“Before the age of men but after the age of the gods, there was a time when both coexisted. Miyo, a lone orphan girl, is saved by the priest En-no-Ozuno and begins accompanying him on his pilgrim's journey. Their goal: to receive an audience with Hitokoto-Nushi, the great god capable of granting all manner of wishes. However, it seems a marriage proposal now awaits Miyo in the capital, a place likened to a thriving and prosperous utopia…” (Yen Press)
The inaugural volume of “Touge Oni” made quite the impact, an interesting visual approach steeped in elements of horror and folklore in a complementary and fresh way. While singing the praises of the initial volume, which had the caveat of needed forward momentum on an exciting new series, the second volume shows some hiccups in the storytelling ability of Kenji Tsurubuchi.
Where the series begins to falter slightly is in Tsurubuchi's ability to approach more abstract forms of storytelling. Notably, “Touge Oni” plays with elements of time fluctuation where characters see their future selves. This concept is approached with confusion, making it difficult to follow the reasoning behind these interactions, not because of complexity but because of poor structure. In addition, the entry has one of the weakest segments that awkwardly introduces new characters with little clarity about how they play into the grander story. It is a peculiar mix of weak segments and awkward set-ups, that lingers over the entire volume.
Follow us on Instagram by clicking on the image below
However, to say the series is a loss is a rushed statement, as there are still glimmers of what made the initial release enjoyable. Moreover, the volume does not feel as indicative of the series moving forward as much as a deviation to try to establish more of the lore and characters. The fact that this is done awkwardly is unfortunate, but there is still the impression that the story will move forward instead of regressing. Notably, the introduction of the monk Azuma and the devious services he performs for travelers are among the best inclusions in the series thus far.
Thankfully, one element that stays consistently impressive is the art of Kenji Tsurubuchi, which pleases in its deceptive complexity. At times, the art appears rudimentary, yet flashes of fantasy action are visually striking in scale, flow, and design. This does alleviate the shortcomings of the seeming greenness of his handling of abstract storytelling, as the visuals in these moments are particularly defined and alluring.
It is hard not to walk away from volume 2 of “Touge Oni,” with a bit of reservation compared to the inaugural release. And while that trepidation will likely remain until proven otherwise, this release leaves me no less excited to see what comes next. There will be an undeniable hope for a rebound instead of disregard for those who instantly became enamored with the unique blend of genres and visual style that first made “Touge Oni” such a fascinating title.
