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OSHI NO KO est un DÉSASTRE

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Overview

This video is a long critical re-review of Aka Akasaka’s Oshi no Ko. It argues the work is exceptional in concept and execution in many places, but is ultimately undermined—especially by how its revenge/investigation storyline and final resolution are structured and concluded.

1) The prologue is praised as near-perfect “work of the decade” material

The speaker, “Emano,” argues that the prologue (roughly the first volume / first ~10 chapters) is unusually patient and structurally bold: it takes time to set up themes before accelerating.

Three dominant early themes

The prologue is said to introduce three main themes early on:

  1. Lies
  2. Critique of the entertainment industry
  3. Reincarnation, positioned as a narrative engine leading to revenge

Efficient character/theme setup

The prologue is praised for introducing characters and themes through their roles:

  • Kana-like function later: a setup character who becomes memorable
  • Aqua and Ruby as reincarnated protagonists tied to the revenge engine
  • Ai as a central emblem of showbiz and “legend,” including the idea that the narration becomes posthumous—which the speaker calls brilliant

Structural device: one-page chapter “interviews”

A major structural device is praised: one-page “interviews” at the start of chapters, functioning like flash-forwards and foreshadowing. The speaker says this steadily builds toward tragedy and revenge groundwork.

2) Reincarnation is defended as a thematic/structural tool (not just a gimmick)

Emano argues reincarnation is more than novelty. It:

  • simplifies revenge planning (with adult-like cognition early)
  • creates emotional distance that makes the industry critique easier
  • enables a “mise en abyme” of role-playing, where cinema/theater/TV/social media idol work become spaces where characters must perform lies

Comedy via contrast

Comic relief is also attributed to contrasts between mental vs physical ages, preventing the early story from feeling unrelentingly heavy.

3) The entertainment-industry critique is excellent, but the series struggles to balance genres

After the prologue, the speaker says the series continues to analyze the entertainment industry extremely well, including realities like:

  • casting systems
  • low-budget cynicism
  • idol group formation
  • reality TV
  • cyberbullying

Cyberbullying as a high point

The speaker highlights chapter 25’s cyberbullying depiction as a standout visual and narrative moment.

But genre balance breaks later

Once revenge/investigation becomes more central, the speaker argues Oshi no Ko loses consistency because it appears torn between:

  • a documentary career/showbiz focus, and
  • a detective/investigation/revenge focus

4) Character writing is often strong—especially Kana/Akane rivalry and Aqua’s relationships—but pacing is criticized

Strong praise

Emano argues Akasaka is especially good at character dynamics and relational “games,” citing:

  • the Kana–Akane rivalry
  • the relational core formed by the triangle (Kana/Akane/Aqua)

They also praise later play/arc formats for enabling character development and grounded rivalries.

Criticisms: too many minor characters + theme resets

Emano frequently complains that the story introduces too many minor characters, sometimes giving them early screen time without later relevance (e.g., Frill and other one-off introductions viewed as wasteful).

They also criticize narrative missteps where themes appear to “reset” rather than evolve—particularly after revenge is supposed to become the dominant engine.

5) The “detective” and “investigation” elements are argued to be structurally weak

Core complaint

Despite an investigation premise, Emano argues the story doesn’t function like a satisfying detective narrative.

“You can’t solve a puzzle with Oshi no Ko.”

The speaker’s claim is that clues are not presented in a way that lets the reader solve the puzzle, and that resolutions occur without investigative logic typical of detective fiction.

Violations of detective-fiction expectations

They reference detective-writing principles (including “rules” attributed to detective authors) to argue that Oshi no Ko violates key expectations, such as:

  • the criminal/relevant culprit being properly introduced early
  • using only previously established elements (no deus-ex style resolutions)
  • building a logically solvable trail

6) Mid-series/second-half theme oscillation causes major problems

The speaker argues the manga repeatedly oscillates between:

  • short-term documentary-style arcs (entertainment mechanics, reality TV, cosplay/copyright/buzz)
  • revenge/investigation progress

Their thesis is that the lack of a stable “priority” makes tension spike and then evaporate, producing frustration because earlier build-up fails to convert into investigative payoff.

7) The film arc is praised for integrating “lies” and advancing key threats

Emano praises the film arc as the best “ending-stage” execution so far, because it:

  • introduces Kamiki effectively by having him kill a prominent actress
    • and notes anime timing differences can improve that moment
  • reinterprets Ai’s/“starry eyes” symbolism in multiple ways:
    • performance as lying
    • identity masking
    • psychological/moral “truth vs deception”
  • uses the film/documentary strategy as a fitting format for revenge and confrontation

8) Major condemnation of the ending: the resolution is called an anti-climax that negates themes

After Kamiki/Aqua’s climactic end, the speaker argues the series fails to deliver meaningful thematic closure.

They claim the ending attempts to:

  • “break the cycle of violence” or evolve character arcs

…but instead:

  • dismisses key resolutions, or
  • resolves them in ways that feel wrong or incomplete

The result, according to Emano, is stagnation.

Sports metaphor

They compare the structure to a sports “botched ending” metaphor: a brilliant season (earlier manga quality) is ruined by a catastrophically weak final run.

9) Possible “meta” explanation: schedule/creative disruption and real-world setbacks

Emano proposes the ending may have been affected by external conditions, including:

  • the manga’s cancellation context
  • Akasaka’s broader professional setbacks
  • industry pressure that could have led to a rushed or compromised final direction

They also suggest Akasaka may have reworked plans due to earlier backlash and perceptions tied to the author’s career.

10) Final verdict: masterpiece potential, but ultimately a “damaged work”

Emano concludes that Oshi no Ko is:

  • a work that contains standout brilliance (especially the prologue, certain arcs, and the anime’s artistry)
  • but also suffers from major structural/thematic inconsistency—especially regarding detective/investigation payoff and final resolution

They frame it as a potential future “museum piece” that people may study for ambition and lessons, but which never fully fulfills its thriller potential.

Presenters / Contributors

  • Emano (main presenter; critic/commentator)
  • Aka Akasaka (author of Oshi no Ko)
  • Mengo Yokoyari (artist)
  • Ayoshino / Mengo (mentioned as a character/artist association; context: the Ayoshino character is praised, and Mengo is credited for bringing him to life)
  • Ichigo (character; credited within the story discussion)
  • Ai / Ruby / Aqua / Kana / Akane / Kamiki (characters discussed; not presenters, but contributors within the narrative)

Original video