(7/14) An extended flashback sequence that unfolds with absolutely no dialogue is a particular stand-out, delivering pathos without a single word said. Masterfully done storytelling, all contributing to building up the characters we will be with for the long haul.
(8/14) I especially loved this somewhat horrifying panel where a little girl's imagination and a misunderstanding about a turn of phrase leads to the kind of imagery we would more likely see in a Junji Ito manga. A playful and memorable character moment.
(9/14) Seeing the bond that forms between the people coming together to help in the aftermath of the disaster is amazing, and the interactions between Asa and the townspeople she meets are by turns frustrating, hilarious and emotional.
(10/14) What starts with a kaiju destroying Tokyo, turns into a claustrophobic character drama, before blowing wide open and turning into a fist-pumping disaster story, with Asada Asa doing everything in her power to provide food and rescue to her flooded town, post typhoon.
(12/14) The reveal of a massive monstrous footprint among the carnage that has destroyed Nagoya is so wonderfully ominous, and the perfect through-line to the destruction that opened the book, set in present-day.
Had to
Me trying to socialize after quarantine ends
PASCAGOULA HUMANOID APPRECIATION POST
Me: The perfect character design doesn't exis- Rakshas from Berserk:
"Our Sister of the Cuts" woodcut - 1541 - Magdeburg, Germany - Artist Unknown
I love chainsaw man
The Thing comic appreciation post
I really wish this scene had made it into The Thing 1982, as it for sure would have been an incredible creature showcase, but also because the frankly vicious implications of having Nauls crying for help say a lot about what exactly happens to someone when they're assimilated.