“After being wrenched from his family and falsely convicted, a French soldier of fortune named Leon finds himself on a cargo plane to Japan. He and his fellow convicts are given one year to locate a powerful weapon from ages past-a weapon known only by the codename TORATSUGUMI-in exchange for their freedom. But what is the true nature of this weapon, and how is it connected to the taloned, half-human girl who swoops in to save Leon?” (Kodansha)
Ippatu's “Tsugumi Project” is a unique amalgamation of artistic influences, spanning various styles and influences. Moreover, its creator, Ippatu is a unique talent that draws inspiration from various sources. As outlined in the included interview in this release, Ippatu's first experience with manga was working as an assistant to a mangaka that tasked him with reading the work of Osamu Tezuka. In addition, his style draws influence from European comics both in visual and flow of storytelling, a fact which the mangaka states he was oblivious to until his Twitter followers began to comment how much his work seemed inspired by European, specifically French, comic books. This interaction lead Ippatu to further explore comics, and in the interview, he notes his appreciation for the work of artist Nicolas de Crecy— this admiration seems to have turned to influence on “Tsugumi Project” as Crecy's cityscapes are homaged throughout.
The result of varied influences, combined with the unique artistic path of its creator, results in a manga that is visually stunning and entirely original in the medium. Each page gives readers a moment to pause at the intricate details of the work, the city landscapes, in particular, are lushly illustrated and meticulously crafted. The characters and creatures also have a distinct visual style, drawing influence from both Japanese monsters and European painters (Ippatu mentions seeing “The collective invention” by Rene Margaritte in person as the catalyst for the entire project)
Check also this interview
On visuals alone, the manga is entirely worth of collecting. However, the story within will prove to be more divisive due to its pacing and subject matter. The work itself is, arguably, best classified as a fantasy despite the action elements and post-apocalyptic setting. This comes from the menagerie of creatures that inhabit Japan as well as the focus on exploring the landscape being at the forefront in volume one. The dialogue is also sparse, and while it does not lack sustenance, the flow may seem peculiar for those looking for greater exposition and explanation.
Essentially, the reader is presented with a world and has to explore it at the same pace as its protagonist, which may disappoint readers who like understanding the broader picture of the events unfolding before them. Granted, these elements may change in subsequent volumes, but the first volume may not reel in all readers, especially those who were tempted by the promise of fantastical elements and over-the-top violence in abundance that was hinted at in the initial info supplied by Kodansha. Personally, the considered pace and sense of mystery are utterly alluring, but this also comes from my own appreciation for European comics and may not be a universal sentiment among those who read manga only.
The release from Kodansha does the book a service with the inclusion of concept art and interview, since these elements give a deeper perspective into the biggest draw of “Tsugumi Project”, the art. However, an omnibus hardcover seems more suitable for a work of this quality, something that may come later down the line if the book reaches the same fanfare already seen in Japan and France (fingers crossed).
Regardless of how the story proceeds, “Tsugumi Project” is almost guaranteed a place in my fav manga of 2023 thanks to its utterly awe-inspiring artistic approach. Those who appreciate the visual prowess of manga at its finest should do themselves a favor by checking this one out and start collecting from volume one.
