Let's try not to kill each other, okay..?

Review Details

I came across this artist’s work before in the past and was quite impressed with the art and style of the piece. Recently, while randomly browsing Fakku, I was happy to see his work on the site and thought that it was about time to dig into their art and try to share my thoughts.

Note: I’ll be using page numbers based on Fakku’s page numbers (the cover is page 1).
Note: I’ll be using ‘He’ interchangeably with Kid for the artist’s name.

General Impressions

From just the first page of this doujin I could tell that the art was going to be a selling point. The overall style gives off a strong feeling of quality, with great line-work and competent shading giving each page a lot of depth. Though, I do think that the way Kid applies his shading can give the work a softer tone which can affect how easily it is to comprehend the images on the page, which isn’t helped by how busy a lot of the pages can be. It's not much of an issue, but more on that later.

There’s another kind of style to this work that I want to describe as - professional. Now, I’m not trying to say this artist is more professional than any others, but rather the impression I got when reading the first few pages was not that of a hentai doujin, but more of a traditional manga; with the art, panels, and general direction, all likening to a serialized work. I found this somewhat impressive considering the style and structure many hentai have, and how they are more optimized for a different type of reading experience. In the end, though, I do just love how Toga looks in Kid's art style. [Ex. 01].

More on the art, I wanted to quickly mention the backgrounds. Kid has thought about the space in which the story takes place and while the background isn't always detailed or visible, which is fair given the framing some of the panels have, there will usually be something that adds texture to the page. As the story continues past introductions, the background will pop in and out depending on the panel and sometimes it will feel a little random when a more detailed versus a simpler background is drawn. But, overall, I think the backgrounds are well done when present [Ex. 02], and the the more simplistic backgrounds or motion lines work well for the panels that they are used in.

One more general impression I wanted to talk about was the dialog in this doujin. There’s quite a bit of it, and I can imagine some readers thinking that it has too much for a hentai story, but I will say that a lot of the dialog feels world-appropriate rather than all just something you’d typically find in a hentai story. Of course you have lines about the pleasure or sex, but there’s not an overdose of these lines. Rather, there’s a lot of back and forth between Bakugo and Toga that runs the line between sexy and antagonistic. The exchange between the two as they bird-and-bee feels somewhat genuine to the characters’ personalities and how they may conduct themselves within the world of Boku no Hero Academia.

Characters

We have two main characters in this story and I think both of them are really well represented. Kid is able to accurately replicate the character designs and also give them a great deal of depth and style. The couple of additional characters that have a very brief appearance are also quite well drawn and I appreciate the details in their design when they only appear for a moment. But first, let's look at Toga.

Toga’s character is eccentric and fun in this story and I love the design that Kid has given to her. It’s representative of the original and Kid does a good job with her facial expressions throughout the story, encapsulating her insanity perfectly along with her lust. One thing to mention is that Kid takes a more modest approach with her design as compared to more common representations of her character that I see in fan art. More specifically, he gives Toga a smaller breast size, so if you’re looking for a busty Toga you may be looking in the wrong place [Ex. 03]. But frankly, this presentation is quite well done and I, personally, really like the design.

Bakugou’s design is also well done, with his simmering intensity well captured. And while I’m not as familiar with what a common representation for his “size” is, Kid still provides a great standard that works flawlessly against Toga’s design. More than his lower size, though, the artist gives justice to his muscularity and I think readers will appreciate the details and find Bakugou looking good [Ex. 04].

One last thing I want to mention that was briefly talked about in the General Impressions is the shading. Overall, the shading is fine and the characters do have depth, but when they are naked the shading on the skin can sometimes feel a little too weak. To me, this can make a few panels feel like they lack in contrast and make the skin tones between the two characters kinda blend together.

There’s a couple other features of Kid’s character art and style that I find interesting, but I’ll leave these comments for the Sexual Content section where things get a little spicier.

Flow & Camera

This doujin is busy. That’s probably the best way I can try and summarize the feel of reading this story. There’s a lot of text and non-uniform panels that cover most pages, and a number of drawings that extend outside the bounds of said panels. I would consider it slightly chaotic. I’m also not a huge fan of how often Kid uses text that’s not placed in bubbles. This, in combination with most of the text trending a little small, makes reading difficult at times [Ex. 06].

Kid also has a habit of using rather small panels in places which helps contribute to the chaotic feeling of the pages. While these panels can add a close up, reactionary scene or even more dialog, in general, I feel that reworking the page layout in order to trim some of the floating text or reducing the smaller panels would help make things flow smoother.

With my small gripes out of the way, there’s some really cool stuff in this doujin that can be talked about as well. The continuity between panels and scenes is normally fine, but the combination of camera angles and poses are where things really shine. Focusing on the camera now, Kid presents a large selection of camera angles and framing choices in this story that really show his creativity.

Towards the front of the story, Page 7 has an interesting panel to me. Kid chose to show the blowjob from the side, but the camera is zoomed out to show Toga’s whole body sitting on the floor rather than just the relevant action like the other panels on the page. I found it to be an interesting directorial choice to show more about the pose and force himself to draw more of the scene for this one panel [Ex. 07].

This is followed up on the next page with 2 more fascinating camera angles for the blowjob with the third panel being the I want to highlight. The choice of placing the camera just under Toga’s chin feels fairly unique paired with the good use of foreshortening on Bakugou’s arm to draw a line from Toga’s head to his body completing a small triangle of focus for your eyes to follow [Ex. 08].

There’s plenty more panels that point to Kid’s incredible combination of poses and camera work, but for brevity I’ll just highlight one more right now with a panel on page 25. This panel of Toga lying on the floor is another example of Kid placing the camera in a difficult position showcasing his skill in drawing the body from more complicated angles where proportions can be tricky. Having Toga’s face this close to the camera with her body extending into the background where Bakugou sits was a tricky idea handled quite well in my opinion [Ex. 09].

Sexual Content

There are 18 pages of nudity/sex in this doujin, not counting page 25. only 4 of these pages constitute foreplay, but there’s also a few pages in the middle where the two characters are not actively in the act. The foreplay mostly consists of just a blowjob before insertion, but it’s enough to get things moving and is paced pretty well with the whole 4th page dedicated to getting ready to insert rather than the blowjob or any actual sex.

As for the positions, things are somewhat limited due to the situation the characters find themselves in. With Bakugou strapped to a chair, the sex is limited to just seated positions, but I don't think that's problem with no end to fresh and unique panels. This is thanks to the creativity of the camera and poses that I’ve already praised, but also thanks to how Kid breaks up the positions. He gives 3 pages for poses with Toga facing Bakugou and 6 with her facing away from Bakugou after a small intermission between the two sets.

Kid also incorporates Bakugou’s bound hands into the equation with a number of panels showing him with his arms around Toga’s neck as they proceed to increase their intensity of their copulation. I thought this was a nice way to incorporate the scenario more into the positions and a good attention to detail.

Before I get to the poses, and to be certain there's plenty of interesting poses to talk about, I did want to mention a trend I found in Kid's art. I think that he draws with a style that has emphasize in roundness through morphing his characters by squishing, squashing, stretching, or bending various parts. I feel like there’s numerous drawings that lean into this style and because of that we are treated to some great, even if sometimes a little exaggerated art.

Some good examples of this come from the foreplay scenes. Page 7 gives a good example during Toga’s blowjob when her cheek is stretched [Ex. 10], while page 10 gives some examples through the, possibly painful, amount of bend we see in Bakugou’s penis. These panels show exaggeration, but to a fun and lustful amount rather than to the point where one would be pulled out of the scene through disbelief.

We continue to see this style throughout the rest of the story, but part of it also relies on how Kid draws the characters to begin with and how the poses themselves can be exaggerated as well. So now lets talk about the second half of the winning combination of camera and poses. To me, camera and poses both go hand in hand when it comes to drawn hentai, as I believe the combination of the two is what gives a panel it’s main composition. Sometimes it's hard to separate the pose from the camera since one can influence the other while an artist is composing a scene. However, I feel this artist has a distinct feel to both of these attributes and its his creativity with them that comes through when the positions in the story are limited, but the scenes don’t reflect that limitation since the variety of compositions keeps everything feeling fresh.

There are a plethora of great panels to chose from when it concerns poses and while I could throw a ton on the page, I'll limit the selection to a few that I think show what's on offer in this story while also not spoiling everything. So do please read the original material for the whole package.

The first pose I want to talk about is on page 20 and, I think, gives a good example of Kid's directing when it comes to showing the body in more unique positions while also incorporating a good sense of movement [Ex. 11]. Perhaps it's because I'm not cultured enough, but I did find the choice of this pose unique as I usually don't see seated positions along with such a dramatic bend forward. I appreciate the choice in dynamic directing and how Kid experiments in almost every panel with something new. And I do have to point out that readers who are interested bare backs will find plenty to appreciate in this doujin.

Moving forward, the second example of Kid’s sensual posing and another source of his exaggerated stretching and roundness is found on page 23. Here we are treated to an incredible back arch in addition to some exaggerated bouncing buttocks. As with the first pose I think that movement is well implied and the way in which Kid exaggerates the position works to drive the intensity of the pose. And It’s these exaggerated positions and morphs that I think lend Kid a fun and unique feel to his art style [Ex. 12].

And finally, I mentioned motion a couple of times already, but to quickly dig a little deeper I want to look at a panel from page 21 [Ex. 13]. In this panel, Kid uses action lines in the background and motion trails on body parts to give the impression of movement, but he also combines clean line-art of the body’s shape with just some use of shock lines to break up the form. And more than that, it's also the curves throughout the body and breasts that show momentum. There's not just one aspect that tries to give motion, but rather everything coming together that gives the characters life and a great sense of sensuality.

Final Thoughts

Kid has an impressive art style that comes across as professional, but also sometimes a little chaotic. His accuracy to the original character designs is nice to see when melded with his own style and the expressiveness of the characters is incredible. Whether it's through their facial expressions or dynamic poses, the characters are always lively and sensual.

In the end, I appreciate the incredible line-work, impeccable choice of direction and poses, and the good sense of motion in the majority of panels that brings these characters to life.