THE WORLD IS MINE

DESCRIPTION

CAST

CHAPTERS

REVIEWS

• 

  ShinkoTheGodMonke

  100/100
  The World is yours.

  The World is Mine is a manga written and drawn by Hideki Arai, published in Shogakukan magazine between the years 1997 and 2001, consisting of 14 volumes and 163 chapters.

  TWIM tells the story of Toshi, a shy boy disappointed by the society who dedicates himself to constructing explosives, Mon-chan, an impenetrable killer completely dominated by humanity's passions, and all the consequences caused by the advent of a mysterious creature. This is broadly the general picture. Now, however, I will move on to a more complete analysis of the manga, all while avoiding spoilers
  So, I will first start with the narrative and its peculiarities.

  The entire story unfolds during a tragic and chaotic journey through Japan, showing us various adventures, and events of many characters who with the passage of time, will intertwine with each other. Precisely, the trend will never be linear, the narration will always be broken by the incidence of numerous events and multiple flashbacks which will never fail to gather and connect every aspect of the story. The narrative is characterized by a fluctuating rhythm between frenetic action and calm moments; tinged with classic circumstances of the detective and thriller genre.
  We will never run into boring, or mundane scenes, as they will always be defined by highlights, full of pathos and suspense. We encounter numerous action-packed sequences, sudden twists that are never banal, and particularly disturbing yet profound situations that lead to philosophical reflections. And throughout the narrative, we will be accompanied by great and accurate writing of the dialogues which never feel monotonous and repetitive.

  The World is Mine is not a work with good intentions. Arai wants to tell us a story full of violence, melancholy, inhumanity, and brutality. He wants to describe people, now in degradation, suffering, afflicted by a thousand problems; such as corruption, nihilism, and crime. His is a full criticism of a Japan in continuous decline, full of individualistic, rotten, selfish, unscrupulous people, ready to do anything for their ends, and "to affirm themselves". The author puts all his hatred towards society, and towards every aspect of it, into the manga. And he achieves this through speeches and monologues rich in complex, dark, and uncommon themes, such as politics, equality, ethics, morals, existentialism, religion, and the value of life, among others.

  The only flaw I could maybe say I found in this work is the beginning. At first glance it may turn out to be the worst part, it appears confusing, chaotic, and messy (but this will be explained over time, and with a reread it will prove more than pleasant). However, if at the beginning, we find a story, so to speak, unregulated, after a few chapters, it improves, transitioning towards a mystical, political, philosophical, and almost sci-fi narrative.
  Instead, the ending is certainly the best part. It offers a worthy, absurd, and unimaginable conclusion that confronts reality head-on, and in my opinion, it's more than perfect (among the best endings I have ever seen), which leads us to reflect on how stupid, and insipid mankind men are. In the face of all the power it possesses, it transmits to us the perniciousness and danger of the choices that men can undertake thanks to the use of weapons, and finally communicates to us all the damage that they can cause.

  The magnificence of this work lies in its characters. Arai is a genius in writing and characterizing every subject to the core, from the tertiary and secondary ones (memorable characters such as Maria, the minister Kanpei Yuri, the hunter Ijima and the journalist Hoshino), each with their backstory, their ideologies, their goals, and their own maturation. We will frequently empathize with each of them, even with the most irrelevant ones, such as, for example, Toshi's parents.
  Not to mention the protagonists, I dare say among the best characters ever written, who do not show themselves as good, not even as anti-heroes, they are literally the bad guys. I prefer not to deal with the secondary characters because I would go too far, and therefore I would dwell on the two protagonists.

  So let's start talking about Mon-chan, my favorite.
  In the beginning, Mon presents himself as an almost primitive man, subjected to the most primitive and spontaneous emotions, an enigmatic person, difficult to decipher, with a restless, rather aggressive character, who kills people apparently for no reason. From this assumption, he may seem like the classic villain, without any ideal and purpose; however his soul is completely different, Mon does not possess any kind of malice in committing those crimes. And as we go on we will see how amazing his emotional progression is.
  We can compare his maturation to a child who is born into the world, who grows, reflects on his inner state, and we will notice how his psyche changes and becomes more and more complicated. Meanwhile, Mon is influenced and influences everything around him, from people to the world itself, and the latter uses Mon's presence for a very specific goal, for his good, aimed at achieving pure and useful individualism, transcending the limits of collectivism.

  Now, I will talk about Toshi.
  Toshi is a former postman, a loser who vents his failure in life by building bombs. At first, he is shown as an awkward, insecure person. On the contrary, he is an intelligent man, who has a lot of talent, in fact, he knows various things, but because of that, he is not interested in anything.
  To a quick eye, he can be seen as the classic loser, insignificant, without any type of personality; a dynamic character, therefore, devoid of concrete and concise development; however, he undergoes a significant introspective change, leading to a sublime evolution, due to his continuous exposure to an immoral community, and to his many encounters with various characters, which will make him mature leading him to be a new person.

  Toshi and Mon, as we can well see, despite forming a sort of couple, have .two completely different personalities, they react differently to events, and will mature in distinct ways. Their stories are comparable with human beings who are nourished by the experience that shapes the individual in himself, thanks to the information, that is to say, what surrounds them, from people to objects. In fact, they will be constantly influenced by Japanese society, but not only that. Any information they pick up will be crucial to their psychological growth. Furthermore, the two will not only influence the entire world, reshaping its concepts and guiding it away from superficial attachments, but also steer it towards a socialist ideology; but they will influence each other, especially Toshi will be conditioned by Mon's unconscious.

  The drawings are perfect for representing this type of atypical manga, and I couldn't have asked for better. The style is extremely particular and differs from the usual ones. The characters have a realistic, very peculiar, and intriguing design. Arai is not at all afraid to adopt the use of mannerism to create unsightly figures, with imperfections, just think of Minister Yuri, a plump person, but who on the other hand is attractive and enchanting. The action scenes are pretty well rendered, have their own dynamism, and are never vague. The stroke is quite clean, even if in some parts it is slightly dirty, nevertheless, it remains excellent.

  In short, it was a bit complicated and not easy to talk about my favorite manga, and, above all, discussing it without revealing spoilers.
  Finally, absolutely try to recover this gem.

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• 

  InspectorJKB

  90/100
  "Whose world is this? The World is Yours"

  This review is gonna be very nonlinear and it is almost a stream of consciousness work so que sera sera.

  “If there were no eternal consciousness in a man, if at the foundation of all there lay only a wildly seething power, which writhing with obscure passions produced everything that is great and everything that is insignificant, if a bottomless void never satiated lay hidden beneath all– what then would life be but despair?”

  “If such were the case, if there were no sacred bond which united mankind, if one generation arose after another like the leafage in the forest, if the one generation replaced the other like the song of birds in the forest, if the human race passed through the world as the ship goes through the sea, like the wind through the desert, a thoughtless and fruitless activity, if an eternal oblivion were always lurking hungrily for its prey and there was no power strong enough to wrest it from its maw—how empty then and comfortless life would be!”

  “But therefore it is not thus…”

  It is a blessing to be given life, but to live is almost a wanton occurrence. You live long enough, you’ve seen enough. The commonplace news is filled with the commonplace views– the political rot, the societal wickedness, the wars of multiplex beliefs, the hushed lamentations of unfortunate billions of souls spread across a planet called Earth. The average human being walks around 216,262,500 steps in a lifetime. In one of those million steps– have you ever wondered if you met God?

  The World is Mine starts with a bang. In one place, a monster stirs within the belly of the deep ocean. In another place, two ruffians drive a car full of homemade bombs, with lowly intentions of carving a path of murderous destruction. Mon, a savage and rapacious brute, relishes his own primitive fancies and desires, obeying none but his own whims of power. His accomplice, Toshi, on the other hand, is a meek but decisive man, capable of realizing his own explosive dreams only via his symbiosis to Mon. Mon is in Toshi’s words the hero who does what he wants, and this slanted relationship, that makes Toshi the poet who can only sing praises about Mon’s victories and accomplishments, elevating the demon while he himself sinks unto hell.

  Because that’s how their meeting started in the beginning: “when the sign appears in the sky, you will encounter great power”. Or rather, you could say that’s how the three of them crossed paths– for in this formula of life and death, nature has a will of its own. You could say it takes the form of Higumedon, a mysterious bear-like beast, whose cataclysms are synchronized with the machinations of our two serial killers. Wherever the two commence their slaughter, Higumedon’s gruesome trail of blood follows close. As we read further and further into the story, we peer deeper into the true nature of Higumedon, and in return, into the violent nature of Mon.

  The two’s evil deeds pile up and up, finally reaching the complete attention of Japan and the government. Through them, we meet an amazing cast of characters who all are pulled in by a central force surrounding Mon and the Higumedon, a force that seeks to display each of their different perspectives upon the quickly changing world. From characters like Iijima, an old hunter whose bloodthirst slowly returns after hearing of the Higumedon, to Kanpei Yuri, a laidback prime minister who does everything on his own calculated leisure, to the President of the USA, Hayes Dogwood. TWiM has a rich set of various characters who will challenge each others moral and personal stances, creating a beautiful web of concepts and issues reflecting a fragile world not set into fire by the actions of two violent murderers. What this reveals to me is less about the world and more about what Mon really is.

  Mon is a beast of no nation. His character at first relays a distinct level of Macchiavellian intellect, juxtaposed with the instinct and nature of an animal, infant, and caveman. His life revolves around “killing, eating, mating, and hunting”. He has a base level understanding of basic human concepts, but anything about killing, he seems pretty much like a born talent. He thrives mostly on mindless killing, never stopping for a second to ponder upon the weight of his actions. To him, there is only absolute power, no good or bad thing about killing. This is the stance of such biblical tyrants like Nimrod or Ramses II, and such a meticulous position is the stance of those who claim themselves “god”.

  But does Mon claim himself one? No, but he desires to be king. King of what exactly? To me, it initially sounds more as a temporal proclamation rather than a clear purpose. Because left on his own, Mon will just be a wandering killing machine. However, it is Toshi that steers the wheel of reason in this dynamic, and, instead of resorting to a classic brain and brawn duality, what they are on a grander scale is Hero and Poet separately: The hero does all the great things and gets credit for it, and the poet composes his verses to further aggrandize his hero in the eyes of men. The Hero can never be the Poet; the Poet can never be the Hero.

  And that is what Toshi laments: his awareness of his human limits. It is only through Mon’s brutality that he is pushed to the brink of what he thinks he wants– the power. His pursuit for power is enlivened by his recognition of his weakness and directionless life. Mon is his direction, and pretty soon he is engulfed by Mon’s almost divine presence. Toshi attributes this to fate, on that very night he met Mon under a sign in the sky, and soon his ordinary life changed forever. Mon is his anchor, a light that gives his actions meaning, purpose, and agency, which all fuel his want for that power.

  But Toshi still affirms that he is an ordinary person. All the sum of his deeds will never raise him from his permanent state as a “quintessential ordinary human being”. In his own arc shedding light on backstory, we see that he’s led a life that is truly nothing out of the ordinary. However, his lifestyle was all about detachment from expectations about life, and chose to live it as it was. He was intelligently capable of adapting through certain circumstances and adhering to his acquisitive hobby of learning new things, which is how his penchant for making bombs came about. “No anger, no resentment dwelt in his heart” prefaces the larval stage of this early Toshi, creating bombs first from small sizes, content with the thrill of guilt that appeased his complacent nature. As time went on, he created bigger bombs, but he had no power to detonate them, no willing agency to break his little peace with living. The penultimate shift in his life was the entrance of “Maria”, who was the one that promised Toshi that when “the sign appears in the sky you will encounter great power”. That is how he met Mon.

  Their dynamic is a power balance clearly dominated by Mon, and Toshi just follows, internalizing whatever Mon inflicts upon him or upon the world. Shaken by this reality paved before him, he finds in him the strength to exclaim, “I am alive!”. Soon, Toshi blows the bigger bombs, Toshi pulls the trigger, Toshi kills people. Though reluctant at first to “partake” in the evil deeds he foresees with Mon, he eventually embraces this new reality. He refuses to think about it, and still lets his motto of “live life as it is” takeover. This has prevented him from acting on his own agency, transformed into an extension of Mon’s murderous desires, ironically blinded from the free will. He is a great case study of a fanatic.

  “I am a weak being. It is for the best that I don’t have a great power.”

  It was not the bombs that made Toshi shiver with self-awareness of his weakness– It was Mon. Mon is the great power that shattered Toshi’s past and present structures of individuality. The wreck and havoc Toshi-Mon caused reflects first from Toshi’s initiative. What he never was aware of was how he was careless and complacent with handling Mon throughout their carnage, putting his whole blind faith in him. While Mon doesn’t really care about Toshi. Their relationship is akin to commensalism, a symbiotic relationship where one organism benefits while the other is neither helped nor harmed. In this case, only Mon really benefits from the amount of attention he has gained in the end, while Toshi at the end of the manga remains a prisoner of his own free will.

  Maria Abeno is also an important character, and her massive role in progressing the Mon identity from demon to prophet. It is hard to separate Maria from the Kierkegaardian ideal of love and faith, where one must first plunge oneself into the absurd, like a leap of faith, and beyond the unfathomable weight of fear and dread. Maria represents the Heaven with all her goodness of character and the utmost inability to reciprocate the actions of Toshi-Mon. She is a the embodiment of Love that Mon cannot understand but only embrace, just like his teddy bear, which fulfill their role of preserving Mon's child-like innocence. But human innocence and Mon's innocence are different, in that one is shaped by society and the other is shaped by nature. Mon has observed the basest abuses and cruelties of people in his childhood and was never shown the act of Love. To him everything he does is natural, and abandoned by his mother to die, Mon never knows comfort until it was bestowed upon to him again by Maria. To Toshi, Maria at first is a threat to the partnership he and Mon has, especially to the bloody tie they both share. He tries to peel down Maria's delusion about choice and the morality of killing, and lambasts her by trying to stir her hypocrisy about vengeance.

  Infant, Caveman, Animal-- Mon represent the rawest idealization of "Earth", and his statement about only him residing on Earth reveals he doesn't know yet about Maria. Here we have Heaven and Earth, but no Honored One-- yet.

  Higumedon is an essential being to Mon's growth as an individual and the key to unlocking his unique role on Earth. On their first encounter against each other, Mon is overwhelmed with Higumedon's presence, almost as if he was Moses before the Burning Bush, full of new dread and fear that challenges the limit of his understanding. Mon acts upon his nature, and the Better Nature dominates him and enlightens him through the only language he can decipher-- violence.

  This new phase of Mon exhibits more human sensitivity and less of his monstrosity. Now he is able to feel pain, to briefly think about himself, and hesitate to kill others. This phase of Mon is him in his pupa stage, shifting through conflicting information and previous relevant memories. Remember the bear? After the First Encounter with Higumedon, Mon and Toshi wake up unscathed, but Mon finds his teddy bear battered and bruised. This is the latent sign of his primal barrier breaking, and with that he is thrown into a world of his own unmaking. But still, all he knows about living is killing.

  Even through Maria's soulful moment with convincing Mon to finally stop killing and going by Toshi's whims, she makes one very big mistake and that is assuming she know what Mon's complete nature is. Mon new phase is somewhat of an acceptance, emboldened by the love from Maria. He is reassured in his own language of living, which is killing, and he does it but now with unchained embrace and superhuman control of his abilities. Maria goes into dramatic change, locking her into a state of shock.

  What finally "awakens" Mon is when Maria is killed, and he experiences a new sensation-- and that is powerlessness. Mon has been mouthing "Power is Absolute" without really understanding the truth of it (truth as he always pursued after) and only after realizing the value of Heaven (Maria) and losing it, was enlightenment granted to him by Higumedon. It is respect that begets power, and Mon understands this respecting first the monster (Higumedon) and then respecting Life. His newfound practice of rock balancing symbolizes his expression of regret for every living soul he has ever killed. He becomes somewhat of a prophet now, preaching message of optimism to every human being, gifted with the ability of empathy (not fucking kidding this is not like Life is Strange) to repair the discord between warring nations and help them come to a peaceful understanding. From demon to prophet, Mon becomes a beacon of hope for mankind and the whole world all look up to him, seemingly forgetting the monster he was in Japan.

  From that point, he is the Honored One betwixt Heaven and Earth.

  Hideki Arai brings forth absurdist violence really early to make a point. It is almost a caveat for people to know what they are getting themselves into, an almost one volume sneak peek to gauge which ones will really appreciate the extreme boundaries Arai doesn’t care about. The first aspects I noticed about his art was the skillful setup of contrasting moments, his versatility at laying out action sequences, and masterful placement of that “punch”. Arai’s character designs clearly communicate their character quintessence; they each have their own unique quirk or mannerism they do throughout the manga, like Akira Kurosawa characters. You can also deduce the kind of person they are even solely from their eyes, which express a lot of identity and the moral alignment they have. You can see characters especially like Toshi and Mon change eye shape dramatically through significant events in the manga. All in all, this artistic prowess made me stick through reading the manga to the very end.

  some nitpicks:

  What made me emotionally disconnected was how excessive the violence was, blood and gore and all that. I know Arai has purpose for all of this, but to me early on it already established itself as a manga that glorified pointless killing (in vein with Ichi the Killer), and that made it hard for me to shake off the personal bias that I might have clouded over TWiM. Actually, it wasn’t much of a bias, but more or less, like I said, an emotional disconnect that made it hard for the manga to hit for me with moments fans said hit for them. Mostly, the Higumedon x Mon chapters were the ones that really pulled my attention in and I am quite sad we did not get more of those, and the final encounter between them was kind of sidelined quickly in the epilogue. Toshi x Mon moments did not resound in me most of the time, but seeing Toshi’s arc explain everything about why he is hungry for power helped a bit with outlining the duality between him and Mon. Maria x Mon was easily the best dichotomy in the manga, but it did not please me how Arai exercises his bloody humor, even though I could see it from a mile away.

  I liked how we got a “what was Mon?” chapter, but not an ample and comprehensible “what is Mon?” section within the story from Arai himself, and we get the former too far in the very last chapters of the manga. I would have loved it if Arai elaborated on what Mon’s true nature was, because I think Arai wanted to present Mon as more of an object of changing implicity whose themes were shaped through introspection. Thus, although he is easily my favorite character in the manga, I didn’t find him moving for me since the rest of his character was still in the shadows, and at the end he just reappears suddenly as this enlightened being uniting the whole world. It could've benefited from more build-up and connection. Toshi's ending was befitting for a man who forgotten and then remembered he was only human.

  As a whole, I have not much that to say about TWiM, but that the short lucubration I took after reading it helped me appreciate more the internal messages Hideki Arai finely tuned and crafted within. I guess the plot on its own is a good sociopolitical and supernatural commentary, and it is the thematic webwork within that really turns it up a notch.

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• 

  ju4o

  100/100
  Mon, Homo religiosus and the overcoming of the postmodern human being

  Preface

  I would like to say that this review will be more of a Mon review than a TWiM review. I don't even need to say that this review is full of spoilers and that it is extremely necessary that you have read the manga. Hope you like it!

  

  For a better understanding of the concept that I want to convey in the analysis, I will divide it into 3 parts that are 3 moments of the work

  1 - Mon Ubermensch: Toshi's Flashback
  

  2 - Mon in metamorphosis: From the moment Mon meets higumadon to Waltz for Maria

  3 - Mon Homo Religiosus: In Waltz, Post Waltz and Finale

  1 - MON UBERMENSCH:
  This state of Mon is the easiest to explain and understand, not least because Arai brings explicit references to Nietzsche, such as the chapter whose title is literally "God is dead", an iconic phrase by Nietzsche
  I myself came to think that The World is Mine was a Nietzschean message and that Mon ended the manga as an ubermensch, but in fact the work goes the opposite way with that. This Mon is the Mon from the iconic "I affirm myself" panel, a panel that is often used by fans to categorize Mon as an Ubermensch and there are people who use this panel to spread a message about TWiM that Arai actually wants to refute.
  This Mon Ubermensch is very well characterized as a Nietzsch Ubermensch, a human without any morals, a human who only follows the rules created by himself, his own ethics, a human who does not mind killing or raping someone because nothing in this world manages to limit him, a human who is guaranteed in his own strength, an existence that transcends human morality, this is the Mon Ubermensch that represents a lot of postmodern society, a society that has abandoned its ties with the divine, a society that cannot understand the extrasensory field of the universe. This state of Mon extends to the moment he meets Higumadon, when he meets Higumadon everything changes.

  2 - Mon in metamorphosis
  From the moment Mon meets Higumadon he starts to change, the most impressive thing is that Arai changes MOn in an organic and well done way, soon I will talk a little more about Arai's skills. The Mon that until then was an imposing being, who feared nothing, but all that changed when he met the higumadon. The Higumadon means several things within the work, but at the moment it is convenient to assume him only as a greater force, someone who manages to subjugate the Mon. After meeting a being that has absolute power, Mon begins to be afraid, he loses the will to kill people, he begins to enter a state of confusion since the world he knew and that he had possession of, has changed. Mon's confusion is very well emphasized in the Maison Alice arc right after Mon witnesses Higumadon's strength again. This is where one of my favorite sequences in the media begins, where Mon has an amazing dialogue with Maria. Some of the dialog panels:

  

  It is important to analyze Mon's relationship with Maria. Maria was the first human being that Mon really conceived, Mon sees Maria as the mother figure he didn't have, so much so that Arai uses his quadriniztion skills simultaneously and sequentially, showing Maria crying with the possibility of her mother dying and then showing Mon fearing the possibility of Maria dying. And in later chapters, Maria questions how Mon manages to kill people without feeling anything, characteristic of Mon's ethics, but then Mon starts crying when Maria asks if he would feel something if she died. Mon forms a relationship with Maria, and this affects him a lot when she dies at the end of Waltz.

  3 - Mon Break
  This is where everything changes. This is probably going to be the hardest part to explain because it's so full of detail. Maria's death is very important for Mon and for the work in several ways, Maria had been the first human being with whom Mon had connected, and she herself presented the idea of ​​connection to Mon, until then Mon was a perfect representation of the individualism present in today's society. What makes this moment so potent in the work is the presence of the Higumadon, but to connect everything I need to explain the idea of ​​Homo Religiosus.
  I decided to explain the Homo Religiusus idea and not explain the Ubermensch because the Nietzschean content is much more accessible than the Mircea Eliade content. The Homo Religiosus is the primordial state of the human being, where all things and life itself make sense, but this sense is not found in the same way as the Ubermensch who has a very materialistic view of the world, the homo religiosus finds meaning within the relationship with the sacred/divine, it relates and connects with the divine, I understand life itself and connecting with the extrasensory world, which no longer fits with the Nietzschean philosophy that hammered against metaphysical ideas. So in reality the Mon is not an Ubermensch which surpassed human morality, in the end he is a homo religiosus which surpassed the Ubermensch. And the Higumadon represents the divine. A genius idea of ​​Arai was not to explain what the Higumadon is in fact, at first the characters think that the higumadon is a very big bear, but with the course of the work and with the revelation of the appearance of the higumadon we discover that he is a creature inexplicable, so much so that at a certain point when Higumadon "dies" it begins to expand exponentially until it becomes larger than countries. The Arai not actually explaining what the Higumadon is makes him better characterized as a divine being. With the death of Maria, Mon understands his impotence before the sagardo (Higumadon) and becomes a divinity that refers to homo religiosus. From that moment on, the Mon goes on a pilgrimage journey, and in different places around the world where he passes, he is considered a deity and begins to be venerated, something that goes against the principles of the Ubermensch.

  

  It is worth mentioning a powerful foreshadowing of Mon asking Maria "What should I do" and she answering "Ask God", this same picture is shown again when Mon meets Higumadon at the end of Waltz, the Mon who was in a state of disequilibrium is now in a state of balance, which can even be noticed in a pan where he is stacking stones, a Buddhist practice that symbolizes balance.

  

  ]

  Now talking a little more about the ending. The work ties in very well with the final chapter. Let's think, what happens at the end of TWiM? The world explodes because of nuclear bombs, human beings and everything that was on earth turn to dust and wander through space and at some point they reach some planet, and at some point this dust that arrived on the planet will become a kind of intelligent life, at that moment we will be gods. Analyzing we realize that everything is connected and we live in a cycle like gods, we are born, we live, we die and with our death a new life will be created, and all this will also happen with the intelligent species that we give life, it is an eternal pact with the divine.

  

  The extra pages of TWiM that are not in the scan in English add a lot to the theme of the work and especially to Toshi.

  

  It is noticed that in the extra pages of the last chapter, there is a panel that is very reminiscent of the first chapter in the Mon no Mar scene, this symbolizes the cycle that TWiM wants to show us, from the beginning to the end.

  

  Unfortunately I lost the photos of Toshi's extra pages, it's very difficult to find on the internet and these pages are only present in the Japanese volumes.

  TOSHI
  Now talking a little about Toshi who is another amazing character. He represents very well what the work does not want us readers to become. Toshi saw in Mon a powerful figure and craved to be like him, Toshi craved "true strength". Toshi believes that strength is absolute since that's what Mon taught him, but upon his death he realizes he was wrong, and this is more evident in the extra pages where he calls out to God and his hair returns to its original color when he is in his last moments. I won't expand too much on Toshi because I didn't delve into it like I delved into Mon.

  

  Finally, I would like to talk a little about the manga itself. The quadrinization is perfect, it works very well with the simultaneity with the sequentiality of the frames and Arai has an incredible trait, I love his aesthetics, both in kiichi and in TWiM. The plot is captivating and very well crafted with the message of the work. The cast has several good characters and has for me the best character of all, which is Mon. For those who have already read it, my recommendation is to read it again with a new optics and for those who read the analysis and took spoilers from free, read this shit RN!!!

  

  My favorite panels

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