A peek behind the curtain

There are two universal truths in today’s rapidly changing comics industry. The first is that Dog Man is the defining comic of our era. The second is that more people are reading manga and Webtoons (aka vertical scroll comics) than ever before. Therefore we at Comics Beat have chosen to embark on a new venture: Beat’s Bizarre Adventure. Every week, three writers will recommend some of their favorite books and series from Japan, Korea and elsewhere. This week we have a pulse-pounding saga of manga stardom, an explosive WEBTOON action epic, and, of course, castle cakes.

BAKUMAN.

Writer: Tsugumi Ohba
Artist: Takeshi Obata
Translation: Tetsuichiro Miyaki
Publisher: VIZ

After the success of Death Note, Ohba and Obata returned with a series that poked fun at life in the Shonen Jump offices from the perspective of two up-and-coming manga creators: Moritaka Mashiro and Akito Takagi. These two formed a writer/artist duo not unlike Ohba and Obata themselves. The series navigated their remaining high school years, their hard work at developing successful manga, and their adult lives afterwards.

I haven’t read Bakuman. in a very long time. But I kept up with it from the start because I loved Death Note (and still do to this day). Plus, Obata is one of my all-time favorite artists. I still have fond memories of it, even if the series does have issues that were noticeable at the time and might feel worse for me now. Such as the so-so ending as well as Obata’s problems writing women.

Bakuman. does have a very colorful and expansive cast of characters that make this work pop to life. Each manga creator has a unique style of their own brought to life by Obata, who really gets to flex his muscles in ways that just weren’t possible in their previous team-up. It’s an incredible showcase of talent for Obata that is worth the price of admission alone.

Bakuman. is a peek behind the curtain of professional manga creation, even if it is heightened and exaggerated for entertainment. The story should be inspirational for creatives looking to make comics for a living themselves, even as it depicts some of the trials and tribulations that come with taking on that journey.

I think Death Note is the stronger story these two collaborated on, but Bakuman. still holds a special place in my heart. As for Platinum End, the third manga series by this team…well, despite my excitement I didn’t get very far into it before I had to call it in. Maybe one day I will give it another shot. — Derrick Crow

Ordeal

Story and Art: Brent Bristol
Platform: WEBTOON

I’d like to thank WEBTOON’s 2025 contest announcement for putting this on my radar. Starting as a self published series on WEBTOON CANVAS before making its launch on WEBTOON ORIGINALS in August of 2021, Ordeal follows the story of Che, a regular human determined to be the greatest fighter on an Earth populated by superhuman humans called “Kimyos.” (Think of Quirks from My Hero Academia, or the Mutants from the X-Men comics.) At first Che partakes in fight clubs for money, and is trained by a Kimyo named Leo Thomas. But when Leo is murdered, Che’s adventure truly begins.

I have never seen art this good in a webtoon before. Brent Bristol’s illustrations are so detailed, a mix between semi-realism and the likes of manga artist Takehiko Inoue. The fight scenes are so well paced and illustrated that they make my jaw drop. How much time did WEBTOON give Brent to pull this off? The detail, the shading, the post processing effects…I sometimes forget this is even a webtoon. If you’re looking to satisfy that post-My Hero Academia appetite with a series I am sure will amaze and inspire other artists, give Ordeal a read. Season 3 will be releasing soon so I’d advise catching up with one of WEBTOON’s gems. — Justin Guerrero

Kekkaishi

Writer/Artist: Yellow Tanabe
English Adaptation: Shaenon Garrity
Translation: Yuko Sawada
Touch-up Art and Lettering: Stephen Dutro
Cover Design and Graphic Layout: Amy Martin
Editor: Megan Bates
Publisher: VIZ

Read enough shonen manga and your eyes start to glaze over the moment you read the summary at the back of the tankobon. “What’s this,” you say. “A teenage boy hunts spirits on behalf of his family at school together with the daughter of a rival clan? How original!” Guilty as charged. Kekkaishi doesn’t just crib from the likes of Shonen Jump. It also borrows from fellow Shonen Sunday star Kazuhiro Fujita’s Ushio and Tora. You’ve already seen every beat this series has to offer so long as you’ve been reading manga for at least a year. Why, then, is Kekkaishi so good?

I’d credit Yellow Tanabe, one of the great underrated shonen manga artists. Her creepy monster designs would already be enough to distinguish Kekkaishi from its competition. But what sets Tanabe apart even from the likes of Kazuhiro Fujita is her range. She can draw Ghibli-esque nature gods, stylish humans and even monstrous killers straight out of Yoshihiro Togashi’s Hunter x Hunter. These beings all credibly exist within the same setting despite inhabiting such different registers. Variety keeps Kekkaishi fresh where another artist (even a very talented one) might hit diminishing returns.

Tanabe is very good at the brass tacks of boy’s adventure storytelling as well. The central “kekkai” (barrier) power is simple but can be applied in many different ways. The protagonists Yoshimori and Tokine have an enjoyable dynamic; and while cool older girl Tokine eventually yields the stage to the chosen boy Yoshimori, she at least stays relevant longer than most Shonen Jump series would dare.

Kekkaishi’s strongest trait aside from its art is its willingness to prioritize character over action. The first big arc ends not with the protagonist curb-stomping the villain, but with the antagonists conversing with one another while traversing a field of pampas grass. Tanabe pulled this trick years before Koyoharu Goutoge’s Demon Slayer asked, “what if the protagonist was nice to the monsters?” In fact, if you enjoyed Demon Slayer, I think you’ll love Kekkaishi as well. Now, if only somebody would license Tanabe’s other manga epic, Birdmen… — Adam Wescott

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