“Saitou is a thoroughly unremarkable handyman who can’t help but feel unsatisfied with his lot in life. Sure, doing odd jobs pays the bills—barely—but it comes at the cost of dealing with his ungrateful customers and boss. Dejected and dispirited, he’s starting to wonder what the point of it all is…when he finds himself in another world. There, he meets Raelza, a strong and beautiful female warrior with a prickly attitude; Morlock, a dirty old man and a powerful wizard (when he can remember his spells); and Lafanpan, a cute but greedy fairy.” (Yen Press)
Kazutomo Ichitomo‘s “Handyman Saitou in Another World” is a comic-strip-esque series playing on familiar fantasy/isekai genre tropes by interjecting absurd twists and playful pokes at fan service. This approach provides quick, enjoyable bits of effective comedy. However, whether its appeal will resonate over an entire series is uncertain due to its inability to ramp up to something more significant than the punchline/repeat structure.
Ichitomo’s comedic chops are undeniable, especially for those who appreciate a bit of lewdness to their humor, whether it be the exposed phallus (censored, of course) of a horny old, dementia-suffering wizard or the use of armor-melting acids on the busty female warriors. Readers’ comedic tastes will dictate whether they enjoy the more sexually focused humor. In addition, to help establish an underlining narrative, “Handyman Saitou” has touching moments of comradery that resonate an understanding of the fundamentals that define the fantasy genre.
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However, the major issue with the inaugural volume is its inability to gain momentum as it straddles the line between classic series and parody, with neither being exemplary. This includes temporary deviations into other dungeon explorers beyond Saitou and his team, which offers an unwanted distraction. This could change with subsequent volumes, but the tone seems set, and the idea of developing the main story or completely embracing the absurdity by shifting focus away from Saitou and his team is unlikely.
Much of the book’s shortcomings can be forgiven under the art direction, which wonderfully captures the fantasy aesthetic reminiscent of Vanillaware’s George Kamitani. At the same time, Kazutomo Ichitomo knows when to ditch the more polished artistic style to push the emphasis onto the humorous elements. Consequently, the art wonderfully conveys the intended back-and-forth between a love letter and parody that is lost in the dialogue.
“Handyman Saitou” may not resonate with readers beyond its surface-level antics. It is best enjoyed with the brain turned off, indulging in the art, and not worrying about the overarching story elements. Approaching this way makes the work palatable, and its quick deviations into absurdity are a nice little escape into a quirky fantasy world. Those who like to include lighthearted, easy-to-pick-up titles in their manga catalog should consider giving this one a shot.
