#ajin manga

[stopaskingmetocreateanaccount]

HAPPY FUCK THAT OLD MAN FRIDAY TO SATOU AJIN AND SATOU AJIN ONLY 🎉🎉🎉

[rahuratna]

My obligatory post while watching (now reading) Ajin: Demi-Human

The antagonist is sort of ... stealing the show. His views are unhinged, but realistic in the scope of the show. Someone terrifying like this COULD exist, by the principles of what an Ajin is. And he's just ... compelling.

I don't want to spread terror and mayhem, by any means, but I do ...

Want to pull up like him, yes.

Do I like how he channels the unhinged? Yes.

Do I like how he follows through on every one of his promises? Yes.

(Maybe want to fuck this old man? Hmm).

Prime murder grandpa material. All with a congenial, farmstead smile and tip of his cap. I appreciate character writing like this far beyond what words can express. He's repulsive, monstrous and certifiably insane. YES.

[starapolo]

Ajin really is THAT bitch bc I finished the manga years ago and STILL think about the final Kei vs Satou confrontation, Death Note WISHES it had that peak of a second half

[wool-string]

He is so me

[angiiger4]

O

[aliensupersyn]

An Ajin Manga Review: Discussing the Art

Part 1: Art Style in Relation to Storytelling

I entered this manga not knowing the first thing about it. I was scrolling through Manga4life after catching up on Hunter x Hunter and came across Ajin on the highest rated filter. I read through the comments and saw the praises for the story. I was collecting a number of different titles to read through and chose Ajin to begin my series of readings.

Why did I choose Ajin as a starter? What stood out to me about Ajin was its art. For many mangaka, the art begins somewhat immature and the artist hones their skills throughout the serialization. For example, there's a noticeable change in Tokyo Ghoul, Bleach, Naruto, HxH, etc. Ajin began with a recognizably polished art style thanks to Gamon Sakurai. The lines were confident and the scenes were already challenging in a way a veteran artist might be expected to execute. I was grabbed immediately!

These two pages are both from the first chapter. Note the details on the folds of clothes, the sneakers, the officer's ear, and his uniform even. I have not come across many manga who's art begins with dramatic detail in the most mundane things such as clothing, at least not in such a way. I'm reminded of how in sports manga, the mangakas take a lot of time to detail a player's shoes, because those have importance to the sport itself.

To clarify, Ajin still went through a maturity in its art. Obviously, there was a change when the original writer Tsuina Miura left. With Sakurai having more control over the story, it's clear his change in story affected the characters and art style as well. For example, Kei Nagai goes from a rounder more doe-like appearance to sharper and straighter lines. His original design fit alongside his character portrayal as an innocent kid unfit for the severity of the story's premise; Kei was perhaps meant to be pitied in the original story.

After Sakurai became the writer, Kei changed into an untrustworthy character who could shift personalities, utilizing both the younger look of the first volume, and the more confident and mature appearance Sakurai had created. Sakurai says that after volume 1, he "tried to move the art gradually closer to [his] own style" (ch.83, pg. 82). I recognize Kei's purposeful tonal changes as a creative method to transition the manga into Sakurai's own style and design changes that he had decided for the story.

Below, this series of pages illustrate first the differences between Kei in volume one and two. Then, the ways Sakurai uses both the softer and sharper designs to convey a transition of his character.

Finally, in chapter seventeen, page seven, Sakurai commits to the shift and reveals this new design and characterization to be the "real" Kei all along. Nakano comes to the same realization as the reader.

Sakurai used Kei's earlier more pitiful appearance to show Kei's softer mask that he wore to hide his true, more cold and calculative nature. After the moment between Nakano and Kei, the later design remains more consistent and total. Personally, I enjoy the later design more than the first and what it implied for the story. Along with a change in Kei's character was a change to the story's tone as well. Sato became more devious, and so did Kei. These character changes, in a way, foreshadowed the extremes in which the plot would take as well.

Though, still I would have enjoyed the closer relationship that was foreshadowed for Kei and Kai. I mean, look at these pages and tell me you don't see a budding homoerotic romance on the rise!

To round out my thoughts, I enjoyed the first premise, but overall enjoyed the second premise even more. In the next review, I'll dissect Sato's character and how he was handled from an authorial point of view. I just needed to discuss the art style change and what it implied for the story, especially Kei, as he plays an important role for the overall tone of the story.

[origami10]

Ok send help I loved Ajin so much it was my favorite anime and I watched it so many times I lost count, but i've lost hope for it getting another season... where in the manga should i start? should i just start from the beginning? I've heard it's different so I'm scared

AJIN OuO

It is different, but I think you'll like the manga too!!

I think two main parts that are in the anime, but different, are manga chapter 22 (in vol 5) where Kei and Kou leave the small village they've been hiding out in, and the Forge building arc, which runs from about chapters 31~42. If you're really invested in skipping parts of it, I'd suggested starting from chapter 31, since that'll give you context for how the Forge arc and the later arc(s) are different.

(Also like everything after chapter 42 is different because none of the adaptations made it past then)

Personally I'd recommend reading from the beginning if you have the chance, I feel like a lot of what makes Ajin good is the character development, and there's small moments that feel like they could make a difference in how you interpret things.

Get ready for the whiplash in the art style in the early volumes, though!

(Also, probably not specifically relevant to your question, but I just heard Kodansha is going to do 3-in-1 print volumes of Ajin [in English] soon)

[mihonroll]

[pixelandstars]

Don't you think is kinda strange that in the anime they included Nakano x Izumi moments??

I mean. It was clear that Kou had a crush on her but in the manga he didn't show that much interest or at least I didn't notice.

[origami10]

re: tags from @theredheaddevil “His ma is the tru un empathetic queen ngl”

Final Round: Nagai Kei (Ajin: Demi Human) vs. Azula (ATLA)

[stopaskingmetocreateanaccount]

this panel is forever driving me insane. beyond the fact that satou took the time to make a miami vice reference in the middle of a firefight this line had extremely funny implications depending on how you interpret it bc it means that either

1.) he and his ibm share memories/information (most canonically probable)

2.) his ibm just. decided on its own to watch miami vice while he was letting it roam around

or 3.) he expended valuable energy for the express purpose of manifesting his ibm, sitting it down, and making it watch miami vice. while being hunted by the entire japanese government.

[cielettosa]

fanfics, headcanons, theories, fanons and fanarts keeps a fandom alive, even after it ends

[rahuratna]

This man is one of the most charismatic, fucked up, batshit insane antagonists I've ever seen.

Anyway, here's Sato casually passing his own body through a grinder so that he can regenerate himself elsewhere. THIS is how a villain makes an entrance 😂😂😂

Ajin: Demi-Human by Gamon Sakurai

File 35 - the man trap

[wool-string]

Someone brought up this scene and it got me thinking to this panel so like…. I wonder which phrase he actually says here… cause in another version I saw, he says “I knew I could count on you.”

Which sounds a lot more ‘Kei’

Him praising him like this just feels kinda off. But maybe he just got really excited?

If this was the actual translation, I’m sad Kou didn’t get a little giddy reaction to it. It’s the equivalent of calling a dog a good boy 😭 how is he not exploding with joy? Well he did get a lot more serious as the manga went on so…

But I did an essay on why they changed so much w/ each other since we saw Kou grow more serious and Kei a lot more comfortable ig? With Nakano after forge arc so I won’t get into that rn

[dailyfigures]

Takanashi Hikari ; Interviews with Monster Girls ☆ Kotobukiya

[aliensupersyn]

An Ajin Manga Review: Sato Was Never Defeated

Gamon Sakurai's weakest point in writing Ajin was that Sato was never defeated by Kei, but instead gave up in the end. Sakurai explains Sato as one who allows his sense of entertainment to lead his life. Sakurai demonstrates Sato's need for a stimulating challenge in chapter thirty when he endangers his extremely important rescue mission for the sake of fun.

He endangers all of his teammates as well as the rescued prisoner. The stakes that Sakurai has set here, which include multiple lives and Sato's career, encompass the sacrifices Sato will make to entertain himself. As a person, he will readily enter the most dangerous fires if it means he will have fun. Sakurai reiterates my observations with the final pages of chapter thirty, when Sato's dad reprimands him and tells him that life should not be treated as a game, or something trivial and taken lightly.

Sato's nature, to see life as a game, and his use of his own and others' to violently entertain himself, leads his motivations throughout the story. I argue that Sato only used the Demi-Human crisis as a conduit for his bloodlust. While such a point seems obvious on the surface, I mean to expel any possibility that he cares even a small bit for Demi-Humans and the growing violence against them. Sato, as a villain, has only one role to play within Ajin: to be the foil of Kei Nagai. Foil here means that both Sato and Kei lack empathy for other people, but they both presents this trait in different ways. Often times, foils are opposite of one another. The narrative focuses around Sakurai's exploration of a moral battle about human empathy. He uses the DH crises as a backdrop of the moral battle occurring between the two. Therefore, I argue that Sakurai uses Sato and Kei Nagai to demonstrate how human rights crises can often be used as covers for battles between powerful individuals' egos.

Throughout the narrative, Sakurai places the general public and the government's focus directly on the Demi-Human humanitarian crisis in Japan. Journalists and political activists argue about the violent extent of anti-DH laws. In online forums, regular people react to the news and viral videos about DHs; some joke, but most refute the idea that DHs face any sort of violence while within government custody. Actual government officials take Sato at face value and argue to ignore Sato's demands and focus on continuing their cruel behavior. The government then aims to more harshly punish and violate DHs in reaction to Sato's crimes and demands.

Through pages such as the ones provided, Sakurai demonstrates that Sato nor Kei act as the government and public's main concerns. Instead, Sato nearly single-handedly fuels Japan's arguments and attitudes about the DHs. Sato's claims of the government torturing DHs, his terrorist attacks, and his online uploads only inspire Japan to focus on DHs, not himself, as a subject of discussion. The discourse hinges on the questions: what does Japan do about the DHs?; are they allowed to live fulfilling lives?; should the government more viciously hunt DHs down? Sakurai depicts a Japan that says yes. The DH Control Bill represents an oppressive government's readiness to punish all those who they feel do not belong in their society. Sakurai also heavily criticizes governments' ties to corporations and the greed that prospers between these institutions. While the government denies that DHs were ever tortured, they also expeditiously pass laws that punish any and all DHs in reaction to one person's terrorism.

Despite his blatant commentary on the ways a society can trample on the human rights of oppressed groups, Sakurai focuses Ajin's narrative on Sato and Kei more than anything. All the details expressed above occur in the background of the narrative.

Japan denies that a DH human rights violation has occurred, while simultaneously denying DHs humanism. Throughout the narrative, the government takes egregious actions against DHs. Sakurai rarely shows any DHs beyond the main cast that suffer from these laws. Kei’s death in the first volume and Izumi’s backstory does show the reader the public’s general knowledge that DHs can be turned in for a ransom. Yet, beyond Izumi and Kei, Sakurai does not depict any other DHs fleeing or suffering from the violent laws being passed in the background of the narrative.

Sakurai has no need to show any background stories of DHs suffering. The story focuses on the battle between Sato and Kei most of all. Each story arc revolves around conflict between Sato and Kei. Every other character involved may be seen as simply being collateral damage in the battle between the two of them. Sakurai does not need to depict any other DHs suffering from the aggressive and violent laws made to oppress them, because that's not the point. Sakurai purposely depicts a society caught in the midst of an ego battle between two people. Chapter thirty-one begins with a neat illustration of my argument. The DH rights crisis appears in the literal middle of illustrations of Kei and Sato's battle of egos.

Sato's terrorist attacks act as nothing more than extensions of his own ego. As argued above, Sato does not care even a little about DH rights. He uses the DH humanitarian issue as a catalyst to fuel his need for bloody entertainment. Sakurai overtly depicts Sato as a character with no regard to the importance of life at any capacity.

Sato's bloodthirst and role as an aggravator for a humanitarian crises sets him up to be a morally bankrupt symbol of militaristic power. He pretends to act in the interest of an oppressed minority group while actually only satisfying his bloodlust. Sato's defeat therefore represents a victory in favor of the defense of life and its importance. Also, an expulsion of false actors in the fight for oppressed peoples' freedom from oppressive governments. More on the implications of Sakurai's ending later.

Sakurai uses Kei to depict his idea of what a struggle between an emotional and purely "rational/logical" perspective of the world looks like. I place rational and logical in quotations because even in-narrative, this terms takes on different meanings. At one point, a rational decision means acting in one's most favorable odds of success. In another moment, Kei breaks this rule and declares it to mean acting in a way to gain more favorable odds for one's goals. Instead, I will refer to the "logical" side of Kei as lacking empathy, because that's what Kei's attitude actually demonstrates.

Kei wants to be cold and distant. He feels life would be easier if he could be aloof and above any emotional issues that naturally occur in relationships with other people. He pretends to be above emotional responses to other's pain. In a way, Nakano acts as Kei's foil just as much as Sato. If Sato represents Kei's inability to completely detach himself from his natural empathy, Nakano represents Kei's inability to fully tap into his those feelings. While Kei lacks empathy, he does not see life as a game like Sato does. Kei still believes in an inherent value in life or being alive. Kei still goes out of his way to help others, even when it inconveniences him and his plans. For example, Kei returns to save the grandma who he stayed with, even though he was ready to escape with Nakano and leave the countryside behind. He refuses to explain his actions to Nakano, or even show himself to the grandma, revealing the selfness nature that he shares with Nakano.

Nakano consistently commits to selfless acts in the name of simply helping people. He expects nothing in return for his deeds, nor does he ever express a desire to be seen as a hero. Nakano cries for the sake of the others who have died, and who will die, declaring that he will always give his life to those who need him, no matter what.

Nakano represents Sakurai's idea of an extreme empathy for other people. He seriously considered Sato's proposal to improve the lives of other DHs, and once that was proven false, he committed himself to stopping Sato's terrorism, exemplifying his highly empathetic nature for other humans. Kei rests at the center of extremes that Sato and Nakano represent. Sakurai uses Kei's mother to demonstrate Kei's personal conflict between a cold demeaner and empathetic reasonings. In the second panel in page twenty-eight, Kei's mother even directly rebuffs Nakano's desire to care for everyone. Sakurai purposely places Kei in the middle of Sato and Nakano's empathetic extremes.

Instead of focusing on Kei as Sakurai's exploration of a balanced moral code, I want to shift focus back to Sato's end. I have thus far agued that Sato never cared about any other DH while he committed terrorist attacks. To reiterate my argument, I have shown evidence that Sakurai's depiction of the DH humanitarian issue plays a background role, while Ajin's narrative instead focuses on the battle between Sato and Kei. Sato's attacks only end on one condition: once he gets bored. He does not complete the hit list because he gets bored of it, same with the suicide plane attacks in the last arc. His motivations center around his need for violent entertainment, which Kei's challenges stimulate. In the end, when Sato is stopped, it's only after he's done doing everything he wants. Essentially, Sato does not lose, he simply satisfies himself. He reaches game over of his terrorist attack speedrun.

Sato's self-inflicted game over does not meet the stakes Sakurai set for Sato as a villain. As I argued above, Sato's defeat represented a victory in favor of the defense of life, and an expulsion of false actors in the fight for oppressed minorities against oppressive governments.

Given that Sato represents the worst of humanity, a powerful being with zero empathy for others, I find it distasteful for him to be allowed to commit egregious acts of terrorism on a whim and hardly suffer any consequences. Sato's unconscious body only receives an indefinite prison sentence. Because Kei simply knocked him out, Sakurai alleviates Sato of having to directly face any moral judgements from other characters. The rest of the cast do not get to voice their grievances directly to him. Honestly, it's not like he would care one way or another anyway. Sato reads to me as a power fantasy character. Not to say that he's Sakurai's power fantasy, or a projection. Just that he fits the model of one (extremely capable and undefeatable). Sato doesn't care about laws or consequences of his actions, and instead solely cares about his own entertainment. Not his own well-being, or anyone else's.

Sato allowed Kei to rush him into the river and possibly knock him unconscious. In the end, it was his decision to be caught. He was never defeated. He simply gave Kei the chance to win on the foundation of a desperate wager.

What does it mean for Sakurai to create a story in which the morally bankrupt type of human never loses? Ajin depicts a small group of humans attempting to save Japan from a crazed terrorist desperate to make the entire country his bloody playground. Sato spits in the face of people who genuinely care about the DH crises around the world. Sakurai criticizes Japanese media and government as immoral and corrupt institutions throughout the entire story. Finally, he depicts their violent murders at Sato's hands.

I do not have any extreme take to attach Sato's non-defeat too, and I won't make any wild arguments about Sakurai's politics considering the unserious and exaggerated tone of Ajin. But I will say that as a reader, Sato's non-defeat weakened the story for me. Sato's ending weakens every other character's, especially Kei's. They appear to me as people who luckily maintained some semblance of dignity instead of triumphant warriors who took down a morally bankrupt mastermind who unnecessarily endangered a minority group of humans.

I enjoyed Ajin, but I would not read it again. I personally do not find enjoyment rooting for Sato, but instead against him. When the stakes for his death were so thoroughly raised, Sakurai's decision for Sato to never actually be defeated spoiled those expectations I had for a narrative about the importance of human empathy.

Officially, I give Ajin a 6/10. Hope you enjoyed reading!