That Tyrant Duke is a Werewolf

It's going to be a love-ate relationship with slow-burn romance. The crown prince's romantic feelings won't go away easily, same for the FL. She has full of hatred because of her circumstances, it would be very long before she feel moved towards the crown prince.It's painstakingly long journey.

To be truthful, I wasn’t sure what to anticipate from this manga at first glance. However, taking into account its recommendations and synopsis, it became clear that it was one of those "niche" mangas. Penned by Jiro Matsumoto, the story revolves around three childhood friends named Nicolo, Cookie, and Naomi. They reside on an "uncivilized planet," where the inhabitants are perpetually at war, and surprise surprise—they behave just like humans! This setup is evidently a metaphor for human evil, a theme we've encountered countless times across various media. There's nothing groundbreaking here.

The narrative begins with Cookie dancing for strangers in exchange for money, with Nicolo providing musical accompaniment (though he’s essentially her slave, as she exploits him). But it turns out that she does more than dance to survive, engaging in acts you're already familiar with. Naomi, the third character, earns her living by selling bread. However, when the ruling army offers a chance to earn more, she eagerly seizes it. Yet, the "job" entails doing exactly what Cookie does. To make matters worse, the military general in charge is a cringeworthy pervert who enjoys inflicting harm on the numerous women under his control. The plot then delves into their tragic journey, illustrating how the ideals they held as children don't align with the harsh realities they face as adults.

Here, it becomes evident that the manga revels in showcasing perverted h-scenes that serve no real purpose in advancing the story, existing merely to shock and create an illusion of deeper meaning. It comes across as pretentious, pointless, and irritating, proving to be a waste of time, especially given its poorly delivered message wrapped in flimsy symbolism. If this manga had embraced its true nature and not attempted to be grander than it actually is, it might have been something remarkable. Additionally, the characters lack distinction; any initial intrigue or novelty fades quickly. Coupled with the absence of a coherent message, the entire universe feels loose and unengaging.

The conclusion of the story was the only part that genuinely captivated me. I appreciated the climax, as Naomi's resolution felt both unexpected and justified. Following this, Nicolo decides to leave town, but Cookie tries to stop him. Their ensuing struggle sees Nicolo nearly strangling her, after which they reconcile and make a promise to meet again—a promise Nicolo knows will never come to fruition. A few years later, Cookie marries and becomes a mother, while Nicolo departs the city to seek his path elsewhere.

The artwork is decent, effectively enhancing the story's somber atmosphere. It serves its purpose well, particularly in specific moments within the plot. Occasionally, the dark and gritty concepts immerse the reader. However, this doesn't compensate for the overall lack of appeal in the material.

In summary, Mikai No Hoshi conveys a straightforward message that could resonate if only the manga were honest about its scope and limitations.

In my 'Fire Punch' Review, I mentioned that 'Fire Punch' was the most underrated Manga on MAL. However, I've come across at least two others that surpass it, and 'Uncivilized Planet' is one of them.  

So far, I've only read two of Jiro Matsumoto's Manga: this one and 'Freesia'. It seems many prefer 'Freesia' (and other Matsumoto works) due to its unconventional nature compared to this one. I find this puzzling, though. While it's true that 'Freesia' boasts unique characters and an intriguing premise, 'Uncivilized Planet' offers a far more distinctive setting and presentation. The world our characters inhabit is futuristic and sci-fi in name only, primarily serving as a backdrop to the poverty endured by its inhabitants. The manga is structured so that the story is accompanied by an in-universe fictional tale from the protagonist Colo's imagination, offering insights into his mind. It reminded me of the pirate comic in 'Watchmen', but I believe it might be better executed here, particularly in how it connects to the protagonist's psyche.  

The character development in this manga is far superior to what I anticipated for such a brief work. There's a genuine sense of growth in Colo, and the two main female characters are well-developed, both in their arcs and how our perspective on them evolves. Mentioning one male main character and two females might raise concerns, but this is a commendable use of the trope. Cookie and Naomi differ fundamentally in their relationships with Colo, and their contrast is genuinely fascinating. Even minor characters are skillfully portrayed and feel essential to the narrative.  

The art style is intriguing. It's extremely sketchy, which suits the dilapidated world, but occasionally feels inconsistent. Nevertheless, Matsumoto demonstrates mastery in using light and shadow, even in subtle ways. All characters are visually distinct, and their designs are grounded, fitting the story perfectly.  

Truly a classic. It's severely underrated. As long as overtly sexual themes and visuals don't deter you, it's an excellent read. I'll give it an 8/10, but I could easily see myself raising it to a 9.

Mikai Hoshi, which translates to "Uncivilized Planet," isn't a traditional sci-fi manga, even though it is set in a futuristic world. It appears to take place in the slums of this world; the characters have less technology and fewer modern conveniences than we do, and the sci-fi elements mostly serve to give the characters false hope. At its core, it's a human story—raw, devoid of gimmicks, and incredibly powerful.

Like most of Matsumoto Jiro's manga, Mikai Hoshi is much more than it seems at first glance and far greater than it appears on the surface. It tends to be underrated even among fans of Matsumoto Jiro's works, often seen as more conventional and simple. The truth is, it is absolutely unique, even among his extraordinarily strange manga, and utterly fascinating. The art is sketchy and unrestrained, characteristic of this mangaka's style, and might appear slightly amateurish to the untrained eye, but it is astoundingly atmospheric. Closer examination reveals that it is chaotic but expertly calculated and purposeful. The plot seems simple and short, but there is far more to it than initially meets the eye. For instance, on my first read-through, I mistakenly assumed the sex was meant to be erotic (it is not) and that it was included solely for fanservice. I soon realized that sexual desire, objectification, and corruption are central motifs of this manga, paralleling modern society. Mikai Hoshi is a heart-wrenching and tragic tale, but in a very unconventional way that defies classical storytelling norms. Most characters lash out uncontrollably due to their suffering, making them intentionally difficult to empathize with. The cast seems doomed from the start, and it's clear to us that there will be no complete happiness or truly happy ending. This manga affirms nihilism rather than argues for it. Readers witness a snapshot of several characters' lives, eerily similar to our own yet exaggeratedly horrible. There is no epic plot, no fall from grace, and no nobility. There is no grand war, only an oppressive yet cowardly military force. Nothing is pure or sacred; all becomes corrupted sooner or later. There is no happy present, just an unreachable past and a seemingly unreachable future. There is nothing but a cesspool at rock bottom, populated by dreamers, exploiters, and the exploited, with distinctions between these categories often indiscernible, never clear-cut, and constantly overlapping as the plot unfolds. Despite this constant misery, the sorrowful tale reaches a compelling and unpredictable conclusion, remaining an emotional roller-coaster throughout.

The characterization is arguably the strongest aspect, despite having only three central characters. This is one of the best and most intriguing love triangles I've ever encountered, if their relationship can even be classified as such. The two women in the main character's life undergo significant development as we learn more about them, commit acts of desperation, and progress through the plot. Initially, it seems like one girl is "good" and the other "bad," but this perception shifts as the audience's understanding of these terms is challenged. Both display compassion and malevolence realistically and understandably. You'll likely feel equal parts fascination, sympathy, and animosity toward them. The main character is a sympathetically meek and artistic space-case who just wants to live his life but is never allowed to. He spends his time and money on people who never appreciate him and treat him, literally, like dirt. People use him and treat him like an object rather than an artist or person. Everyone around him pushes him around, making him miserable, forcing him to find refuge in daydreams about a small cast of surreal space-adventurers. These fictional moments, occurring in his head, contrast and parallel the main plot masterfully, enhancing the bitterness of the atmosphere rather than clumsily injecting sweetness or humor into such a bleak story. The main character slowly descends from this fantasy world and connects more deeply as he suffers, becoming one of the more self-aware characters in the manga, although that may not be saying much given the consistently delusional nature of most of the cast. Character development is universal, and every character serves a purpose.

Mikai Hoshi is rich with symbolism and demands attention, possibly requiring multiple readings for full appreciation, even during the disturbing, depressing, and difficult-to-look-at scenes that fill this manga. It has nearly everything I look for in a manga and is easily Matsumoto Jiro's strongest non-one-shot work. It takes the best ideas explored in his one-shots and expands on them thematically and atmospherically, in a somber way, with all humor serving to darken the plot. It contains more profound and intelligent, albeit simpler, societal commentary than all 82 chapters of Freesia while maintaining focus and feeling less aimless than Netsutai no Citron. Mikai Hoshi is a multifaceted, cynical, and supremely nihilistic story that most people, unless overly sensitive to sexual themes or tragic plots, will likely appreciate in some way.

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To me, Jiro is one of the most significant authors in Japanese comics. Unfortunately, to the Japanese, Jiro is seen as faux avant-garde, which explains his lackluster sales numbers and the absence of accolades.

You should read this if you genuinely appreciate Japanese comics and believe they are a remarkable medium worthy of being considered art.

Who am I kidding? You're not here to know if it's worth buying and reading. You're here because you're either like me, a fan of Jiro's works, or you've read it and are curious about what others think of it. Personally, I consider this his most memorable work. Not because it's particularly striking, but because it's the simplest of the bunch.

Let's quickly discuss the art. Jiro's art may seem extremely lazy, raw, unrefined, and even messy at times. I think most people wouldn't have an issue with it. I soon realized that Jiro wasn't trained in painting; he studied sculpture, which is surprising since his drawings seem better suited for watercolor, as demonstrated by his cover illustrations. If we talk about artistic evolution, there was barely any difference between this and his later titles, but it is still striking and easy to follow. While Jiro's later works are framed better, this early work is beautiful in its own right.

I won't dissect the story and symbolism because interpretation is up to you. However, I will share my feelings about reading this. After all, to me, a work of art either evokes emotions or numbs my senses. This definitely made me feel.

The characters go through their arcs, reacting in two ways to their current circumstances. They either endure and accept, or fight against them by sacrificing their souls. The main character retains his soul through delusions and an inability to cope adequately with reality. His friends don't fare well either, selling their souls. The setting for soul-selling is both intriguing and unsettling. It takes place in a distinctly Eastern European setting during what seems to be a German occupation. The characters are trapped there due to their circumstances and the occupation. The occupiers, however, are both monsters and a way out for the characters, but the monster demands a meal before letting you pass. I was somewhat shaken by how the author portrayed the occupying force. They were both cruel and sympathetic. While they shoot, rape, pillage, and oppress, they also maintain order and have lives of their own before the war. Meanwhile, during and after the occupation, the people are portrayed as both traitorous, selling out to the occupiers, and cruel, shooting them and hanging the traitors, raping and pillaging their own. Although the setting is Eastern Europe, I couldn't help but see parallels with the occupation of China and Korea by Japan. I won't dwell too much on the war since that's not the main point. The point is quite clear: the world is cruel, and we can only adapt to it, not fight it, hence the title. While Jiro can hardly be called a feminist, I do believe he is, at heart. He never shies away from women's suffrage, placing them at the forefront of his works, even if they are filled with sexual imagery that some women might find repulsive. Not to mention, his female characters are strong-willed and always seek to dictate their own fates, even if it's ill-advised. You can see he didn't reprimand his friends for using their bodies but merely distanced himself from them due to their cruelty. There's also a disconnect between his own happiness and his ability to create art. The main character was praised after he began losing hope and coping with his imagination. Only when he embraced sorrow, the meaninglessness of life and existence, did he advance as an artist and gain the courage and strength to move forward.

I don't think "Mikai no Hoshi" is profound or even Jiro's best work. In fact, I think as an anti-war piece, it's rather weak. But, I believe the passion he poured into this short story is evident. For me, this is the best introduction to Jiro so far. It encompasses all of his central themes without indulging in symbolism, fantasy, and dream sequences. Every time after finishing it, I sat in silence for a while. It's not beautiful, but it leaves a powerful impression that made me decide to sit down and write a review for it 14 years after I first read it.

This is a compelling narrative crafted by Jiro Matsumoto, showcasing his signature style and ambition. However, it slightly falters in the realms of art, story, and humor when compared to his other works. Nonetheless, it's the story that makes this manga particularly intriguing. Despite being composed of familiar narrative elements, it retains an unusual quality, standing distinct from other manga.

Contrary to initial impressions, this isn't a science fiction tale. It's set against the backdrop of an indistinct war that Matsumoto frequently revisits in nearly all of his manga. Interestingly, two of his best characters from previous works make a cameo appearance. The setting of Uncivilized Planet appears to be a blend of Middle Eastern and Eastern European influences. The architecture and clothing occasionally reflect Arabian styles, and some extras in the story resemble gypsies. However, there's no overt reference to contemporary warfare in those regions; the war elements remain universally applicable.

The sci-fi element manifests through the continuous dreams of the main character, mirroring his mental state in reality. It unfolds akin to a humorous manga version of classic American TV sci-fi, like Lost In Space. This aspect gives the manga an extra edge, making it stand out, as fundamentally, it's a straightforward and conventional story about the desire to escape a remote town.

Uncivilized Planet lives up to its title, depicting a dark, depressing existence filled with desperation and misery. The population featured in this tale lives under occupation, resorting to violence and sex to cope with daily life. It's within these circumstances that we are introduced to Colo, Naomi, and Cookie. These three childhood friends form a triangle with sharp edges, as the two females intensely dislike each other, while the indecisive and meek artist Colo finds himself caught in the middle, enduring their conflicts like a resilient car test dummy.

Although the trio might not elicit sympathy or respect throughout the two volumes, what's fascinating is how Naomi and Cookie begin the tale at opposite ends of a personality spectrum and gradually shift towards the middle, then to the other side again. Their character arcs ensure that even if you don't admire them, you'll be captivated by their evolution and find yourself experiencing mixed emotions regarding your feelings towards them. Ultimately, they're human beings under the strain of war, and observing their struggles against overwhelming forces is compelling, albeit disheartening or, at times, perverted.

Matsumoto's narratives often explore inventive ways to incorporate elements into women, and this work is no exception. His earlier manga handled sexual themes more effectively, advancing the story or impacting the reader in imaginative ways. Here, it feels somewhat conventional (as conventional as Matsumoto can be given the extreme nature of the content) and thus appears tired and overused. Nevertheless, he continues to craft these scenes without seeming exploitative, focusing on conveying profound despair, unyielding desire, and survival instincts rather than indulging in the abuse of women.

Uncivilized Planet is a commendable coming-of-age story that, despite certain flaws, triumphs in the end due to Matsumoto's skill in delivering an emotionally satisfying resolution amidst all the sex and violence. The conclusion is so impactful that you should hopefully feel a pang in your chest during the final chapters as each character's arc reaches its culmination, proving that even when adhering to convention, Matsumoto excels in character development, storytelling, and artistry.