DESCRIPTION

CAST

CHAPTERS

MANGA ActionShin Kozure Ookami: Lone Wolf
MANGA ActionKubikiri Asa

REVIEWS

• 

  Harunobu

  80/100
  A look into the ethics of the bloody tale of Lone Wolf and Cub

  __Meifumado and the Rejection of Bushido__

  Considered as one of the quintessential works in the medium of manga, Lone Wolf and Cub tells the story of a rōnin and his son as they travel to different places in order to attain revenge against those who have wronged them. The manga follows the same basic structure for each chapter. The rōnin accepts money (most of the time) to kill people, and things almost always end in bloodshed. The story is one that is quite bloody and sexually explicit in nature, and the protagonist is basically depicted as an unmatched warrior. The manga does offer qualities which make it a literary epic, but to conclude it at that, however, would be too reductive of an act, because the most interesting aspect that arises in the story of Lone Wolf and Cub is the examination of bushidō and the presentation of the dichotomy in the ethics of those who follow the code and those who do not.

  _Son for hire, sword for hire_

  ---

  The most important question to answer first is 'what is bushidō?' Bushidō is essentially the precepts of knighthood which were fundamental in dictating the ways of the warrior. Core to this code of bushidō is a set of virtues which called for warriors to strive for in active living and sacrifice — much like a religion itself. These virtues are righteousness, courage, benevolence, respect, honesty, honor, and loyalty. Bushidō back then was, in a sense, a transactional system under a feudal one. Samurai would receive benefits for their duties given by their lords, and to go against or fail the given duties would result in suicide or otherwise known as 'Seppuku' or 'Harakiri.' But bushidō was not a code that embraced quid pro quo rewards, as samurai often valued loyalty over wealth.

  _Seppuku as depicted in paintings_

  Bushidō is not the only way of life present in Lone Wolf and Cub. In fact, the protagonist (Ogami Itto) and his son (Daigoro) follow a path that may at first seem not so different from bushidō. That path which is called 'Meifumadō' is the path of hell. It was coined in the manga as something of a Buddhist term and it differentiates from bushidō in that it frees the follower from the restraints of duty and fealty, allowing Itto and Daigoro to kill whomever they'd like to kill. The choice to follow this path was a result of the culmination of events that led to a tragedy. Itto who was once an esteemed executioner was framed for the event and told to commit seppuku, but he refused. He instead chose the path of the meifumadō and so too did his son.

  

  ---

  Throughout the story, we are given episodic tales that often end in bloodshed or are about the virtues of bushidō. Stories like that of a feudal lord who is indifferent to his people because he hoards their food and water, and a tragic romance between a prostitute and a rōnin are what makes this manga interesting. But the stories that stain the code of bushidō are the ones that elevate the story to another level.

  What is so interesting about certain stories in this manga are the ways in which the characters in them stain the code of bushidō, yet preserve the virtues in a way that thereby perfectly exemplifies them. A chapter entitled Cloud Dragon, Wind Tiger is a good example of this. In it, Itto is tasked to kill a rōnin named Makabe who has been living by the river for four years after his lord had died. Not wanting the resting place of his lord to be sullied, Makabe kills those who go against his wishes. What is odd in this case is that Makabe should have already committed seppuku in order to follow his lord in death, but he did not do so and thus gets mocked for it

  

  Makabe's disloyalty lies not only in his refusal to follow in his lord's death but also in the fact that he refused his lord's request to kill Itto in a duel four years ago. The duel was the lord's last request to Itto and Makabe before his execution, and so if Makabe had killed Itto, then it would have resulted in a battle between clans. Yet for the lord to even die before the battle would be dishonorable, therefore leading to Makabe's refusal to kill Itto.

  

  This disloyalty; rejection of the status quo and social order ultimately transcends to become a perfect manifestation of loyalty. It is one of many tales in the manga that depicts how complex bushidō is, as even though samurai had a high regard for veracity, interpretations of the code were not merely viewed as simplistic all the time. Furthermore, even Itto himself becomes a great manifestation of the set of values that he antagonizes. Itto is someone who is willing to protect the lives of strangers no matter their social class, even it meant endangering his own life. Like Makabe, Itto himself is still a samurai who exemplifies the virtues of bushidō even if he rejects it. In a certain chapter entitled Black Wind, Itto assumes the life of a farmer in order to pay honor and respect to an innocent woman he had killed. But for a samurai to assume the life of a farmer would mean degrading one's self to a level in feudal society that is deemed to be very low. Yet Itto did it anyway out of an act of honor and respect even it also meant going against those two virtues. Throughout his epic journey, Itto faces other warriors who, like Makabe, challenges the ethos of the warrior and puts into question the intrinsic nature of bushidō and what exactly each virtue means. While most warriors do end up dying at the hands of Itto, the story is deeply layered in that it presents us with character views that differ from Itto's even if some of those views juxtapose with the protagonist's to form the same identity like the differing notions on what exactly honor means.

  ---

  Should you read it?

  If you're fine with a lot of sexual content and bloodbaths then YES! I've talked so much about Itto that I almost forgot about his son Daigoro. He's also a very important character in the story, as we get to see him go on individual journeys and his father also counts on him to watch his back. I can't recall him saying anything else other than "Papa!", and he doesn't even speak that much, so it can sometimes come as a surprise when he does. He has that eerie death stare like his father, but he's still generally depicted as being innocent for large portions of the manga. That innocence and largely observant nature that is characteristic of Italian Neorealism are interesting aspects that he adds to the manga, so again, it can come as a surprise when he sidesteps away from an observant role and participates in things like bloody battles.

  

  Also, the art is gorgeous! Coupled with a sense of gritty realism (mostly due in part to the use of thick lines) is a style of framing that seems to have been inspired by the cinematography of Akira Kurosawa, a director who was known for the style of movements in his films.

  

  While Itto is seen as a demon by many characters in the manga and has a death stare that would fit him well into a Western film, his actions are undertaken not because he simply wants to kill, but because of other more complex reasons. He and his family are victims of a corrupt feudal system that has taken the lives of many, and political intrigues mar (in a good way) the manga in both its episodic tales and the incredible finale. Lone Wolf and Cub is not just merely an epic journey of revenge. It deals with politics, spirituality, and ethics in order to tell a story of not just Itto and Daigoro, but also others in various sectors of society who were all under the Japanese feudal system of the 17th century.

  "What do you think of farmers? You think they're saints? Hah! They're foxy beasts! They say, "We've got no rice, we've no wheat. We've got nothing!" But they have! They have everything! Dig under the floors! Or search the barns! You'll find plenty! Beans, salt, rice, sake! Look in the valleys, they've got hidden warehouses! They pose as saints but are full of lies! If they smell a battle, they hunt the defeated! They're nothing but stingy, greedy, blubbering, foxy, and mean! God damn it all! But then who made them such beasts? You did! You samurai did it! You burn their villages! Destroy their farms! Steal their food! Force them to labour! Take their women! And kill them if they resist! So what should farmers do?" - Kikuchiyo (Seven Samurai)

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• 

  StorLucilfer

  100/100
  Meifumado: Existence in the Interstice

  ---

  Honour & Duty
  Life & Death
  Revenge & Retribution
  Father & Son
  Wolf & Cub

  ---

  

  ---

  Introduction:

  The Samurai: history's greatest warriors, or glorified soldiers? Loyal defenders, or self-serving cowards? The samurai have been painted in different ways throughout history, both at the time of their prevalence and long after their day. From a literal standpoint, they were just paid retainers of the Daimyō (大名), but they have somewhat transcended that definition. There are multiple reasons for this, one of which is their way of life, or Bushidō (武士道), which I'll talk more about later. Another is pop culture and the different depictions of samurai in narrative mediums. From the classics in Japanese cinema to modern anime, and even Western takes on the subject; there has been many creators who have tried their hand at a samurai story. Amidst the rest, is a manga series, that I believe to be the greatest samurai story ever told. This manga is Lone Wolf and Cub.

  Lone Wolf and Cub was a monumental series - a collaborative project between Kazuo Koike and Goseki Kojima, both of whom are sadly no longer with us. Often lauded as a classic and exemplary work that showcases just how good manga can be. It was a series that along with some Western comics (Maus, Watchmen, The Sandman etc) proved that comics were not a child's medium and could enjoyed by mature audiences as well. There are a lot of aspects of this manga that I wish to talk about so this may end up being a mess, I apologise in advance for that. This review will have a couple minor spoilers but nothing that would affect your experience.

  ---

  Story:

  LW&C has a grand narrative - one that will leave you thinking for a while. In addition to the main story, the series has a multitude of short stories due to the episodic structure. Both the overarching plot and the short stories have deceptive levels of complexity -- full of nuance and detail. The writing of the series gets consistently better as it goes on, enrapturing you more and more as you read. The last fifty-chapter stretch in particular is amazing.

  The main story is built almost entirely around three characters; some other characters contribute but the focus is always on three in particular. Additionally, one of those three only appears every once in a while. So, as you can probably guess, the story takes a while to be fully realised. It is all worth it though, as the way the plot threads are tied by the end is nothing short of masterful.

  The episodic chapters are also a treat. Many feel like the plot of an epic samurai movie while some are a little more heartfelt, all serve their purpose though. Much of the character development is found in these short stories, especially the relationship between the two main characters, Itto and Daigoro - which is a fascinating dynamic. For this reason, these short stories should not be overlooked. I love the variety of them in particular; you go from seeing Itto slaughter a trio of assassin brothers or carrying out the last wish of a legendary gunsmith, to seeing Daigoro being taught how to swindle strangers or getting accidentally caught up in the murder of a noblewoman. Each story is enjoyable and presents its own ideas and themes.

  ---

  Characters:

  As mentioned prior, there aren't many major characters. In accordance with their relevance and screen-time, there are two main characters - Ogami Itto and Ogami Daigoro - and two major characters, Yagyu Retsudou and Tanomo Abe.
  
  Ogami Itto
  
  The Protagonist of The Story. The Killer Who Walks the Assassin's Road. The Lone Wolf.
  A wonderfully layered character - a true samurai living in a decadent samurai society. He was once the Kaishakunin (介錯人) for the Shogun himself, his duty was to behead treacherous daimyō. His important duty and reputable position would not last however, as he was framed for treason as well as having his wife and retainers murdered. I won't tell his life story verbatim but instead of accepting the order for seppuku (切腹), he decides to walk the assassin's road with his recently born son, Daigoro. Itto is a deep and multifaceted character and following his journey is both heart-breaking and eye-opening.

  Ogami Daigoro
  
  The Son of Itto. The Innocent Boy in the Midst of Death. The Lone Wolf's Cub.
  Daigoro is difficult for me to talk about, much of his character can only be understood through experiencing it, especially since he rarely speaks any words other than 'Papa'. His development is all through actions and narration. All I'll say is some of his moments are incredibly sad and poignant, as seeing such tragedy through the eyes of a child is an unsettling experience.

  Yagyu Retsudou
  
  The Antagonist. The Mind Behind the Slaughter. The Nemesis.
  Another nuanced character and a great foil to Itto. Due to his lack of screen-time, it takes a while for his character to get going but even from the start, he had a presence in the story. Whenever he appears, you feel the tension.

  Tanomo Abe
  
  
  The Thorn. The Glutton. The False Samurai.
  Abe acts as a complete opposite to what samurai are usually perceived to be. The idolised image of samurai is completely pissed on by this man, and I love it. You will hate him for every scene he's in, but by the end, you may harbour an odd admiration for him.

  ---

  Art:

  As you've seen from the several pictures in this review, the art is great. Doesn't quite possess the sheer detail of Miura's Berserk, nor does it have the landscapes and flowing beauty of Inoue's Vagabond, but it has its own charm and character.

  The art itself is consistently good, but at the beginning of most (if not all) chapters, there is a slightly different art-style that focuses more on shading than lines. These sequences are particularly gorgeous.

  

  One aspect I think Kojima excels at is fight scenes. I believe he captures the nature of a duel to the death very well; the fights all feel raw and visceral as a result.
  

  ---

  History:

  This isn't usually a part of the criteria I'd discuss when reviewing a series but it's so significant and relevant in this manga that I think it deserves a mention. When reading, it's clear to see the time and effort Koike put into recreating Edo-Period Japan. Some series may give you a history lesson, LW&C gives you a whole university lecture. A specific aspect of the historical side of this manga is the terms and words used. A lot of the words used don't have proper English translations and so the original is used. This includes the names for many sword-styles like Suiō-ryū (水鷗流 居合 剣法), which is practised by Ogami Itto. This adds a level of immersion and realism not found in many other samurai series. Most of the time, samurai series are samurai series in name alone; not much is put into giving it the feel of a samurai story. Some are deliberately like this however e.g. the anachronistic Gintama and Samurai Champloo. LW&C really makes you feel like you are in Edo-Period Japan amongst the samurai.

  ---

  Themes:

  The series covers many themes and projects many ideas. Most prominent of these is revenge. The whole plot is centred around Itto's lust for vengeance against the Yagyu, so this obviously takes the forefront in the story. Revenge is presented very uniquely in LW&C, making a simple story and theme very captivating as a result. It goes to show that execution is just as important, if not more so in certain circumstances, as the idea itself.

  Another of the themes is the image of samurai. For example, take the 1954 classic 'Seven Samurai' by the legendary Akira Kurosawa. I believe this movie represents the best of the samurai. Seven wandering samurai risk their lives for some poor farmers who offer nothing but a few bowls of rice. They showed bravery, honour, and skill - everything the samurai are idolised to be. On the contrary, Masaki Kobayashi's 1962 film 'Harakiri' did the opposite. It showed the declining state of the samurai, shown by the feudal lord's cruelty and his retainers' unquestioned loyalty despite the remorseless judgment of their lord. Both films show the pros and flaws in the samurai way. LW&C possesses this theme as well. The good of the samurai is shown through Itto's actions. While this may seem contradictory due to his occupation as an assassin, in reading you will see Itto carries the soul of a true samurai despite discarding bushidō. The bad of the samurai is seen through the corrupt government, shadow organisations, and mistreatment of the peasant stratum. Bushidō itself is shown as a paradoxical paradigm, as a lord could give an order that betrays the way of the samurai, yet refusing the order would also betray bushidō, which is very focused on loyalty to one's lord. There are times however when this is reversed, showing that there is still some true samurai left, even in the government.

  Lastly for themes, I'd like to briefly talk about a concept unique to LW&C: Meifumado. Meifumado is made up of two existing words. The word 'Meifu' (冥府), which roughly means the underworld, and the word 'Mado' (魔道), which has several meanings - mostly translating to a way of life characterised as evil. This means the combined word roughly translates to 'Road to Hell'. Some of the nuance of the word is lost upon translation but that's the case with a lot of Japanese series unfortunately. I find this concept to be extremely cool, especially how it is a direct counter and renunciation of bushidō, which adds even more depth to Itto as a character and to the series as a whole.

  “Though we become the demons of Meifumado! Though we claw flesh and drink blood, reduced to bone we will transcend the six paths and the four lives!” - Ogami Itto

  ---

  Conclusion:

  There's still so much I could talk about, but I don't want to spoil anything major for any potential readers; it is best experienced blind.

  This series, especially the final volume, left me mentally and emotionally exhausted, and despite how ground-breaking and iconic it is in the industry, I don't think it has the popularity it deserves in the community.

  I implore all of you to read it, it truly is a masterpiece in every sense of the word. If this review convinces just one person to pick it up, I'll be content. Thanks for reading.

  
  by Artigas on DeviantArt

  'Assassin! Lone Wolf and Cub!
  I come for your life!'

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• 

  NapoJ

  100/100
  Padre e hijo en búsqueda de la venganza (reseña en ESP y ENG)

  La siguiente reseña está en Español e Inglés (traducida con el apoyo de DeepL)
  La versión leída es la traducción al español por Riki_Oh

  Español

  La historia se desarrolla durante el Japón feudal, de señores y samurais, no se brinda una fecha específica, más podemos suponer que sucede entre 1700 - 1800 dada la posición de Itto (Kogi Kaishakunin) o la evolución en la presencia de elementos característicos del intercambio cultural europeo (las armas de fuego), aunque otros prominentes aspectos como el clan Yagyu tuvieron su relevancia durante 1500 - 1600, por ende, recalcando lo evidente, es ficción que utiliza elementos históricos para dotar de “realismo” a su narrativa.

  Estructurado en formato serial, con un hilo principal narrativo presente cada cierto tiempo en capítulos dedicados a lo más esencial del viaje de venganza de padre e hijo hasta que acaparan la recta final. Mientras que las historias seriales tienen el propósito de afianzar la construcción de su contexto histórico en lo social o espiritual, además de contener elementos narrativos que serán de importancia para la venganza.

  Durante los capítulos episódicos se exploran las diferentes facetas de Edo, haciendo notable la extensa investigación conseguida por su autor, Kazuo Koike, para la representación de una época de completo interés si alguna vez te ha sido atractivo el “Japón clásico”. En esas historias secundarias hay magos, comerciantes, prostitutas, los antecedentes de la yakuza, agricultores, criadores de aves, monjes, pescadores, ninjas, o por supuesto, samurais y ronins. Por medio de todo tipo de situaciones conoceremos algún desconocido sector de la antigua sociedad, cada una teniendo en común la misma temática en cuánto a su estructura, la venganza.

  

  No sólo el dúo protagónico está en su viaje de venganza, en la mayoría de situaciones las personas con quienes se topan tienen su propia venganza. De ahí que sea una travesía hostil y violenta, la brújula moral no está demarcada sobre la construcción occidental de valores como el perdón o amor, prima el honor y el deber provenientes (mayormente) del confusionismo japonés, denominado “Bushido”.

  De hecho, varios capítulos están dedicados a ser una reflexión filosófica y espiritual acerca del camino del guerrero y la ruta de venganza de padre e hijo. No soy lo suficientemente conocedor en religión oriental para afirmar que lo he entendido por completo o cercano, más tampoco me parece correspondiente calificarlas de inentendibles o pretenciosas. Su presencia en la historia es fundamental, aún si no entiendes completamente lo implicado, si captas la solemnidad de lo descrito.

  Para los personajes secundarios que participan durante cada trama episódica se utiliza lo necesario en lo justo para entender las capas que les conforman, el realismo también es conseguido por caracterizarlos como tal, de personajes y no únicamente excusas para el enfrentamiento episódico. Siempre se entiende por qué sucede la venganza y en que afecta a sus involucrados, ni tampoco hay una visión pesimista o detrimento de quiénes vivieron en la época, las historias se permiten, de vez en cuándo, atisbos del amor, cariño, piedad y lealtad, el lado amable de la humanidad. En conjunto, cada capítulo es tratado con tacto y dedicación, convirtiendo lo sucedido en creíble.

  

  Y es importante ese realismo en lo humano para contrarrestar el desarrollo de lo espectacular, específicamente, Itto es tan buen guerrero que podría afectar el interés en las peleas debido a la falta de peligro y riesgo. Una de las formas para evitar el desgaste del lector frente a las frecuentes peleas, es la amplia versatilidad en cuánto al enfrentamiento y cómo sucede. Katanas de todos los tamaños, variedad de lanzas, o las armas especiales de Ninjas y autoridades; en la versión que leí se incluyen extensos comentarios sobre las armas utilizadas, la forma en que eran usadas y quienes las empuñaban.

  Durante la travesía hay un ambiente generalizado de decaimiento, pérdida de los valores tradicionales y temor al futuro, si bien su principal propósito (posiblemente) sea caracterizar todavía más la rectitud y costumbrismo de Itto, al haber tanto realismo involucrado en la construcción de su mundo puede que una de las consecuencias inesperadas es la proliferación del típico pensamiento “todo tiempo pasado era mejor”. Sea o no intención del autor, me gusta que, sin importar la época, las personas siguen siendo personas.

  Los mejores ejemplos son el trío protagónico, Itto con su actitud seria e ideales inquebrantables está en línea con el propósito de la historia, llamado por varios personajes “el último samurai”, alguien quien respeta las lecciones del Bushido a cada momento y acción hasta donde se lo permite su propio camino de venganza. Tener un carácter inquebrantable e inspirador también es una forma de complejidad y realismo, justificando su constante fuerza a lo largo del manga.

  

  Diagoro es meramente un niño, su evolución es de madurez a temprana edad, imitando y luego asumiendo los ideales que observa en su padre, llegando a participar en varios de los esquemas de asesinato. La representación de la inocencia perdida de quienes son obligados a vivir en un entorno hostil, a la par de como aún puede haber rectitud e integridad entre los que crecen en medio de la violencia.

  Sin embargo, mi personaje favorito es el villano, Retsudo Yagyu, la cabeza de la familia “Yagyu”, el único culpable detrás de una tragedia que se convierte en ríos de sangre. No, nunca hay una justificación de su actuar que podría considerarse de correcta o rectificadora para estándares modernos, plenamente es egoísmo y hambre de poder, pero me resulta imposible de odiar o detestar, tal como Itto, podríamos considerarlo, irónicamente, una de las personas más “correctas” sea por sus ideales, el inquebrantable carácter, la inacabable persistencia, el respeto y odio que podrías llegar a tener por tu peor adversario.

  Para corresponder a los elementos tan sólidos de su narración, es necesaria la visión gráfica para representarlo, dibujado por Goseki Kojima, no es exageración calificarlo como uno de los mangas mejor dibujados, todavía más si pensamos en la época en que fue publicado. Bien suele mencionarse que los caballos representan uno de los mayores retos para un artista, en Kozure Ookami abundan los caballos. Desde páginas completas donde se nota la energía y fuerza de sus movimientos, en doble página en las que suelen estar varios o presentes en medio de las emocionantes batallas.

  

  Las mismas batallas tienen una enorme complejidad en su trazo, los personajes y sus movimientos, la fiereza de los cortes y fuerza de los golpes, en una cuidada maquetación, dedicada a sentar la tensión del enfrentamiento. Varios de mis paneles favoritos son los que narran a diferentes niveles lo que está sucediendo y lo que podría suceder, utilizando las miradas y sombras.

  Y cuándo no está en la acción hay dedicación a la representación mundana de la sociedad en sus pequeñas acciones, sea comer un pequeño postre en la calle o cruzar un río, en las mismas también se presentan diferentes escenarios japoneses que recuerdan a los clásicos de Ukiyo-e. Es un trabajo visual donde cada parte es admirable, y en conjunto, es impresionante.

  Mencionando un poco su trascendencia porque la considero relevante dada su importancia histórica, ejerció un impacto en el género (para varios es la máxima obra de samurais), extendiéndose todavía más gracias a las adaptaciones Live Action. También es bastante reconocido en occidente porque populariza (y considerada como origen) del tropo “hombre rudo en viaje con un niño” presente en diferentes medios y formas sean en el cómic (Road to Perdition), videojuego (The Last of Us) o el cine (Logan).

  Entendería porque alguien al terminarlo no quedaría igual de impresionado o impactado como fue en mi caso, porque no hay una marcada empatía o vinculación con los personajes dado lo sólido de su carácter y áspero del camino, sin embargo, quienes lo piensen en su totalidad y en el valor de sus partes, reconocerán a una obra admirable. Al violento viaje de padre e hijo para cobrar venganza de la vida que les fue robada.
  
  English (Translated with DeepL.com (free version))

  The story takes place during feudal Japan, of lords and samurai, no specific date is given, but we can assume that it happens between 1700 - 1800 given the position of Itto (Kogi Kaishakunin) or the evolution in the presence of elements characteristic of European cultural exchange (firearms), although other prominent aspects such as the Yagyu clan had its relevance during 1500 - 1600, therefore, emphasizing the obvious, it is fiction that uses historical elements to provide "realism" to its narrative.

  Structured in serial format, with a main narrative thread present from time to time in chapters dedicated to the essentials of the father and son's journey of revenge until the final stretch. While the serial stories have the purpose of strengthening the construction of its historical context in the social or spiritual, in addition to containing narrative elements that will be important for revenge.

  During the episodic chapters the different facets of Edo are explored, making remarkable the extensive research achieved by its author, Kazuo Koike, for the representation of an era of complete interest if you have ever been attracted to "classical Japan". In these side stories there are magicians, merchants, prostitutes, the background of the yakuza, farmers, poultry breeders, monks, fishermen, ninjas, or, of course, samurais and ronins. Through all kinds of situations we will get to know some unknown sector of the ancient society, each having in common the same theme in terms of its structure, revenge.

  

  Not only the protagonic duo is on their journey of revenge, in most situations the people they encounter have their own revenge. Hence it is a hostile and violent journey, the moral compass is not demarcated on the western construction of values such as forgiveness or love, honor and duty (mostly) coming from the Japanese confusionism, called "Bushido".

  In fact, several chapters are devoted to a philosophical and spiritual reflection on the warrior's path and the father and son's path of revenge. I am not knowledgeable enough in Eastern religion to say that I understood it completely or even close to it, but I don't think it's appropriate to call them unintelligible or pretentious either. Their presence in the story is fundamental, even if you don't fully understand what is implied, you grasp the solemnity of what is described.

  For the secondary characters that participate during each episodic plot is used just enough to understand the layers that make them up, realism is also achieved by characterizing them as characters and not just excuses for the episodic confrontation. It is always understood why revenge happens and how it affects those involved, nor is there a pessimistic view or detriment to those who lived in the era, the stories have, from time to time, glimpses of love, affection, pity and loyalty, the kind side of humanity. Overall, each chapter is treated with tact and dedication, making what happened believable.

  

  And it is important that realism in the human part to counteract the development of the spectacular, specifically, Itto is such a good warrior that it could affect the interest in the fights due to the lack of danger and risk. One of the ways to avoid reader burnout because or the frequent fights is the wide versatility in how the fighting happens and how it happens. Katanas of all sizes, a variety of spears, or the special weapons of Ninjas and authorities; the version I read includes extensive commentary on the weapons used, how they were used and who wielded them.

  During the journey there is a generalized atmosphere of decay, loss of traditional values and fear of the future, although its main purpose (possibly) is to further characterize Itto's rectitude and custom, since there is so much realism involved in the construction of his world, perhaps one of the unexpected consequences is the proliferation of the typical thought "all times past were better". Whether or not the author intended it or not, I like that, regardless of the era, people are still people.

  The best examples are the protagonist trio, Itto with his serious attitude and unwavering ideals is in line with the purpose of the story, called by several characters "the last samurai", someone who respects the lessons of Bushido at every moment and action as far as his own path of revenge allows. Having an unwavering and inspiring character is also a form of complexity and realism, justifying his constant strength throughout the manga.

  

  Diagoro is merely a child, his evolution is one of maturity at an early age, imitating and then taking on the ideals he observes in his father, eventually participating in several of the assassination schemes. The representation of the lost innocence of those forced to live in a hostile environment, as well as how there can still be righteousness and integrity among those who grow up in the midst of violence.

  However, my favorite character is the villain, Retsudo Yagyu, the head of the "Yagyu" family, the sole culprit behind a tragedy that turns into rivers of blood. No, there is never a justification for his actions that could be considered correct or rectifying by modern standards, fully selfishness and hunger for power, but I find it impossible to hate or detest him, just like Itto, we could consider him, ironically, one of the most "correct" people either for his ideals, the unbreakable character, the unending persistence, the respect and hatred you could have for your worst adversary.

  To correspond to the solid elements of its narrative, it is necessary the graphic vision to represent it, drawn by Goseki Kojima, it is not an exaggeration to qualify it as one of the best drawn manga, even more if we think of the time in which it was published. It is often mentioned that horses represent one of the greatest challenges for an artist, and in Kozure Ookami there are plenty of horses. From full pages where the energy and strength of their movements can be seen, to double page spreads where several of them are present in the middle of the exciting battles.

  

  The battles themselves have an enormous complexity in their stroke, the characters and their movements, the fierceness of the cuts and force of the blows, in a careful layout, dedicated to setting the tension of the confrontation. Several of my favorite panels are the ones that narrate at different levels what is happening and what could happen, using looks and shadows.

  And when not in the action there is dedication to the mundane representation of society in its small actions, be it eating a small dessert in the street or crossing a river, in the same are also presented different Japanese scenarios reminiscent of the classics of Ukiyo-e. It is a visual work where each part is admirable, and as a whole, it is impressive.

  Mentioning a bit its transcendence because I consider it relevant given its historical importance, it exerted an impact on the genre (for many it is the ultimate samurai work), spreading even more thanks to the Live Action adaptations. It is also quite recognized in the West because it popularizes (and considered as origin) of the trope "tough man on a journey with a boy" present in different media and forms be it in comics (Road to Perdition), video game (The Last of Us) or cinema (Logan).

  I would understand why someone after finishing it would not be equally impressed or shocked as it was in my case, because there is no marked empathy or bonding with the characters given the solidity of his character and rough road, however, those who think about it in its entirety and the value of its parts, will recognize an admirable work. To the violent journey of father and son to take revenge for the life that was stolen from them.

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