Review by Frank Plowright
Gantz Omnibus/2 was a disappointment. With the idea of ordinary people being forced to endanger their lives by combating aliens, Hiroya Oku delivered a great concept, but then started to run it into the ground via over-extended action scenes and repetition. There’s continuing evidence of that over the first half of this volume collecting original volumes 7, 8 and 9 at a pocketbook size, but thereafter it’s as if Oku has been prodded out of autopilot, and Gantz again becomes exciting and unpredictable.
The one aspect never generating any question marks has been the art. It’s been phenomenal from the start with imaginatively choreographed action, a distinctive cast and an impressive talent for design. It’s all on show here, down to the digitally generated black ball that’s been both saviour and terroriser.
As we rejoin the action the collected agents are still fighting the massive Buddha statue, which was about to stamp on a member of the public. They’re saved, but play no later part, forgotten when there surely would have been consequences to what they witnessed. Oku then doubles down on the mistake of the previous Omnibus when defeating one foe with enormous difficulty only results in the same appearing, but in greater numbers. However, this time there are greater consequences. Since the opening chapter Kei and Kato have been the focus, with the assumption being that they’re going to be around for the entire series. They’re not.
The second half of this Omnibus drops surprise after surprise in moving the series into new territory. For instance, Kei has until now led completely separate lives, the action and aliens dealt with while his school life continues as normal. That changes, at first slowly, and then terrifyingly, and there’s also the subtle introduction of a new character who’s going to play a large role going forward. This is a great and unexpected return to form that continues in Gantz Omnibus/4.
Some things, however, don’t change and Oku continues to separate his chapters with pictures of posed women in their skimpies (and sometimes not even that) with guns.
