I was encouraged by a friend to read this manga, as it catered to a niche audience and I enjoy science fiction that doesn't rely on time travel. I hoped this manga would help me discover my personal tastes in sci-fi and cyberpunk. Unfortunately, my wish went unfulfilled as the manga lacks any discernible plot.
Let's start with what I found enjoyable. The art and character design are stylized, perfectly complementing the "story" being portrayed. They evoke a sense of unease and sorrow, fitting for a post-apocalyptic world, which is rare in contemporary art forms. Additionally, the villains' designs are genuinely creepy and terrifying. However, this is where the praise ends.
The main issue with BLAME! is its lack of plot. Any book, movie, or show needs some semblance of a plot, no matter how small. Even action-heavy films like The Expendables provide a slight justification for their violence. In contrast, BLAME! offers no excuse for its violence beyond Killy, the protagonist, hunting a vague McGuffin. He's a violent loner, but his motivations remain unclear. This brings us to the characters, who might as well not exist. They never speak, emote, or interact interestingly, making the experience incredibly bland. When Killy and Cibo are separated in this hostile, violent world, neither seems to care. Even when severely injured, they shrug it off without speaking. Why make this choice when there are so many intriguing interactions within the "plot" to explore? The only topic discussed is the aforementioned McGuffin, which isn't even fully explained.
Very little is explained or expanded upon, and the entire art style, which I still appreciate, becomes nothing more than an excuse for violence, and not a good one at that. One could argue that the environment explains everything, but then why does Killy want the McGuffin? Why does Cibo decide to help him in her various incarnations? Why are silicon lifeforms and safeguards hunting them? How is the entire Net Sphere accessed? Why have humans been banned, and why is their main antagonist so relentless? These questions remain unanswered. Thus, I give my rating of an overall 3/10.
Blame is the tale of Killy, a man on a quest to find the Net Terminal Gene. Along his journey, he encounters others like him—Humans, Administrators, and Silicon—all trying either to kill or hinder him. The narrative revolves around a mission that is somewhat vaguely explained, focusing primarily on finding a human with the Net Terminal Gene. Surprisingly straightforward, the series doesn't delve deeply into why this mission is essential, but it's clear what Killy aims to achieve.
The series features minimal dialogue, yet the author compensates by introducing unexpected events to further mystify the reader. To say I dislike Blame would be an exaggeration; it certainly isn't bad. In fact, it boasts some of the most meticulously detailed illustrations I've seen in a long time. The artwork can be breathtakingly beautiful, almost making you feel as if you're reading a completely different manga. However, there are issues. The characters' faces are notably bland compared to the intricate designs of creatures and sci-fi elements. It's disappointing given the uniqueness of other designs, though it's a minor issue overall.
The art quality varies dramatically. While mostly fantastic and detailed, certain panels seem unfinished, pulling you out of the story. The contrast is astonishing—one moment it looks like something Yusuke Murata (One Punch Man) would draw, the next it resembles a child's crayon sketch. Perhaps this inconsistency was intentional, as these rough panels are often followed by stunning full-page spreads.
I enjoyed the action sequences, which were more frequent than expected. Yet, despite the explosions and destruction, the fights lacked hype. Characters have fantastic designs, but there's little buildup, making the action feel uninspired. Some fight scenes are incredible, especially towards the end of Omnibus 1, but the series never quite reaches those heights again. The lack of substantive storytelling through art becomes apparent, leaving the narrative underwhelming.
In summary, Blame was generally underwhelming. There were great scenes, albeit too few and far between. The series relied heavily on its art, but art alone isn't enough to make a series truly good. You need substance beyond mere style. With high expectations due to its cult classic status, I wasn't as impressed as many fans. Rating: 6/10.
Blame! is a manga that revolves around a man wandering through numerous deserted buildings, where the scarce surviving humans are hiding, searching for something that could potentially rescue them all.
The narrative can be somewhat perplexing but remains highly enjoyable, incorporating many unexpected elements (though you might need to look up explanations after finishing it).
The artwork is outstanding; the mangaka clearly possesses extensive knowledge about architecture, as the structures depicted are meticulously drawn and visually stunning. I captured screenshots of many panels because they were simply that impressive. The action sequences are also thrilling, being rather exaggerated, which I thoroughly enjoyed.
The characters are equally remarkable, each having distinct objectives and exuding an aura of coolness, especially Cibo.
In summary, Blame! is a fantastic manga that isn't overly long, featuring an engaging story and superb illustrations. A solid 9/10.
This is hands down my all-time favorite manga. There's something truly special about the world, the characters, and the mysteries that come together to form a masterpiece of art and storytelling that I will cherish forever. The artwork is magnificent, featuring sweeping panoramas of sprawling cities and their colossal, prison-like structures. The character designs are superb – sleek, stylish, and undeniably cool.
It might not be everyone's cup of tea; the long stretches without any dialogue could bore some readers. However, I genuinely believe it’s worth giving it a read. I hope more people get the chance to experience this incredible series and appreciate its unique charm and depth.
I desperately want to give this a higher rating, but the absence of a solid narrative holds me back. Additionally, there's almost no character development, leaving me indifferent towards most characters by the end. Emotionally resonant moments are scarce, rendering even tragic endings for some characters insignificant.
However, it's undeniable that Tsutomu Nihei has crafted an awe-inspiring sci-fi universe with unique and intriguing design choices. Reading this evokes a sense of claustrophobia as the world feels simultaneously confined yet expansive. Structures upon structures enclosed within massive metal walls hint at a once-thriving civilization. This duality can be both a strength and a weakness; while the world is intricately designed, it quickly becomes visually monotonous, making it difficult to distinguish between panels. My interpretation is that the mangaka intended this to reflect Killy's experience wandering these metallic ruins (I feel like half of this manga involves walking). As time progresses, Killy seems to lose his own grasp on what's happening.
Admittedly, the storytelling method is unconventional and often required considerable thought to follow the narrative, but overall, it was still an enjoyable read. Unfortunately, the aforementioned issues prevent me from rating it as highly as others seem to.
To put it simply, there's a reason Blame is such a renowned cult hit. Its art style is both captivating and horrifying, its story extremely minimal, its atmosphere thick as syrup, and with it, Blame has always been seen as a modern classic of cyberpunk and experimental manga. If you're in for something strange and off the beaten path, then you will surely enjoy this bizarre and complex piece of work.
Blame is about a lone wanderer named Killy, who, in keeping up with cyberpunk standards, is not 100% human. Killy embarks on a quest to find net terminal genes, a genetic code that may or may not be extinct. To find these genes, Killy wanders in the setting of the manga, known only as The City. The capital letters and context alone hint at how mysterious this place is. The City is a vast technological world whose bizarre nature borders on surrealism in some parts. It seemingly has no vertical or horizontal end, stretching endlessly forever. No government can be seen in any form, and machines run rampant doing crazy things. Factions of silicon-based life forms and trans-humans struggle to survive in an unforgiving and relentless environment, constantly pressured by the Safeguard, a relentless machine god horde akin to those from God Emperor of Dune. Killy attempts to find the Net Terminal Genes for a human faction, hoping to bring control to The City and the Megastructure inside. The Megastructure is an infinitely expanding series of floors within The City, making it seemingly impossible to move between floors due to its nature as a gigantic, infinitely long space wall several hundred miles thick. Killy is the only human able to traverse these megastuctures because he possesses a bizarre weapon with unknown origins, the Gravitational Beam Emitter, a gun so powerful it can potentially punch through the normally indestructible Megastructure.
Blame!'s story is not really a story in the typical sense. Usually, in a story, you have characters with their own development, background information, and instances that drive an overarching plot forward. All of these elements are virtually non-existent in Blame, which is hardcore minimalist. Dialogue rarely occurs, and you can never understand what characters are thinking. All you are presented with is Killy going around, his reasons mostly unexplained, the setting unexplained, a glossary of terms that does not exist, etc. But you can figure things out about the story; however, it's never directly presented to you, so you have to pick things up from subtle details. Needless to say, this makes the story completely open to interpretation, but it's interesting in the sense that it can make sense in a concrete way. Let's say you finished the manga and then went to forums to see what people thought of the ending. If they reference a particular part in the series to construct their theory, you might say, "Ah, I remember that part." It's intriguing.
The art is pretty wild. You can probably get a good idea of what the style is like from the spread I posted with the review. It's very sketchy and unpolished looking, but it works well. Sometimes I like to say that "bad art is not a style, even if it's consistent," but I never found Blame's art to be bad. The only thing that was a bit strange looking were the faces, but keep in mind this manga is quite old. Nihei, however, has always had this sketchy style which makes the setting, and ESPECIALLY the enemies look eldritch level insane. There's not a single way I can describe the designs of the silicon-based life besides saying they look like they literally climbed out of a wormhole. Guts spill out of random places, their metal skulls based on some animal thing, bizarre needle arms like Bokurano—you name it. They are all unique in overall design and they are all crazy looking.
Conclusively, it's very hard to review Blame in a concrete way due to its broad interpretation. I loved it due to its unending surrealism and mystery, along with the minimalistic plot and art style. I will probably never fully understand the intention of the story as a whole and especially the ending, if it exists. But without a doubt, this rather short cyberpunk classic deserves to be read by all fans of manga.
Transhumanism wrapped in horror and a touch of irony. The quest for progress backfires, reducing humanity to survival-driven monstrosities stripped of basic human values. The author shows little interest in philosophical undertones or admonishments, presenting instead the end result of such dark ambition. This is primarily an action-heavy story that doesn't delve into hows and whys.
The journey is filled with frustration and potential disappointment, as the presentation is as unique as it gets. The story is largely visual, with characters showing little inclination to explain themselves. Information is subtly embedded through intricate details that may or may not be crucial to the narrative. Regardless, they contribute to a pervasive sense of mystery, allowing free interpretation by the reader. It feels voyeuristic, as if we've glimpsed into an unfathomable world that continues its existence even when the book is closed.
Killy embarks on a Sisyphean task, essentially a futuristic version of Clint Eastwood's character. His goal would be simple if not for the perilous paths leading to it. Similarly, Blame! would be straightforward if not for Nihei's sublime approach. Characters are mostly confined to their primary roles, but this isn't a significant flaw here. Their lack of development is justified by their nature—a risky move since audience appeal often comes from attempts at humanization, but this could come off as too cold.
The true protagonist of this work is the city itself. It continuously evolves, featuring all sorts of architectural oddities. The brilliance lies in how this "sentient" colossus is controlled—with an uncanny sense of space and size. One moment we're awestruck by stupendous structures overshadowing characters, diminishing their relevance, while the next we're confined to claustrophobic spaces bordering on burial places. Killy traverses familiar settlements only to find himself in environments blending alien and human elements, invoking dread.
For all its uniqueness, there's some redundancy. The action scenes seem excessive, and the twists follow a monster-of-the-week format despite these monsters representing the pinnacle—or close to it—of body horror. Even so, it's an exemplary work of fiction, with a style holding unequivocal relevance within the medium. It will certainly provoke divisive opinions, but there's a refreshing respect for an author whose panels scream passion rather than accessibility. Nihei doesn't care whether the reader persists upward or falls into the abyss below.
I'm re-writing this review after some time. I believe I've had enough time to fully articulate my thoughts on this piece. Blame! stands out as one of the most unique works you will ever encounter. In fact, I doubt there is another manga quite like Blame! that hasn't been influenced by its style. What makes it so distinct isn't just the art or how well the protagonists and antagonists are crafted, but rather the unusual progression of the story.
I recommend watching PewDiePie's video on Blame! as our opinions align closely regarding the manga. I appreciate how isolated the series made me feel, only to later realize that the emotions I experienced mirrored those of the main character, even though he never explicitly mentions them nor are they immediately apparent while reading. The loneliness wasn't melancholic; that's the best way I can describe it. It was harsh, cold, but above all, real. He didn't merely feel lonely; he was truly alone (at least for most of the manga).
In many manga and anime, there's a sense that the good characters, especially the protagonist, will eventually achieve some form of happiness or satisfaction, even if it's not the ideal outcome. But in Blame!, I rarely felt this. To avoid spoilers, I won't go into further detail. There is much more to say, but for now, that's all I'll share.
Extra: I understand it's challenging to read at first. It's difficult to grasp what has happened, what is happening, and what will happen next. However, please don't give up on it. If you think it's not your cup of tea, give yourself some time to digest it. You'll have a realization after some time.
Wow. That was my reaction when I first started reading the initial volume. Wow. That was also my reaction upon finishing the manga.
Before diving into this review, if you're new to BLAME!, do yourself a favor and start reading it immediately. My thoughts here won't add much value.
Alright, I spent an hour trying to figure out how to write this review. It turned out as tangled and perplexing as the story itself in BLAME!. Much like the manga, I'm unsure where to begin; there's truly no straightforward way to encapsulate the narrative. I believe the author intentionally left room for readers to draw their own conclusions.
What I can share is that this is a profoundly bleak and solitary journey for Killy, the protagonist. He quests for a human capable of accessing the Net to save "The City". The City is a colossal structure with countless levels that Killy must traverse to find his goal. Along the way, he encounters numerous strange villains and characters. Armed with his trusty gravity beam emitter, he obliterates anything obstructing his path. During his travels, he befriends Cibo, whom he rescues at a plant, and she becomes indispensable to Killy in multiple ways.
BLAME! defies simple categorization into one genre. It blends elements of cyberpunk and steampunk, yet also incorporates surrealism (think de Chirico or Dali) and subtly embedded philosophies (pay attention to the chapter on clones).
The artwork plays a crucial role in storytelling because words often fall short in explaining what's happening. Dialogue can be deeply meaningful or utterly meaningless—or both simultaneously.
Killy remains somewhat enigmatic throughout. Some characters recognize him, others don’t. He seldom speaks, but through his actions and decisions, you'll discover many hidden human qualities.
As for enjoyment? You become hooked. One reviewer mentioned missing the manga right after finishing it. I feel the same. This manga offered more satisfaction than some series spanning 300-500 chapters.
The closest comparison I can make is to the anime Texhnolyze. Both share themes of bleakness and loneliness. However, BLAME! offers a glimmer of hope at the end of its labyrinthine tale.
This is a must-read. You won't be disappointed. I plan to read the other books and revisit this one, possibly updating my thoughts later.
Blame! is a cyberpunk series that delves into the implications of transhumanism within a post-apocalyptic backdrop. In this universe, machines known as Builders were originally constructed by humans in ancient times. As expected, these Builders kept constructing more and larger versions of themselves until their expansion surpassed Earth's atmosphere, enveloping the entire solar system. This colossal maze came to be referred to as "The City."
We meet Killy, a man of few words, as he navigates The City in search of a human possessing net terminal genes. These elusive genes hold the key to accessing "The Net," an advanced iteration of the internet that could potentially halt the Builders' relentless progress and possibly save humanity.
Tsutomu Nihei’s series features a highly dynamic and sketchy art style, likely influenced by his architectural background. His world is vast and ever-evolving, with character designs that evoke a sense of eeriness reminiscent of surrealist artist H.R. Giger's works.
Despite minimal dialogue, the world captivates you through its atmosphere alone. Its landscapes are among the best that cyberpunk has to offer, populated by characters straight out of the uncanny valley.
The humans residing in this world have all been altered in some way. Some are excessively tall, while others have undergone physical augmentations to survive the harsh conditions of The City. Throughout Killy's journey, decades and then centuries pass without success. As he ascends higher, moving further away from Earth, the humans he encounters become increasingly bizarre, and Killy himself appears less human, both in his actions and how he is perceived by readers and other characters. This makes the ending bittersweet, as Killy's final acts in the series are some of the most profoundly human moments depicted in the manga.
This manga isn't for everyone. Its abstract storytelling, lack of dialogue, and sparse character development might bore casual readers. However, for those intrigued by this description, it is definitely worth exploring. Unfortunately, due to its previous ownership by Tokyopop, which has since gone under, obtaining copies can be expensive.
I'll keep this review brief, as much of Blame! is visual storytelling that doesn't easily translate into words. First off, I'm surprised by reviews claiming this isn't a deep or philosophical story. While the lack of narration might suggest an action-oriented series (which it has plenty of), saying it lacks depth is like arguing Dark Souls has no story. There are pieces of world-building, but like Killy (the protagonist), we're incomplete. We can't fully grasp the history and scale of this world. It's physically represented through winding stairways and mazes leading nowhere, sparsely populated as humans revert to a techno-tribalism where technological preservation has become tradition over understood science, yet it soothes the minds of those living in such dark times.
The story itself is fantastic, almost spiritual, about a lost flock waiting for a prodigal son who can connect their world to the next (a sort of data afterlife is hinted at between worlds) and provide stability. Here, "data" seems to be a substitute for "soul," repurposing classical hero tales in a cyber-horror setting. The hubris of man creating an impossibly large prison is evident. If any of this sounds like a spoiler, rest assured interpretations vary widely, thanks to the loose narration.
The art excellently serves the story. The scale of battles brings mass destruction; attacks punch through 25km of what appears to be concrete, yet the environment dwarfs even this, with 25km being a mere dent. Buildings are imposing, mixed with industrial pipelines, and roads barely wide enough for one person. The illogical construction manifests in countless ways, creating a concrete hell that humbles human form (much like cathedrals).
Characters shine in this story. Side characters receive substantial characterization with minimal dialogue, their backstories hinted at through interactions and personalities revealed through reactions. Show don't tell is used effectively here. Killy himself is quite silent and generally callous, which might seem boring, but he gradually becomes a man unable to escape his path. Cibo is fascinating; however, I can't say much without spoiling crucial plot points. By the end, through her storyline and some stylized panels involving her, she becomes a Virgin Mary figure to me.
Overall, nothing quite like this exists! Pick it up if you think you can handle such a daunting world! (Or not! As it's enjoyable even without overthinking.)
Blame! (pronounced like the onomatopoeia "Blam") marks the debut of Tsutomu Nihei, the mangaka renowned for later works such as Biomega and Knights of Sidonia. It's an exceptionally strong start to what has become a highly impressive career.
The manga initially follows a man named Killy, who is navigating a colossal industrial gothic landscape known as the "Megastructure," in search of someone possessing the "Net Terminal Gene." At some point in the distant past, automated machines responsible for construction and maintenance went haywire, causing the structure to expand uncontrollably. The Net Terminal Gene would allow a human to access the computer system controlling the Megastructure.
Given the nature of the setting, the story doesn't heavily focus on character development but rather on Killy's journey through the megastructure as he searches for settlements and checks if any residents have the Net Terminal Gene. This doesn't mean the characters are underdeveloped; there just aren't many of them. Killy appears in every volume, with supporting characters like Sana and Cibo introduced later. Throughout the series, each character receives some degree of development, defined primarily by their goals—Killy seeks the Net Terminal Gene, Cibo aims to understand the Megastructure better, and Sana is drawn to both Killy and Cibo.
The art is probably the series' biggest strength. Nihei excels at landscape art, featuring an "Industrial Gothic" aesthetic that would later be prominent in Biomega. Notably, the last volume of Vertical's reprints includes spectacular two-page landscape spreads.
While it's nearly impossible to track Killy's exact journey route, Nihei masterfully conveys a sense of scale and power as Killy traverses the Megastructure. This is especially evident whenever Killy fires his signature weapon, the Graviton Beam Emitter. The gun's beam travels an immense distance, whether it hits an opponent or not, and Nihei effectively illustrates this with wide-shot panels showing additional damage caused by the beam.
The series lacks the humor found in Knights of Sidonia or even some of the witty one-liners from Biomega. It reads more like "Angel's Egg with Explosions and more dialogue." While not as introspective or philosophical as Angel's Egg, Blame! shares its dark, atmospheric tone.
Originally licensed by Tokyopop, the series recently received a re-release by Vertical, offering a much more enjoyable reading experience with larger pages that highlight the detail in Nihei's artwork.
(This review was originally posted on my blog at countzeroor.com)
Popular Reviews
I was encouraged by a friend to read this manga, as it catered to a niche audience and I enjoy science fiction that doesn't rely on time travel. I hoped this manga would help me discover my personal tastes in sci-fi and cyberpunk. Unfortunately, my wish went unfulfilled as the manga lacks any discernible plot.
Let's start with what I found enjoyable. The art and character design are stylized, perfectly complementing the "story" being portrayed. They evoke a sense of unease and sorrow, fitting for a post-apocalyptic world, which is rare in contemporary art forms. Additionally, the villains' designs are genuinely creepy and terrifying. However, this is where the praise ends.
The main issue with BLAME! is its lack of plot. Any book, movie, or show needs some semblance of a plot, no matter how small. Even action-heavy films like The Expendables provide a slight justification for their violence. In contrast, BLAME! offers no excuse for its violence beyond Killy, the protagonist, hunting a vague McGuffin. He's a violent loner, but his motivations remain unclear. This brings us to the characters, who might as well not exist. They never speak, emote, or interact interestingly, making the experience incredibly bland. When Killy and Cibo are separated in this hostile, violent world, neither seems to care. Even when severely injured, they shrug it off without speaking. Why make this choice when there are so many intriguing interactions within the "plot" to explore? The only topic discussed is the aforementioned McGuffin, which isn't even fully explained.
Very little is explained or expanded upon, and the entire art style, which I still appreciate, becomes nothing more than an excuse for violence, and not a good one at that. One could argue that the environment explains everything, but then why does Killy want the McGuffin? Why does Cibo decide to help him in her various incarnations? Why are silicon lifeforms and safeguards hunting them? How is the entire Net Sphere accessed? Why have humans been banned, and why is their main antagonist so relentless? These questions remain unanswered. Thus, I give my rating of an overall 3/10.
Blame is the tale of Killy, a man on a quest to find the Net Terminal Gene. Along his journey, he encounters others like him—Humans, Administrators, and Silicon—all trying either to kill or hinder him. The narrative revolves around a mission that is somewhat vaguely explained, focusing primarily on finding a human with the Net Terminal Gene. Surprisingly straightforward, the series doesn't delve deeply into why this mission is essential, but it's clear what Killy aims to achieve.
The series features minimal dialogue, yet the author compensates by introducing unexpected events to further mystify the reader. To say I dislike Blame would be an exaggeration; it certainly isn't bad. In fact, it boasts some of the most meticulously detailed illustrations I've seen in a long time. The artwork can be breathtakingly beautiful, almost making you feel as if you're reading a completely different manga. However, there are issues. The characters' faces are notably bland compared to the intricate designs of creatures and sci-fi elements. It's disappointing given the uniqueness of other designs, though it's a minor issue overall.
The art quality varies dramatically. While mostly fantastic and detailed, certain panels seem unfinished, pulling you out of the story. The contrast is astonishing—one moment it looks like something Yusuke Murata (One Punch Man) would draw, the next it resembles a child's crayon sketch. Perhaps this inconsistency was intentional, as these rough panels are often followed by stunning full-page spreads.
I enjoyed the action sequences, which were more frequent than expected. Yet, despite the explosions and destruction, the fights lacked hype. Characters have fantastic designs, but there's little buildup, making the action feel uninspired. Some fight scenes are incredible, especially towards the end of Omnibus 1, but the series never quite reaches those heights again. The lack of substantive storytelling through art becomes apparent, leaving the narrative underwhelming.
In summary, Blame was generally underwhelming. There were great scenes, albeit too few and far between. The series relied heavily on its art, but art alone isn't enough to make a series truly good. You need substance beyond mere style. With high expectations due to its cult classic status, I wasn't as impressed as many fans. Rating: 6/10.
Blame! is a manga that revolves around a man wandering through numerous deserted buildings, where the scarce surviving humans are hiding, searching for something that could potentially rescue them all.
The narrative can be somewhat perplexing but remains highly enjoyable, incorporating many unexpected elements (though you might need to look up explanations after finishing it).
The artwork is outstanding; the mangaka clearly possesses extensive knowledge about architecture, as the structures depicted are meticulously drawn and visually stunning. I captured screenshots of many panels because they were simply that impressive. The action sequences are also thrilling, being rather exaggerated, which I thoroughly enjoyed.
The characters are equally remarkable, each having distinct objectives and exuding an aura of coolness, especially Cibo.
In summary, Blame! is a fantastic manga that isn't overly long, featuring an engaging story and superb illustrations. A solid 9/10.
This is hands down my all-time favorite manga. There's something truly special about the world, the characters, and the mysteries that come together to form a masterpiece of art and storytelling that I will cherish forever. The artwork is magnificent, featuring sweeping panoramas of sprawling cities and their colossal, prison-like structures. The character designs are superb – sleek, stylish, and undeniably cool.
It might not be everyone's cup of tea; the long stretches without any dialogue could bore some readers. However, I genuinely believe it’s worth giving it a read. I hope more people get the chance to experience this incredible series and appreciate its unique charm and depth.
I desperately want to give this a higher rating, but the absence of a solid narrative holds me back. Additionally, there's almost no character development, leaving me indifferent towards most characters by the end. Emotionally resonant moments are scarce, rendering even tragic endings for some characters insignificant.
However, it's undeniable that Tsutomu Nihei has crafted an awe-inspiring sci-fi universe with unique and intriguing design choices. Reading this evokes a sense of claustrophobia as the world feels simultaneously confined yet expansive. Structures upon structures enclosed within massive metal walls hint at a once-thriving civilization. This duality can be both a strength and a weakness; while the world is intricately designed, it quickly becomes visually monotonous, making it difficult to distinguish between panels. My interpretation is that the mangaka intended this to reflect Killy's experience wandering these metallic ruins (I feel like half of this manga involves walking). As time progresses, Killy seems to lose his own grasp on what's happening.
Admittedly, the storytelling method is unconventional and often required considerable thought to follow the narrative, but overall, it was still an enjoyable read. Unfortunately, the aforementioned issues prevent me from rating it as highly as others seem to.
To put it simply, there's a reason Blame is such a renowned cult hit. Its art style is both captivating and horrifying, its story extremely minimal, its atmosphere thick as syrup, and with it, Blame has always been seen as a modern classic of cyberpunk and experimental manga. If you're in for something strange and off the beaten path, then you will surely enjoy this bizarre and complex piece of work.
Blame is about a lone wanderer named Killy, who, in keeping up with cyberpunk standards, is not 100% human. Killy embarks on a quest to find net terminal genes, a genetic code that may or may not be extinct. To find these genes, Killy wanders in the setting of the manga, known only as The City. The capital letters and context alone hint at how mysterious this place is. The City is a vast technological world whose bizarre nature borders on surrealism in some parts. It seemingly has no vertical or horizontal end, stretching endlessly forever. No government can be seen in any form, and machines run rampant doing crazy things. Factions of silicon-based life forms and trans-humans struggle to survive in an unforgiving and relentless environment, constantly pressured by the Safeguard, a relentless machine god horde akin to those from God Emperor of Dune. Killy attempts to find the Net Terminal Genes for a human faction, hoping to bring control to The City and the Megastructure inside. The Megastructure is an infinitely expanding series of floors within The City, making it seemingly impossible to move between floors due to its nature as a gigantic, infinitely long space wall several hundred miles thick. Killy is the only human able to traverse these megastuctures because he possesses a bizarre weapon with unknown origins, the Gravitational Beam Emitter, a gun so powerful it can potentially punch through the normally indestructible Megastructure.
Blame!'s story is not really a story in the typical sense. Usually, in a story, you have characters with their own development, background information, and instances that drive an overarching plot forward. All of these elements are virtually non-existent in Blame, which is hardcore minimalist. Dialogue rarely occurs, and you can never understand what characters are thinking. All you are presented with is Killy going around, his reasons mostly unexplained, the setting unexplained, a glossary of terms that does not exist, etc. But you can figure things out about the story; however, it's never directly presented to you, so you have to pick things up from subtle details. Needless to say, this makes the story completely open to interpretation, but it's interesting in the sense that it can make sense in a concrete way. Let's say you finished the manga and then went to forums to see what people thought of the ending. If they reference a particular part in the series to construct their theory, you might say, "Ah, I remember that part." It's intriguing.
The art is pretty wild. You can probably get a good idea of what the style is like from the spread I posted with the review. It's very sketchy and unpolished looking, but it works well. Sometimes I like to say that "bad art is not a style, even if it's consistent," but I never found Blame's art to be bad. The only thing that was a bit strange looking were the faces, but keep in mind this manga is quite old. Nihei, however, has always had this sketchy style which makes the setting, and ESPECIALLY the enemies look eldritch level insane. There's not a single way I can describe the designs of the silicon-based life besides saying they look like they literally climbed out of a wormhole. Guts spill out of random places, their metal skulls based on some animal thing, bizarre needle arms like Bokurano—you name it. They are all unique in overall design and they are all crazy looking.
Conclusively, it's very hard to review Blame in a concrete way due to its broad interpretation. I loved it due to its unending surrealism and mystery, along with the minimalistic plot and art style. I will probably never fully understand the intention of the story as a whole and especially the ending, if it exists. But without a doubt, this rather short cyberpunk classic deserves to be read by all fans of manga.
Transhumanism wrapped in horror and a touch of irony. The quest for progress backfires, reducing humanity to survival-driven monstrosities stripped of basic human values. The author shows little interest in philosophical undertones or admonishments, presenting instead the end result of such dark ambition. This is primarily an action-heavy story that doesn't delve into hows and whys.
The journey is filled with frustration and potential disappointment, as the presentation is as unique as it gets. The story is largely visual, with characters showing little inclination to explain themselves. Information is subtly embedded through intricate details that may or may not be crucial to the narrative. Regardless, they contribute to a pervasive sense of mystery, allowing free interpretation by the reader. It feels voyeuristic, as if we've glimpsed into an unfathomable world that continues its existence even when the book is closed.
Killy embarks on a Sisyphean task, essentially a futuristic version of Clint Eastwood's character. His goal would be simple if not for the perilous paths leading to it. Similarly, Blame! would be straightforward if not for Nihei's sublime approach. Characters are mostly confined to their primary roles, but this isn't a significant flaw here. Their lack of development is justified by their nature—a risky move since audience appeal often comes from attempts at humanization, but this could come off as too cold.
The true protagonist of this work is the city itself. It continuously evolves, featuring all sorts of architectural oddities. The brilliance lies in how this "sentient" colossus is controlled—with an uncanny sense of space and size. One moment we're awestruck by stupendous structures overshadowing characters, diminishing their relevance, while the next we're confined to claustrophobic spaces bordering on burial places. Killy traverses familiar settlements only to find himself in environments blending alien and human elements, invoking dread.
For all its uniqueness, there's some redundancy. The action scenes seem excessive, and the twists follow a monster-of-the-week format despite these monsters representing the pinnacle—or close to it—of body horror. Even so, it's an exemplary work of fiction, with a style holding unequivocal relevance within the medium. It will certainly provoke divisive opinions, but there's a refreshing respect for an author whose panels scream passion rather than accessibility. Nihei doesn't care whether the reader persists upward or falls into the abyss below.
I'm re-writing this review after some time. I believe I've had enough time to fully articulate my thoughts on this piece. Blame! stands out as one of the most unique works you will ever encounter. In fact, I doubt there is another manga quite like Blame! that hasn't been influenced by its style. What makes it so distinct isn't just the art or how well the protagonists and antagonists are crafted, but rather the unusual progression of the story.
I recommend watching PewDiePie's video on Blame! as our opinions align closely regarding the manga. I appreciate how isolated the series made me feel, only to later realize that the emotions I experienced mirrored those of the main character, even though he never explicitly mentions them nor are they immediately apparent while reading. The loneliness wasn't melancholic; that's the best way I can describe it. It was harsh, cold, but above all, real. He didn't merely feel lonely; he was truly alone (at least for most of the manga).
In many manga and anime, there's a sense that the good characters, especially the protagonist, will eventually achieve some form of happiness or satisfaction, even if it's not the ideal outcome. But in Blame!, I rarely felt this. To avoid spoilers, I won't go into further detail. There is much more to say, but for now, that's all I'll share.
Extra: I understand it's challenging to read at first. It's difficult to grasp what has happened, what is happening, and what will happen next. However, please don't give up on it. If you think it's not your cup of tea, give yourself some time to digest it. You'll have a realization after some time.
Happy reading.
Wow. That was my reaction when I first started reading the initial volume.
Wow. That was also my reaction upon finishing the manga.
Before diving into this review, if you're new to BLAME!, do yourself a favor and start reading it immediately. My thoughts here won't add much value.
Alright, I spent an hour trying to figure out how to write this review. It turned out as tangled and perplexing as the story itself in BLAME!. Much like the manga, I'm unsure where to begin; there's truly no straightforward way to encapsulate the narrative. I believe the author intentionally left room for readers to draw their own conclusions.
What I can share is that this is a profoundly bleak and solitary journey for Killy, the protagonist. He quests for a human capable of accessing the Net to save "The City". The City is a colossal structure with countless levels that Killy must traverse to find his goal. Along the way, he encounters numerous strange villains and characters. Armed with his trusty gravity beam emitter, he obliterates anything obstructing his path. During his travels, he befriends Cibo, whom he rescues at a plant, and she becomes indispensable to Killy in multiple ways.
BLAME! defies simple categorization into one genre. It blends elements of cyberpunk and steampunk, yet also incorporates surrealism (think de Chirico or Dali) and subtly embedded philosophies (pay attention to the chapter on clones).
The artwork plays a crucial role in storytelling because words often fall short in explaining what's happening. Dialogue can be deeply meaningful or utterly meaningless—or both simultaneously.
Killy remains somewhat enigmatic throughout. Some characters recognize him, others don’t. He seldom speaks, but through his actions and decisions, you'll discover many hidden human qualities.
As for enjoyment? You become hooked. One reviewer mentioned missing the manga right after finishing it. I feel the same. This manga offered more satisfaction than some series spanning 300-500 chapters.
The closest comparison I can make is to the anime Texhnolyze. Both share themes of bleakness and loneliness. However, BLAME! offers a glimmer of hope at the end of its labyrinthine tale.
This is a must-read. You won't be disappointed. I plan to read the other books and revisit this one, possibly updating my thoughts later.
Blame! is a cyberpunk series that delves into the implications of transhumanism within a post-apocalyptic backdrop. In this universe, machines known as Builders were originally constructed by humans in ancient times. As expected, these Builders kept constructing more and larger versions of themselves until their expansion surpassed Earth's atmosphere, enveloping the entire solar system. This colossal maze came to be referred to as "The City."
We meet Killy, a man of few words, as he navigates The City in search of a human possessing net terminal genes. These elusive genes hold the key to accessing "The Net," an advanced iteration of the internet that could potentially halt the Builders' relentless progress and possibly save humanity.
Tsutomu Nihei’s series features a highly dynamic and sketchy art style, likely influenced by his architectural background. His world is vast and ever-evolving, with character designs that evoke a sense of eeriness reminiscent of surrealist artist H.R. Giger's works.
Despite minimal dialogue, the world captivates you through its atmosphere alone. Its landscapes are among the best that cyberpunk has to offer, populated by characters straight out of the uncanny valley.
The humans residing in this world have all been altered in some way. Some are excessively tall, while others have undergone physical augmentations to survive the harsh conditions of The City. Throughout Killy's journey, decades and then centuries pass without success. As he ascends higher, moving further away from Earth, the humans he encounters become increasingly bizarre, and Killy himself appears less human, both in his actions and how he is perceived by readers and other characters. This makes the ending bittersweet, as Killy's final acts in the series are some of the most profoundly human moments depicted in the manga.
This manga isn't for everyone. Its abstract storytelling, lack of dialogue, and sparse character development might bore casual readers. However, for those intrigued by this description, it is definitely worth exploring. Unfortunately, due to its previous ownership by Tokyopop, which has since gone under, obtaining copies can be expensive.
I'll keep this review brief, as much of Blame! is visual storytelling that doesn't easily translate into words. First off, I'm surprised by reviews claiming this isn't a deep or philosophical story. While the lack of narration might suggest an action-oriented series (which it has plenty of), saying it lacks depth is like arguing Dark Souls has no story. There are pieces of world-building, but like Killy (the protagonist), we're incomplete. We can't fully grasp the history and scale of this world. It's physically represented through winding stairways and mazes leading nowhere, sparsely populated as humans revert to a techno-tribalism where technological preservation has become tradition over understood science, yet it soothes the minds of those living in such dark times.
The story itself is fantastic, almost spiritual, about a lost flock waiting for a prodigal son who can connect their world to the next (a sort of data afterlife is hinted at between worlds) and provide stability. Here, "data" seems to be a substitute for "soul," repurposing classical hero tales in a cyber-horror setting. The hubris of man creating an impossibly large prison is evident. If any of this sounds like a spoiler, rest assured interpretations vary widely, thanks to the loose narration.
The art excellently serves the story. The scale of battles brings mass destruction; attacks punch through 25km of what appears to be concrete, yet the environment dwarfs even this, with 25km being a mere dent. Buildings are imposing, mixed with industrial pipelines, and roads barely wide enough for one person. The illogical construction manifests in countless ways, creating a concrete hell that humbles human form (much like cathedrals).
Characters shine in this story. Side characters receive substantial characterization with minimal dialogue, their backstories hinted at through interactions and personalities revealed through reactions. Show don't tell is used effectively here. Killy himself is quite silent and generally callous, which might seem boring, but he gradually becomes a man unable to escape his path. Cibo is fascinating; however, I can't say much without spoiling crucial plot points. By the end, through her storyline and some stylized panels involving her, she becomes a Virgin Mary figure to me.
Overall, nothing quite like this exists! Pick it up if you think you can handle such a daunting world! (Or not! As it's enjoyable even without overthinking.)
Blame! (pronounced like the onomatopoeia "Blam") marks the debut of Tsutomu Nihei, the mangaka renowned for later works such as Biomega and Knights of Sidonia. It's an exceptionally strong start to what has become a highly impressive career.
The manga initially follows a man named Killy, who is navigating a colossal industrial gothic landscape known as the "Megastructure," in search of someone possessing the "Net Terminal Gene." At some point in the distant past, automated machines responsible for construction and maintenance went haywire, causing the structure to expand uncontrollably. The Net Terminal Gene would allow a human to access the computer system controlling the Megastructure.
Given the nature of the setting, the story doesn't heavily focus on character development but rather on Killy's journey through the megastructure as he searches for settlements and checks if any residents have the Net Terminal Gene. This doesn't mean the characters are underdeveloped; there just aren't many of them. Killy appears in every volume, with supporting characters like Sana and Cibo introduced later. Throughout the series, each character receives some degree of development, defined primarily by their goals—Killy seeks the Net Terminal Gene, Cibo aims to understand the Megastructure better, and Sana is drawn to both Killy and Cibo.
The art is probably the series' biggest strength. Nihei excels at landscape art, featuring an "Industrial Gothic" aesthetic that would later be prominent in Biomega. Notably, the last volume of Vertical's reprints includes spectacular two-page landscape spreads.
While it's nearly impossible to track Killy's exact journey route, Nihei masterfully conveys a sense of scale and power as Killy traverses the Megastructure. This is especially evident whenever Killy fires his signature weapon, the Graviton Beam Emitter. The gun's beam travels an immense distance, whether it hits an opponent or not, and Nihei effectively illustrates this with wide-shot panels showing additional damage caused by the beam.
The series lacks the humor found in Knights of Sidonia or even some of the witty one-liners from Biomega. It reads more like "Angel's Egg with Explosions and more dialogue." While not as introspective or philosophical as Angel's Egg, Blame! shares its dark, atmospheric tone.
Originally licensed by Tokyopop, the series recently received a re-release by Vertical, offering a much more enjoyable reading experience with larger pages that highlight the detail in Nihei's artwork.
(This review was originally posted on my blog at countzeroor.com)
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