In an unexpected twist and jumbled mix of the macabre and action-packed manga, Dororo from the world of Osamu Tezuka takes a backseat. Instead, Hyakkimaru, the second fiddle, a slug like humanoid who was put out to river float, post his body trade to the ghoulish demons by his not-so-loving father, steals the show.

Hyakkimaru is a sort of DIY figure who has been fitted with prostheses making him a cyborg prototype from the time of the Sengoku era. His battles with the demons to reclaim his body parts, results in a Pinocchio-esque tale but with a grimdark debonair. A full swashbuckling adventure that might not feature in one of Tezuka’s best work, but that never fails to charm the fans of animated violence.

The year 2018 witnessed the debut of Tezucomi, a monthly magazine where the present gen creators replay Tezuka’s creation as a tribute to the man himself. Search and Destroy, a comic made by Atsushi Kaneko, found itself nestled in the magazine, seeking inspiration from Dororo. The comic has more acceptance among the American audience than Kaneko’s other work, which hasn’t really seen the light of day in English since the ill-fated attempt at releasing Bambi And Her Pink Gun.

Kaneko attempts to stir the pot further by changing the background, creating a version of Dororo sans the yokai elements. This piece of masterstroke can find its roots from Tezuka’s counter to Shigeru Mizuki’s Kitaro boom. Hyakkimaru was the man who challenged the clock, by being the first cyborg before the science of cybernetics was born. The folklore has now transformed into a quasi-post-Soviet sci-fi setup where the adversaries too are cybernetic.

The comic, however, retains its original sketch where the only things making noise are special effects. The endearing feature of the comic is how the Dororo folklore blends effortlessly with this new setup, showing how the core elements of the story have been carried over and juxtaposed with newer themes.

The comic introduces a fresh character similar to Dororo, the cute kid who is part of this reboot. With a character that boasts of ushanka hat and buck teeth, the style exhibits stark comparisons with the earlier rendition. However, the comic now reframes Hyaku (a shortened version of the cool and gritty killer Hyakkimaru) as a female character. The comic, despite being digitally illustrated, manages to convey the messy charm of Atsushi Kaneko’s brush pen with Hyaku’s design.

The comic leas a certain affiliation for the wealthy villains’ bodyguards, showcasing, most often the women’s outfits made of shiny material. If you are seeking the perfect artistic frame for Kaneko, take a look at Natsume Fusanosuke’s list of mangaka, where Kaneko finds himself in the good books of stylish girls from the ’90s Japan.

As for the comic, it’s a decent piece of work with artwork that is crisp and clean. The comic sets a brisk pace, draws a parallel between clarity in vision and rage while being in the moment. And, just like that, the political times shift from 1967 to 2018, from feudal Japan to a post-Soviet setup. Being able to read this gritty manga adaptation in a time and place far removed from its original setting gives it an immediacy that is just as tangible as when Hyakkimaru tore through the panel borders.