overall scheme of things.
There are some unanswered questions in the plot, namely, what happened to the Mother and the daughter. This is, nevertheless, comprehensible since the story focuses on the fate of Happy and Daddy.

Art – 7,5/10
The art is sketchy and minimalistic, but fits the story's overall tone quite well. There is a good fluency of the panels and characters are easy to tell apart. There wasn’t much originality regarding page composition, but it is easily readable from beginning to end.

Characters – 6/10
Characters aren’t important in Stargazing Dog, as the story mostly focuses on Happy and his owner, Daddy. The dog fits the typical role associated with dogs: loyal, friendly, and cute. On the other hand, Daddy plays the role of a beaten-by-life character who only has his dog and not much else. There are also characters in the second part of Stargazing Dog, but, in all due honesty, they are void of any characteristics and only serve to further advance the tear-busting agenda that Stargazing Dog has from the get-go.

Enjoyment – 8/10
To be able to successfully pack a punch in such a short story is not an ordinary feat, although the second part is way less interesting than the main one. This is a very quick read that is definitely worth the little time it requires: it, thus, deserves a recommendation.

The Gods Lie – Spoiler Free – Mixed Feelings

TLDR
Story – 5/10 – 5 x 0.275 = 1,375
Art – 5/10 – 5 x 0.2 = 1
Characters – 4/10 – 4 x 0.225 = 0,9
Enjoyment – 4/10 – 4 x 0.3 = 1,2
Total: 4,475 -> 4

Story – 5/10
The Gods Lie is a mediocre story about how cancer ruins lives. While empathy is a big part of this story, there is none towards the characters whatsoever. The story is just too short for it to have any effect on the reader. It is, in fact, sad – none of it is happy – but that’s it. There ... is also some romance in the middle, but it plays no role of any kind. Verily, the Gods Lie seems to be a manga that is too filled with multiple ideas – be it grief, romance, or mortality – and is too poorly executed to be worth mentioning.
The beginning of the story – the best part of it, mind you – drops an emotional bomb on the reader as we understand what happens to the main character's father. For personal reasons, it almost made me cry, but the manga simply doesn’t elaborate much on anything. Again: it is not that it is bad, but it is just too short for its own good.

Art – 5/10
The art style is absolutely common for a manga. Character design is, at least, functional, and one can tell characters apart. The cadence of the panels is also not the best.

Characters – 4/10
The Gods Lie's main flaw comes to the fore regarding the characters: it is too short for anything to be of actual value. We accompany the main character – Natsuru –, but one feels that everything is rushed, where no empathy can be constructed. The overall background is a sad one, and the loss of a loved one to early in life does leave a hole in us; in this sense, the story is able to deliver its message through Natsuru.

Enjoyment – 4/10
The enjoyment is necessarily low, for it is not a great story supported by a great art style or an excellent ending. There is some shock value in the emotional side of the manga, but that’s it. Nevertheless, having to grow too fast while depicting innocence at the same time is a well-delivered message; for that, it deserves some recommendation. However, none of the rest points towards it, hence the mixed feelings.

Vinland Saga – Spoiler Free – Recommended – 28 Volumes Read – 214 Chapters Read

TLDR
Story – 9/10 – 9 x 0.275 = 2,475
Art – 10/10 – 10 x 0.2 = 2
Characters – 7/10 – 7 x 0.225 = 1,575
Enjoyment – 10/10 – 10 x 0.3 = 3
Total: 9,05 -> 9

Story – 9/10
... Vinland Saga’s story is a complex mesh of multiple elements: revenge, redemption, and atonement. It spans chronologically from the beginning of Thorfinn’s childhood into his middle 20s, where we follow his fate and those accompanying him. Some consider it as Makoto Yukimura’s magnum opus.
The world of Vinland Saga is a violent, brutal one, where one has multiple glimpses into what Viking life was like in the early 11th century. One is also introduced to the political scenario of the time and how the Vikings worked as military and political instruments of the Court. Thus, historical accuracy in Vinland Saga must be duly noted, which only enhances the manga. The mentioned characters in the manga also existed in the Sagas, which would probably have some literary liberties. There are also some elements of supernatural strength and dexterity in some characters, which play quite well in the overall tone of the original Norse Sagas.
Vinland Saga is an absolute page-turner from beginning to end. There is, however, one major leap of faith at the end of the Farm Arc (chapters from late 90s to early 100s), which partially ruins the experience. But one must not be deterred by it and keep on reading: you won’t be disappointed. In fact, the prologue of the manga – as in the sense of the Blacksword’s Man and Golden Age Arcs in Berserk – is definitely too long – encompassing the first Arcs.
Nevertheless, the story, as a whole, is quite engaging, entertaining and a delight to read. It is well structured, although the first arcs are worse than the latter ones. The fight scenes are common throughout the manga and are very well executed. The Arc in the Baltic, although interesting and filled with action, feels like a bit of a filler, for it doesn’t have much impact on the overall story, while the latest Arc – the Vinland Arc – is a masterpiece still in the making.

Art – 10/10
Vinland Saga’s art is just terrific and nothing short of amazing. The details are impeccable, highly polished, and every panel is a joy to look at. The backgrounds are incredibly made, and the landscapes are astounding. Fight scenes are mesmerising and very well done, as is the art as a whole. The cadence and fluency of the panels are outstanding. The character design is rich, and one can tell the characters apart. Violence is brutal.

Characters – 7/10
Although some characters have a high degree of change in their individual arcs – like Thorfinn or Hild – one must note that some versions of these characters are downright annoying – such as an early Thorfinn or early Hild. Moreover, Thorkell doesn’t have half the complexity it could, being more of a mad warmonger than anything else.
Even though there are flaws, most characters are well-composed, and some, such as Askeladd, are wonderfully so. The characters possess firm personalities, and there are distinguishable character development arcs in multiple instances. Some of them, such as Karli or Bug-Eyes, also serve as comic relief, and it works quite well.
The major focus in the character development of the series definitely lies within the protagonist – Thorfinn –, for he is the one who registers the biggest changes in the manga. Moreover, it can be said that Vinland Saga’s prologue is nothing more than an excuse to present his evolution as a character. Vinland Saga starts when Thorfinn finally finds the equilibrium and harmony between his sense of vengeance, his father’s teaching, and his life objectives.

Enjoyment – 10/10
Enjoyment can only be stellar in Vinland Saga. Being a manga that makes the reader addicted to it, it was one of the easiest reads to date; an absolute page-turner, it also rewards the reader with gorgeous panels and phenomenal details that fill the eyes. It has only one problem: it isn’t finished, and I need my Vinland Saga! An absolute recommendation, and it has everything to become a masterpiece.

Goodnight, Punpun – Spoiler Free – Recommended

TLDR
Story – 10/10 – 10 x 0.275 = 2,75
Art – 10/10 – 10 x 0.2 = 2
Characters – 9,5/10 – 9,5 x 0.225 = 2,1375
Enjoyment – 8/10 – 8 x 0.3 = 2,4
Total: 9,2875 -> 9

“Punpun understood clearly that there was no God. There was only a stagnant, rotten soul lying around without purpose.”
... Punpun - Vol. 6

Story – 10/10
There is no God and there is no purpose.
Goodnight, Punpun is widely considered Inio Asano’s magnum opus, and it is not without reason. The story is a perfect slice of life with (very) dark twists and turns. There is no better way to describe Goodnight, Punpun than through the quotes it produces, for they encapsulate the beauty and sadness of the story – such as the quote presented above.
The story follows the life of Punpun, who started as an 11-year-old boy from Japan, and his family until he reached his 20s. There are multiple plotlines, and not only that of Punpun’s. Although they aren’t bad by any account, the excellence of his plotline is rivalled by none in the manga. The weaker volumes are the ones that this plotline is less grazed upon.
In Punpun, when one expects a normal and happy slice of life, one is met by one of the most depressing stories in manga. This weight, which would normally just crush the reader, having no mercy whatsoever, is able to touch a variety of incredibly difficult topics, such as suicide, homicide, domestic abuse, or cheating in relationships and toxic relationships in general, in a surprisingly lightweight manner. One must say: the story is surprisingly dark, but, especially during the innocent phase of Punpun, it is able to contrast the carefree life of Punpun with a crushing world outside of his love stories and visible through his family.
The story, which is beautifully written, can be roughly divided into two: a first half and a second half, marked by Punpun’s independence. Both parts are great – without a doubt –, but the first half shows the dark side of his family magnificently while playing with Punpun’s innocence, while the second half doesn't contrast with his innocence anymore, being a more raw and stark approach to the whole story. It does fit quite well with the overall tone of the manga and Punpun’s life.
The final section of the story is an absolute page-turner – being propelled by one of the darkest moments in the entire manga. It is just impossible not to get addicted to the final chapters of Punpun.
The sentence “Goodnight, Punpun” also takes entire new meanings throughout the manga – and done superbly.

Art – 10/10
The art for Goodnight, Punpun is extraordinary and unique. The several depictions that the main character – Punpun – goes through are an excellent contrast to the detailed human characters. The characters are, thus, highly detailed and have magnificent designs, just in typical Inio Asano fashion – just like in Solanin. The scenarios and landscapes are breathtaking, for they are detailed and immersive. They are just a joy to look at.
The art is also quite graphic and sexually explicit, even though the stylisation of Punpun renders the final result differently than expected.
One fact that always remained was the depiction of adults as completely crazy people while he was a boy and even later on. This serves as comic relief and a reminder that the outside world is a wild game.

Characters – 9,5/10
The characters are completely believable, human and complex. They struggle with the same things and deal with the same problems as us. Asano’s character writing is anything but ordinary, exposing morality and complex philosophical issues with an elegance that is rare to find. One can also argue that their depiction of humanity in such a convoluted story is probably one of the best monuments to storytelling in Goodnight, Punpun. He, nevertheless, nails it almost perfectly.

Enjoyment – 8/10
Enjoyment is also high in Punpun, although not as high as the other parameters. Although entertaining and engaging, the story is heavy, very heavy, in fact. The constant switching between plotlines also doesn't help in the enjoyment, as the story becomes much better when it solely focuses on one of them. Moreover, the beginning and the end volumes are the best ones. But there should be no doubt: Goodnight, Punpun is a masterpiece and the perfect slice of life mixed with a coming-of-age story, enshrining Inio Asano as one of the most influential mangakas of his time. It more than deserves a recommendation.

Love Me For Who I Am – Spoiler Free – Recommended

TLDR
Story – 6/10 – 6 x 0.275 = 1,65
Art – 5/10 – 5 x 0.2 = 1
Characters – 8/10 – 8 x 0.225 = 1,8
Enjoyment – 6,5/10 – 6,5 x 0.3 = 1,95
Total: 6,4 -> 6

Story – 6/10
Love Me for Who I Am is more than just a love story and more than just a LGBTQ+ tale. There is romance, but it is quickly elapsed by the more pressing matter of sexuality and gender identity, whether through the main or secondary characters. Truly, what we have here is a story about the overcoming of ... obstacles that come with our self-knowledge of gender and sexuality. It is a story of acceptance and a story of accepting alterity.
First, there is transgender and non-binarity, which come right to the fore in the beginning, and then, later on, the lesbian question is brought up as well. All of this intertwines to create a deep story about the hardships of accepting ourselves.
The darker side of gender exploration – that of suicidal ideation and self-harm – is also glazed upon. Truly, it would have been strange for such a depiction of the LGBTQ+ community without its darker side, resulting from the confrontation between ourselves and a society that does not accept us. What Love Me For Who I Am depicts this journey quite well, this rite of passage that the LGBTQ+ community knows all too well.
The story also does a good job of depicting its topics from multiple viewpoints, not just that of the main character.
However, the story is too short to explore anything other than LGBTQ+ questions. Other plot lines, such as the love between the main characters and the café itself, are quickly resolved and relegated to the background.

Art – 5/10
The art style of Love Me for Who I Am is anything but extraordinary. It is ordinary, dull, and has a bad character design: it becomes tough to distinguish between characters, although the manga does a good job depicting the main character. Technically, the fluency of the panels is well done, making it quite easy to follow up on the story. The scenarios are mostly void, and the story happens in abstract – which is a perfectly sound option as well. The page composition is well done, although quite normal.

Characters – 8/10
Regarding the characters, Love Me for Who I Am presents us with a meaningful cast that greatly surpasses the main character – Mogumo. Verily, characters are the main aspect of Love Me for Who I Am – be it Tetsuo, Kotone or Mogumo’s sister. Them story uses them to present pressing matters and to develop the narrative, although they are somewhat archetypal. The author prefers not to develop most characters and just introduces another character when the story so needs to. The thing is that this move between characters is impeccable. This isn't to say that they don't develop any characters – being the main character a prime example of character development – for the story is based around them. The characters get the job done, and in that matter, they are well done.

Enjoyment – 6,5/10
Although it is an entertaining read, the enjoyment can't be too high. It is a story that fulfils its purpose of exploring non-binarity and transgender, but mostly the former, in both a hostile and friendly environment, as well as exploring the topic of love and romance within the LGBTQ+ community and how the different labels interact with one another. However, the story isn't much more than this. If you're looking for a romance, I wouldn't recommend Love Me For Who I Am. But what this manga offers you is something else: a fully engaged story on the LGBTQ+ community, mostly non-binarity, with slight romance and drama, mentioning suicide and self-harm in a humane fashion. For these reasons, and although it isn’t the best LGBTQ+ manga, it is a quick read that deserves to be recommended.

Nausicaä – Spoiler Free – Recommended

TLDR
Story – 9/10 – 9 x 0.275 = 2,475
Art – 8/10 – 8 x 0.2 = 1,6
Characters – 8/10 – 8 x 0.225 = 1,8
Enjoyment – 7/10 – 7 x 0.3 = 2,1
Total: 7,975 -> 8

Story – 9/10
Nausicaä is definitely an amazing story full of epic moments and even better plot lines. Without going into spoilers, the story can be roughly divided into two main sections, cut right in the middle: the first and second half. The first half is a little heavier and a little introductory to the plethora of characters, entities and the very geography of the world ... of Nausicaä, while the second half develops all of the things that were introduced in the beginning, being, in general, the better half of the story. Especially in the second half, there are memorable moments not easily forgettable by any account – and some of the most epic moments in manga history.
Nausicaä, in typical Miyazaki fashion, also tells a tale with an ecological message at its core. This message is ubiquitous throughout the manga and plays a major role during the conflicts – and, on one hand, it makes them just that: useless political strife that causes the death and agony of entire populations. The story is also brutal and incredibly violent: massacres, genocides, forces resettlement, violence, and war: Nausicaä has it all. Since it is action-packed, the reader has little time to dwell on any other matters, being constantly reminded of the brutal world that Miyazaki made.
There are many plot lines in Nausicaä, but definitely the one that got the best execution was clearly the one considering Nausicaä herself – which ends up being the main plot. The other plot lines seemed weaker in comparison – but in no way bad.
Another major aspect of Nausicaä is the impeccable world-building. Nations, empires, fallen kingdoms, tongues, different people, lore: Nausicaä has the capacity to encompass all of these aspects in its plot – and masterfully so.
Violence, Ecology and the Messiah: the three main keys to understand Nausicaä of the Valley of the Wind.

Art – 8/10
Nausicaä art is unique, although not stellar.
One can see that the art style is not made by a mangaka by nature but by an animator such as Miyazaki – there is a lot of movement in his art style. In compensation, the art is not that well-polished nor detailed. There are panels that look like more polished drafts than actually fully-fledged panels. The panels that are, indeed, detailed are drowned in it, making it a heavy read.
But Nausicaä's biggest problem is definitely its page composition skills – which are probably explained by the fact that Nausicaä was made in the 80s. He doesn’t organise panels by their importance, nor does he give emphasis – only rarely and more towards the final volumes of the manga. Basically, Miyazaki drew inspiration from French comics and not from his fellow mangaka. This is evident in his choice of format: an A4 page, in contrast to the much smaller pages that are used in manga. There are also true walls of text – pages filled with dialogue – although they are only a few instances of such and almost completely dissipate towards the latter volumes of the work.
All of these make his art a little hard to read. It is too heavy, and the reader has little space to breathe between the panels. There are also no overall scenery panels during fight scenes – which occupy a large percentage of Nausicaä’s panels. Panel fluency also has some problems, although not critical. This isn’t to say that the art is bad – not at all –, but it is far from perfect.
However, the art is semi-functional – if it weren’t so hard to read, especially in the first volumes – and they tell the tale well. It does get better during the second half of the story.
Nausicaä art is great, but one can see its influences and the weight of its age.

Characters – 8/10
Nausicaä’s characters are well-developed and have a firm personality of their own. More than just the protagonist herself – Nausicaä –, Nausicaä counts with a vast memorable cast that just leaves its mark, such as Kushana, Yupa, and even Teto, an animal! Miyazaki once more makes incredible female characters, such as Nausicaä and Kushana. In fact, they are the best characters in the entire manga, being almost polar opposites in the beginning. They share the spotlight and have epic moments, showing that the interaction of both philosophies – an ecologically driven, non-violent course of action and a bellicose path – results in the ultimate demise of the latter. Their character arcs reach new heights in storytelling.

Enjoyment – 7/10
Nausicaä does have some problems with the readability of the first volumes, which hinders the enjoyment of the manga; it either makes you get the deluxe edition for the full experience or makes you reread the manga time and time again. This is Nausicaä's most annoying aspect, without a doubt. In compensation, you have a fantastic story that you will rarely get in a 7-volume manga and also a good cast of characters. On a more personal note, when I point to Nausicaä problems, it doesn't mean I don’t like the manga – quite on the contrary, but it just isn’t problem-free. There is no doubt in my mind of the place that Nausicaä deserves: to be considered a masterpiece and receive an enthusiastic recommendation.

Frankenstein – Spoiler Free – Recommended

TLDR
Story – 7/10 – 7 x 0.275 = 1,925
Art – 8/10 – 8 x 0.2 = 1,6
Characters – 6/10 – 6 x 0.225 = 1,35
Enjoyment – 5/10 – 5 x 0.3 = 1,5
Total: 6,375 -> 6

Disclaimer
This review will only cover the Frankenstein story, as many compilations have more than just the aforementioned story. In this case, not all the additional tales that MAL indicates – The Hell of the Doll Funeral and Memories of Real Poop – are present in the edition I own (the second one is absent). Moreover, Frankenstein, by its size, deserves to have a proper review ... conducted without other short stories in the mixture.

Story – 7/10
The story is an interesting take on Mary Shelley’s original story of Frankenstein. It follows the troubles of Victor Frankenstein, creator of the Frankenstein – an artificial human being created from the corpses of dead people and resurrected through intensive research in Germany. The story deals with being human, loneliness, “playing God”, mortality and the need for company. It has almost, from a certain point onwards near the end, an element of terror: we never know if divine judgment will fall upon Victor. Other than this, the execution is of great quality and makes Frankenstein a work that is easily accessible to the broader Otaku public.

Art – 8/10
The art is typical for a Junji Ito adaptation. The cadence of the panels is also well done, making the story easy to follow. The monsters are “monsterish” enough to be believable, and one can easily associate a created image of Frankenstein with the characters that Junji Ito drew.

Characters – 6/10
The characters are simple and humane and fulfil their purpose. There isn’t, naturally, that much development in a 180 pages long adaptation. Other than Victor and Frankenstein, the rest of the characters are just there to fill the cast. The interactions between the two main characters are the only thing that matters for the story.

Enjoyment – 5/10
The Enjoyment is nothing stellar; it is just a good adaptation of a good story. It is simple and not over the top. For its simplicity, it deserves a non-enthusiastic recommendation.

Tomie – Spoiler Free – Mixed Feelings

TLDR
Overall: 6/10

Disclaimer: due to the nature of this work – a collection of short stories –, my normal parameters of Story, Art, Characters and Enjoyment with a weighted average won’t be applied. Instead, a global overview will be offered.

Tomie's probably one of Junji Ito’s biggest short story compilations known to date, even surpassing Uzumaki. Comprising almost 800 pages, Tomie’s stories are united by a common figure – a succubus called Tomie. Contrary to Uzumaki or Gyo, there isn’t a single story being told, but just an exploration of the adventures and capabilities of this succubus in her multiple forms. ...
Unfortunately, most stories are mid at best, without being scary at all. However, opposing some other of his larger stories, Tomie doesn’t have that many leaps of faith, for the simple reason that the logic inherent to the succubus rules out classical logic for characters. Her superhuman powers come to the fore, justifying the hysteria surrounding her; this is a common aspect in many of Tomie’s stories. It does make it, however, for some very predictable stories with a turn of the supernatural around the corner: men get enchanted by Tomie, and she either drives them crazy or commands them to do something heinous, and the story develops almost always with this premise in mind. The stories also aren’t memorable, with the few exceptions almost exclusively at the beginning of the manga.
Some stories, although fewer in number in comparison to Uzumaki, are also funny, such as in the last pages of Moromi – but there aren’t many, being much more serious than Gyo or even Uzumaki. In comparison, one must also state that Uzumaki is still the best of his longer stories, although the allure in Uzumaki was the small village and the spirals, here is the character.
In fact, one of the most more intriguing aspects of this manga is Tomie’s character design: her character is beautiful, seducing men at ease. The fact that she is a succubus makes sense with her design. Moreover, in terms of art, we have great panels, such as at the beginning of the Painter chapter, for instance. This touches on one may focus of Tomie’s success: her charm. The reader is charmed by the likes of Tomie; it has a certain donaire, a gracefulness that justifies its cult-like status. It’s not about Tomie’s stories that set it aside in the grand scheme of Junji Ito’s (very) long career: it’s the character’s elegance and eloquence; it’s the allure, the “je ne sais quoi” in Tomie. This is perfect for a character as ominous as her, and as Junji Ito’s greatest character to date – not that he is known for his complex characters. The remaining characters in Tomie – all of them, for that matter – play according to her tune and dance to her liking. They merely serve to fulfil her murderous and manipulative wishes.
Tomie, however, cannot be recommended for its stories, for they are mid; but while the character compensates for some of its shortcomings, a story without a robust narrative – or narratives and concepts, in the case of short stories – is nothing but a shell of itself. While the stories are worse than in Uzumaki, the character is definitely better. But it is doesn’t deserve more than a 6 – or fine – score. For these reasons, Tomie deserves a Mixed Feelings stamp.

Venus in the Blind Spot – Spoiler Free – Not Recommended

TLDR
Billions Alone – 7/10
The Human Chair – 5,5/10
An Unearthly Love – 2/10
Venus in the Blind Spot – 1/10
The Licking Woman – 2/10
Master Umezz and Me – 2/10
How Love Came to Professor Kirida – 2/10
... The Enigma of Amigara Fault – 3/10
The Sad Tale of the Principal Post – 1/10
Keepsake – 2/10
Overall: 3/10

Disclaimer: due to the nature of this work – a collection of short stories –, my normal parameters of Story, Art, Characters and Enjoyment with a weighted average won’t be applied. Instead, a global overview will be offered.

Venus in the Blind Spot is a compilation of ten short stories by Junji Ito, although this is definitely not why he is known to some as a master of the horror genre. Verily, most stories are downright bad. With the exception of the first one – Billions Alone –, and in some degree the second one – The Human Chair –, most stories are neither memorable, scary, gory, nor incite any type of feeling, such as with The Sad Tale of the Principal Post, How Love Came to Professor Kirida, Master Umezz and Me or An Unearthly Love, Others, while being not scary, are also quite funny, such as The Licking Woman, or touch once again upon the topic of the senseless mass hysteria, such as is found in Remina – in this case, the very Venus in the Blind Spot story. Only two stories are somewhat memorable: the famous The Enigma of Amigara Fault for its good and gory panels, as well as the sense of claustrophobia, and The Human Chair, for its concept. Other stories, such as The Sad Tale of the Principal Post, are just too short and dull to have any effect on the reader. On the other hand, the only good story in this book – Billions Alone – is eerie and has an interesting atmosphere.
Technically, the stories are comprehensible and the art is good, as would be expected from Junji Ito.
Junji Ito does have some good short stories; however, they are (almost) nowhere to be found here. For this reason, this book receives a Not Recommended stamp.