Part two in a two-part essay explore the themes and style of Yaushiro Nightow’s wildly popular western manga.
Few settings lend themselves so well to explorations of violence as the Western.
The third volume of Bungo Stray Dogs ended with the promise of better things… [but this] this latest installment is so total a bit of backtracking that it’s hard not to feel as if it’s not playing at some greater thematic purpose in the clumsiest manner imaginable.
As unsparing as she is in presenting the minutiae of her feelings, Nabi has also constructed a formal shell that prevents her and reader both from actually engaging with the rawest elements of her story.
“It’s insubstantial, lighter than air, colorless, the pleasure of a cool breeze on a summer day two degrees right of ‘too hot.'”
“Better still, Ohtagaki’s newfound self-awareness has brought with it a welcome sense of the absurd impossible in the heady, edgy days of earlier volumes, and through this sense an expansion rather than a shrinking of dramatic possibilities.”