Monster

Monster is a puzzle that assembles itself throughout the storyline. The author places you in the shoes of protagonist Dr. Tenma, prompting you to question the mysteries surrounding Johan Liebert, one of the best-constructed characters in any work. Johan's history is complex and enigmatic, which compels the reader to join Tenma on this journey to unravel the twists and turns about the character. This leads to a plot filled with numerous questions and plot twists, all meticulously thought out and well-developed.

However, it is not just this aspect that makes Monster one of the best works ever produced. The secondary characters hold significant importance in the script, linking everything to an unexpected event. Urasawa Naoki is a genius in the field of psychology; he can create such a profound dystopian mindset that it truly impresses readers. Following this line of reasoning throughout the work, you will understand this mind that is akin to a maze fallen into darkness, embodying a character with utter emptiness.

Monster is a work for those who enjoy investigation and mystery, filled with many questions and an interpretative ending that is magnificent at the same time.

"Look at me! Look at me! The monster inside of me has grown this big."

Monster – Spoiler-Free – Recommended

TLDR
Story – 10/10 – 10 x 0.275 = 2.75
Art – 9/10 – 9 x 0.2 = 1.8
Characters – 10/10 – 10 x 0.225 = 2.25
Enjoyment – 9/10 – 9 x 0.3 = 2.7
Total: 9.5 -> 10

Story – 10/10
Monster isn't just a story; it's a journey. With its constant cliffhangers and suspense-filled chapters, Monster is a perfect thriller and one of Urasawa’s best works. It transcends being merely a mystery-driven manga by offering a complex narrative with a great atmosphere that immerses us in a world of suspense where new revelations are constantly unfolding. The writing is superb and highly entertaining, with sequences ending in cliffhangers that maintain tension throughout. While the story can be dense and intricate, it remains a genuine page-turner. The plot follows Kenzo Tenma, a brilliant Japanese neurosurgeon living in Germany, whose life takes a dramatic turn after he saves a child, leading to years of regret and a vow of vengeance against the boy he saved, now a killer. The story delves into profound questions about life, revenge, nature versus nurture, and childhood morality, while also touching on xenophobia, the far-right, and human experimentation. The internal conflicts of characters like Tenma, Nina Fortner, and Grimmer add layers of complexity that enhance the thriller. Although the ending may not fully match the quality of earlier chapters due to the numerous plot threads, Monster remains a brilliant, character-driven, suspense-filled masterpiece.

Art – 9/10
Urasawa’s art style is of high quality, evident in his rich character designs that make each character easily distinguishable, detailed backgrounds, and the overall flow of his artwork. The storytelling is highly comprehensible with a superb panel cadence. Characters' emotions are impeccably depicted, contributing significantly to the story's quality. Characters like Johan Liebert and Tenma exude charisma and determination, adding to their appeal.

Characters – 10/10
Monster shines with its exceptional cast of characters who support the main storyline effectively. The characters are believable, well-written, and complex. Beyond the main character, Tenma, there are standout characters like Grimmer, Nina Fortner, and Johan Liebert, each with distinct personalities and memorable traits. Tenma and Johan Liebert represent the epitome of hero and antagonist, respectively, both brilliantly written and serving as foils to each other, enhancing their respective qualities.

Enjoyment – 9/10
The enjoyment factor in Monster is exceptionally high. It is an addictive page-turner with a compelling story and remarkable characters. As a classic and a masterpiece, it concludes at the right moment without feeling dragged out. For all these reasons, it undoubtedly deserves a recommendation.

I've read and seen a lot of critically acclaimed fiction in my life. Some became my favorites, while others were just okay. Monster, however, is the first instance where I encountered a critically acclaimed work that turned out to be truly, truly terrible. To be honest, despite trying to remain objective, my intense dislike for its undeserved reputation is what motivated me to write this review.

Ironically, my biggest issue with Monster is what its fans claim to be its greatest asset: the villain Johan Liebert. It's clear what Naoki Urasawa intended with him. Johan was supposed to embody pure evil, someone who could commit crimes without any guilt or remorse. That sounds scary in theory, but consider this: if I raise a person to be a terrorist and they become one, does that make them evil? Without spoiling anything, that's essentially who Johan Liebert is—a character designed to be evil, which paradoxically makes him not evil at all. Urasawa failed to grasp that what makes a villain compelling are their personal convictions and emotions, not some contrived backstory involving countless influences.

But Urasawa's shortcomings don't end there. Not only did he create a villain who lacks depth, he also seems to believe that people can't become evil unless conditioned to be so. Throughout the manga, we encounter various antagonists, but consistently, only those who have been conditioned to commit crimes do so coldly; everyone else, whether alcoholics, robbers, murderers, or others, ends up feeling guilty or remorseful. Even the people who shaped Liebert into who he is have become kind and empathetic over time. This is an incredibly simplistic and juvenile understanding of human psychology. People don’t need conditioning to become terrible, and often, they don’t receive it. In fiction, the most memorable villains are those who shape themselves through their own beliefs and ideals—characters like Bondrewd, Griffith, and Makishima, to name a few.

Talking about Liebert wouldn't be complete without mentioning Tenma. Tenma is the epitome of a "good guy." He is kind, friendly, always helps others, and believes all lives are equal. While there’s nothing wrong with these traits, there’s also nothing particularly interesting about them. On one side, you have a villain who isn’t evil or even intriguing, and on the other, you have the most naive do-gooder in popular fiction. The result is 162 chapters of mind-numbing tedium, filled with filler content that only serves to emphasize how good the protagonist is. Without spoiling too much, the good guy is ultimately vindicated. So, the message of Monster is that everyone is equal, everyone is inherently good, and the only way to become terrible is if someone conditions you to be that way. Even if you believe in such a simplistic worldview, I doubt you needed Urasawa to realize it.

Thank you for reading.

Monster is a commendable manga with a thematic conclusion that stands out as one of its strongest elements. It has very few glaring flaws, and most chapters are thoroughly enjoyable. While I wouldn’t classify it as a masterpiece or even a great work, it’s certainly a manga that I’m glad exists. Its grounded storytelling approach sets it apart, especially in a medium where exaggerated sequences often drive the narrative. This more subdued method of delivering a suspenseful tale helps the story stand out, offering a complex and thought-provoking experience that avoids some of the more bombastic tropes found in other works.

Let’s break it down: we’ll explore what this manga is about and the themes it tackles, whether the beginning might be misleading, and how effectively it utilizes the medium’s strengths to convey its message.

So, what is this show about?

At its core, Monster delves into themes of identity and the inherent value of human life. Our protagonist believes that everyone, regardless of who they are, deserves to live — a principle he establishes early on. The narrative centers heavily around the importance of one's name, exploring how that ties into one’s sense of self and moral standing.

While identity is a subject deeply analyzed by philosophers, Monster doesn’t delve into this theme with the same depth as other works within the medium (like Neon Genesis Evangelion, for example). Nevertheless, it compensates by presenting a complex plot and multi-layered characters, which together deliver a powerful and entertaining story.

First things first, let’s talk art direction.

At first glance, Urasawa’s artistic choices might seem underwhelming. Don’t get me wrong—slow-paced stories can be engaging, but I’m referring here to the visual aspect: the composition of the panels and what is drawn within them. While there are some stunning backgrounds, they aren’t particularly fascinating, and the same applies to the character designs, which only start to shine as you become more familiar with them.

The panel structure is often very rigid, with square layouts and minimal instances of overlapping frames or exciting visuals like two-page spreads. While this may seem dull at first, it actually serves the story in a way that enhances its grounded nature. When Urasawa needs to intensify a moment, he does so with precision, delivering impactful scenes that land even harder due to the previous restraint.

So, how does it start?

Monster sets its tone early, and the opening chapters give a strong indication of what to expect throughout the series. Monster is very consistent in delivering the same type of narrative from start to finish. The early focus on introducing characters and their everyday lives is actually a recurring element in every arc. If you enjoy the first arc, there’s a good chance you’ll appreciate the rest of the series, as it follows a similar structure and tone.

It’s important to note that the protagonist and antagonist are presented as exceptional individuals, but the manga often shifts its attention to more ordinary lives, making the story feel more universally applicable.

What about the characters?

The characters play a crucial role in driving both the plot and the themes of Monster. Their arcs can either elevate or hinder the narrative, depending on how well they’re executed. The dialogue and settings enhance the believability of these characters, aligning with the grounded nature of the manga.

That said, the characters do follow very defined arcs, sometimes to the point of feeling contrived. This is especially true when it comes to concluding certain character developments, which occasionally feel forced. Additionally, the protagonist and antagonist are somewhat overpowered, and the portrayal of a certain delusional detective, whom the manga tries to sell as a genius, can break the immersion. Despite these hiccups, the main characters are well-realized, and their personal journeys are integral to the story.

What about the story itself?

The narrative is divided into multiple arcs, each focused on a different town and its inhabitants. Our main characters arrive, their presence changes the town in some significant way, and then a major event unfolds before moving on to the next arc.

This formula makes the story remarkably complex, with numerous storylines unfolding simultaneously. Despite this complexity, the story never becomes overwhelming or confusing — Urasawa skillfully maintains clarity, ensuring the reader can follow what’s happening with each character. The pacing is fluid, and the interwoven storylines are engaging, keeping the audience invested throughout.

So, what did I think of it as a whole?

Overall, Monster is a unique experience, particularly if you primarily read manga. It’s a very good piece with an ambitious and intricate storyline, though the execution sometimes falters. Urasawa’s talent is evident, and the complexity of his storytelling makes me eager to explore more of his works.

I wouldn’t recommend Monster to everyone. It’s best suited for those looking for a more grounded narrative, something that feels closer to a Western drama than a typical manga. If you’re hesitant about manga but want to give it a shot, Monster could serve as a great bridge into the medium, offering a blend of suspense and drama that resembles Hollywood shows.

Holy sh*t, this manga. Before diving into it, I had incredibly high expectations given its stellar reputation. It absolutely did not disappoint. The mystery and the way the story unfolded brilliantly were just so good. There isn't much competition, but this is definitely the best manga I've ever read. The story is flawless; every piece of information you get becomes significantly more important later on, which is amazing. The pacing was excellent, with no dull moments (at least for me). The supporting cast is PERFECT—every character is masterfully written. This is probably the strongest cast I've ever come across.

Now, let's address the elephant in the room: Johan Liebert. He truly lived up to the hype surrounding him by everyone who has seen or read Monster. He's a phenomenal villain, possibly my favorite ever, though we'll see how that holds up over time. The mystery around him, his presence, and the fact that his backstory remains unknown throughout the entire manga are all captivating. His dynamic with Tenma is also great. Johan has everything you could want in an antagonist.

It kind of offends me that this manga is so highly praised. If you're thinking about starting it, let me give you one very important piece of information. It's definitely a spoiler, but it's fair because without knowing this, you might feel misled by the manga: you will not learn how a monster is created here.

The story revolves around a surgeon on a road trip searching for a kid he once saved during surgery, only to discover that this child is pure evil—a monster, a murdering psychopath who is also a genius tactician, politician, businessman, and even a master of disguise (which was just silly). The surgeon follows the kid's trail over the years, uncovering what the child has been up to both before and after the surgery.

With a total of 162 chapters, I found myself hating about 100 of them. Don't think for a second that I considered this a good manga just because I finished it. Reading it felt like watching the American TV show "Heroes," which became worse with each season until I was relieved when it was canceled.

This manga suffers from the "I'm sure it'll get better" effect, but Monster truly doesn't improve. You meet one or two likable characters along the way (though I can only remember one right now), but there's no real payoff. Apparently, with this author, you either love one of his works and dislike the other. The two works are Monster and 20th Century Boys. I am indeed a fan of 20th Century Boys. It’s flawed, with some annoying patterns and signs that the author didn’t plan to write it for so long, but at least it delivers a satisfying conclusion that ties everything together and leaves you feeling something.

Monster, on the other hand, is likely to leave you feeling empty. Yet, people here give it 9s and 10s, so maybe I'm just not smart enough to grasp the nuances of this masterpiece...