Here, it all begins with two very mysterious first pages where, during the archeological excavations, a professor and his team discover not only some strange bones that have some analogies with the human skeleton, but also and above all the remains of a strange creature. in them a deep fear. Then 20 years pass, and here we are in the 80’s, in the city of Sen-nen Dani, and more specifically in the heart of Mangawara district. It is in this neighborhood where Ippei Tsukanoma lives, a young man with a big heart who never hesitates to oppose those who would like to commit crimes in this neighborhood that he loves and saw him grow up. Whether it’s to save local children like young Sumire or to help the homeless, starting with Grandpa Tsuru, who has always been like a father to him, the brave man never hesitates … So when the Tsuru’s grandfather and other homeless people begin to mysteriously disappear, Ippei investigates to save those he cares about, of course. Only he certainly did not expect to meet, in the end, a monstrous creature that leaves him in pieces, with his body badly damaged. Ippei only owes his salvation to Gin-Iro Karisome, the mysterious local watchmaker, known for both his elegance and his beauty. Obviously aware of what is happening in the city and intrigued by Ippei, Gin-Iro uses all his talents to save the young man’s life and turn him into his “Sen-nen Darling” or Millennium Darling, a kind of cyborg with limbs. mechanical. and whose power is enough to fight enemies who, at heart, resemble him: the mechananthropes, humans who have been transformed by an ancient weapon called a magatama. While discovering his new abilities, Ippei manages to defeat the creature that attacked Grandpa Tsuru. But what he does not yet know is that, at the same time, he has caught the attention of the villain behind it all, Neiron, and that he, for his dark purposes, will not hesitate to attack him and his follow us. sending other mechanotrophs to the load …
The least we can say is that Millennium Darling is starting to fly, launching its plot very quickly, and to tell the truth almost too fast, as the first bases are only sketched, and obviously will have to wait even before seeing them. global gambling is really intensifying as, for the time being, the city’s backdrop, Gin-Iro, mechananthropes and Neiron is limited to almost nothing. Midori Iwasawa, at least for now, follows a fairly linear pattern where, as she learns to master her new body and new skills, Ippei rubs, one after the other, with a few mechanotropes trying to sow discord. And then we have to wait for the last pages, with the case of Zigzag, so that this rather simple diagram can be found a little longer.
However, this does not mean that this start of the series disappoints, quite the contrary! Because the author certainly has more than one quality for her, starting with her expressive drawing at will and personal strength in the very varied designs (humans as monsters), and her very sustained narration during the first fights. , often very brief but quite encouraging. . In a way, this frantic and sometimes happily crazy rhythm reminds us a bit of an author like Kazuhiro Fujita, who obviously doesn’t dislike us. on the one hand, the specifics and originalities of each new enemy that has its own way of fighting by exploiting an organ of the body (one exploits the nervous system to parasitize its targets and take possession of them, the other can what he wants from his skin …), and on the other hand the strong bond that is gradually being created between the two main characters, especially under the impetus of a deliciously ambiguous Gin-Iro sometimes and sharing in his heart (literally) with Ippei, the editor then really doesn’t feel wrong in talking about bromance on the volume banner.
Upon arrival, if we have to wait for the sequel to see what the play really offers in terms of its universe / background, Millennium Darling begins in a catchy and frankly friendly way. We hope Midori Iwasawa can quickly confirm the beautiful promises interviewed!
As for editing, its main shortcoming will come because several small shells have escaped correction, with for example a first page conjugation error, or even “Millennium” which is sometimes write with a single n sometimes with two. Fortunately, this never precludes the pleasure of reading, but it should be noted. Other than that, Pierre Sarot’s translation is lively enough, Florent Faguet offers clean lettering and a convincing jacket that stays close to the Japanese original, and the flexible paper without transparency allows for a pretty honorable print quality.