also if you're wondering why some are portuguese and some are in english volume 4 is in portuguese while 5 and 6 are in english since portugal does not have the translated version for those yet
BUT HE CONSTANTLY HITS THE SAME POSE there was so many times he does it I just have up so you have to do with these photos I took

Also just so you know I took photos of him posing not when in battle since then the photos wold be endless

Based on personal opinions

explanation:

Green arrow up,

means at one point i considered placing them in a higher tier

red arrow down,

means at one point i considered a lower tier

Justifications, i feel like people wil strongly disagree with me:

Bondrewd: is a absolute villain, but is a very well written character introduced at the right moment, killed another beloved character of mine, but in case of bondrewd it went much deeper

*Iruumyui would have been placed in like them a lot, but there was no character portrait for her...

Vueko: personal reasons, Vueko in my opinion is what reminds us of made in abyss tells us, her story is cruel and i still think about her, she left a huge impact on me as a human being due to some of my own past struggles.

Faputa, (not in absolute sosu) Great character design, peak like them a lot, nearly made it into S tier, what made me place her in Like them a lot and not S is because she was unreasonable and manipulative towards Reg, and that she killed many characters who imho were victims of circumstance that i DO like, now a party member. great plotpoint.

Prushka,longest consideration, felt not reasonable to put alongside Bondrewd Ozen and Vueko, but she was close, VERY CLOSE, i am still thinkinh if she should be or not,

Wakuna: edit: used the wrong portrait for her oops.

based on the stories we know about them and how old Wakuna is i find them to be a funny character that defies what we currently know, also did some crazy reputable stuff (spoilers) probably VERY overrated but lives in my head rent free.

Riko: riko is a 2 sided coin for me that does suffer a lot from main character syndrome and definitely had her moments where i thought ugh, however did consider her for a like them a lot for a brief moment as i felt like i would create a angry mob, my main problem is that she is the main victim of the authors self reporting.

Meiyna: Cute but feels replacable, lots of Meinastilim in the abyss where death is commonplace. how many of you would recognise meinya in a herd of them or was replaced in between episodes?

Lyza: we know literally nothing about her except that she is a legendary delver, dont like the fact that she went delving while pregnant, thats just asking for problems.

Let me know what you would change and who i potentially forgot

First of all, I hope I am in the right place to be discussing such a plot point because I was looking back at the first season since that is all I have seen of the anime, and it made me interested in understanding the dark nature of Bondrewd.

Like what suddenly sticks out to me is how he turned Nanachi's best friend into a horrific looking creature that I just wanted to better understand his use of the experiment again since he did a twisted experiment on Mitty, but from what I recall is that Nanachi was able to escape from the situation, although just barely.

Someone asked me to let them know here so here it is

For those who are caught up with the manga (including myself), please keep spoilers hidden. I'm just curious to see other peoples opinion.

So im not sure if anyone else has had this problem but there's one part in 'hells crossing' during the 2nd layer where when you climb up a rope and get to the top a bug will spawn and just blow you off the edge, making you respawn and have to get all the way back.

Im not sure if this is just a skill issue on my part or if there's a easier way to get by this enemy, its just spawning in such a awkward place, so if anyone has tips or knows another way around please let me know!

Let me start by saying, I don't know Japanese and I am not well informed on Japanese culture. In several places I use meanings of names to explain things, if you see something wrong about translations or myhs that I used, you can let me know so I can change them accordingly.

First let's discuss the Cultists accompanying Tepaste. They called themselves true residents who serve the incarnation of Abyss when confronted by Pieruzo’s group. Although they probably believe these words, similar to every cult, I believe the words of the priestess get corrupted in Orthian fashion to corrode reality into some twisted version of itself. While they think Tepaste is sleeping, they discuss whether Tepaste will be selected. What I understand from this is even if they take Tepaste to the pivotal ring, it is not clear if she will be selected or not. They recognize no distinction between sacrifice and offering. I don’t think that is the case. Abyss has a distinct value system that determines value from the perspective of others, similar to white whistles. Creation of white whistles depends on a person sacrificing everything for the whistle's intended user. In chapter 69.5, Figure most likely to be priestess makes it clear that the journey should follow a specific path almost as if there is an intended path for souls to take or it will not be accepted. This path is but an abstract one. A Path that is washed with struggle and sacrifice. A path that accumulated enough value to bring fruition to the reasons behind it. 

I think one thing that resembles something closer to truth in this whole interaction is that Miko is either the incarnation of the abyss itself or the medium that the abyss speaks through. Before I continue with Miko, I will need some explanations on some of the symbols. Two shapes especially caught my interest for a while now. First is the nether glyph for the abyss itself and the second is the shape of the blue pendant. I believe these two represent the same thing. 

From endings of Tsukushi's previous works like the ending of from star strings, to many of his inspirations for creating his work, one thing is clear that he loves open ended stories. Also Tsukushi himself said that the ending will not be happy but enriching. By this, I truly believe what is described here are happy endings of contemporary stories. There is no returning to the status quo once Riko dives into the abyss, forces governing her life will definitely be changing. Riko leaves all her life behind for a one way journey. Nat and Shiggy were her friends all their life and Jiruo is the only parental figure she knows. Nothing is going to be the same and that in itself is a source for sorrow. The journey started with broken hearted tears of childhood friends being separated. This part is clear from the start that this is no happy adventure and in my opinion the feelings it entices are one of the reasons for the success of the world building of Tsukushi. With vast, beautiful landscape and child-like excitement for mystery and adventure, it almost resembles a Studio Ghibli production. Though the wake up call is almost instant. This is a story of immense suffering. I can see myself satisfied even with an ending that resembles Riko ending up in a prison of nothingness at the bottom as long as the revelation of the mystery is worth it, but I highly doubt this is the path Tsukushi will follow. A hole is a closed concept. If one descends to a hole and stands at the bottom of it, then what more is there to explain? I feel the same about the abyss. Especially what lies in the bottom is said to be the reason behind the curse and relics from the beginning. This is the basis of my thinking about abyss and echo being different representations of the same thing. 

In the nether glyph for the abyss, if the mirror image of the crescent is taken and added to the other side of the glyph, then we end up with a shape similar to the echo. I can think of two possible outcomes of this. The first is the existence of a dual abyss connected at the same bottom point. Twins being a weird phenomenon can be directly related to the abyss having a twin itself. Pairs and bonding between them are all recurring concepts in Tsukushi's work.

In ch 74, there was a verse in the Hariyomari collection about voices coming together. Maybe these voices are two voices conquering similar suffering and struggles through the path of the abyss, meeting at the echo. What if the selection that the cultists are talking about is not a selection of whether a candidate is suitable or not, but a selection between two candidates. Maybe time dilation is there so two applicants arrive at the bottom in relatively similar time. Something more frightening than unfulfilled dreams Wazukyan is talking about, is to fulfil your dreams in spite of the perishing of an image of your own. This is as far as I am going to stir my crackpot on this because I think the alternative is the more interesting case. Miko being a shrine maiden in Shintoism is the starting point. I am not well informed on Shintoism or Japanese culture in general. For most of the information, I used the Encyclopedia of Shinto, published by Kokugakuin University and Kojiki and its interpretations. But I think the parallels between the Miko of Abyss and the shinto miko are uncanny.

"In days of old, "female shamans" (miko) once performed spirit possession and takusen as vocational functions in their service to shrines. Kamigakari refers to the possession of a person by a kami or other spirit. It is often followed by takusen, whereby the possessed person serves as a "medium" (yorimashi ) to communicate the divine will or message of that kami or spirit. Also included in the category of takusen is "dream revelation" (mukoku), in which a kami appears in a dream to communicate its will. Kamigakari, or spirit possession, is generally accompanied by a physical and mental transformation. To induce that state, other people present produce sounds using a koto, bell, shakujō staff, or other implements, continuously intone incantations, and voice loud cries of encouragement. In a ceremony called yudate, a person becomes possessed in the process of walking around a pot of boiling water while sprinkling the water on his or her body with "bamboo grass" (sasa) leaves. Children and women most often deliver takusen as mediums due to the belief that they can more readily enter a state of possession." 

Children and women being the prefered mediums of the communicating Kami and spirits. Musical innuendos accompanying the ritual, which are fairly similar in the abyss, in the shape of bells, whistles, echos, voices and reverberations. Being a child increases the chance of a wish getting granted while using the cradle of desire. In the only two instances we see, it was children that gave the blessings. Abyss favours the children, maybe them being mediums have a part in this. I believe we can take this one step further. If we have a medium, then there also has to be something that is channeling its words and wishes through that medium. As the abyss is the place where all souls return when they die, Shintoism also has a myth of creation of the cycle of life and death. 

In Kojiki, Japan’s oldest surviving text and a foundational sacred text of Shinto. Izanagi and Izanami are said to be the the youngest of the first seven generation of deities and appeared as a pair. They are said to be brother and sister and husband and wife. The heavenly deities all with one, command and entrusted the pair with the mission “Complete and solidify this drifting land!“. Deities give them the heavenly jeweled spear to complete the mission. Thereupon, the two deities stood on the Heavenly Floating Bridge and, lowering the jeweled spear, stirred with it. They stirred the brine with a churning-churning sound and when they lifted up the spear again, the brine dripping down from the tip of the spear piled up and became an island. This was the island of Onogoroshima. Where they marry and their children become the eight islands of Japan and various deities. An Island created by shining stones from the heavenly planes, Orth is also an island that can be found using a star compass, and the abyss is said to be the place where the words of stars are hidden. 

Izanami dies while giving birth to the god of fire Kagutsuchi and her soul retreats to Yomi. Izanagi mourned the death of Izanami and undertook a journey to Yomi. Yomi is the land of the dead in the Shinto myth and is referred to as Izanagi himself by the word ‘Kegare’. A state of defilement and pollution. If we go back to the song of hariyomari, one of the untitled verses states, “Replete calamity, with fading poison, remains the usual state of the other side“. By introducing the idea of the bottom of the abyss being the connection point between planes , the idea of a journey beyond the bottom materializes. This gives the story a somehow open-endedness. I believe the echo represents a system that revolves around this idea. Realm of something different than ours connected to ours. “Yomi“ is at the other side of the bottom. By this I am not trying to say, Tsukushi will take the representation of the afterlife and use it in a direct manner. But these similarities can be insightful and I believe whatever is the reason behind the mystery, mimics the myths and concepts of god-like deities. Izanami also has distinct similarities with Riko. A soul that dies while giving birth ending up in the netherworld with a calling for the other side and a soul that was supposed to be dead while being born, ends up in the world of the living. A soul that already knows death when she was just born.

Izanagi searched for Izanami in the Yomi and found her. At first, Izanagi could not see her because the shadows hid her appearance. He asked her to return with him. Izanami informed Izanagi that he was too late. She had already eaten food at the heart of Yomi and was unable to leave the land of the dead. She could no longer return to the living but would try to ask for permission to leave. The act of eating at the netherworld and fascination about the abyssal food sources are one of the most important aspects of Riko’s character. Nearly every bond she formed from the start of her journey is sealed with a meal cooked by her own hands. We might even draw a parallel between Riko being stillborn and her near yearning for the abyssal food, the food of the dead.

The news shocked Izanagi but he refused to leave Izanami in Yomi. While Izanami was asking for permission to leave the land, he took the comb that bound his long hair and set it alight as a torch and followed Izanami to the hall where she was asking for permission. Under the light of the fire, he saw the horrid form of the once beautiful and graceful Izanami. She was now a rotting form of flesh with maggots and foul creatures running over her ravaged body. Another verse of hariyomari can be quoted here, “Only those poorly formed shall be overlooked, Only those poorly formed may take a breath“. Only those in a state of defilement and pollution can exist, those belonging to the realm of the dead.

Crying out loud at the scene in front of him, Izanagi could no longer control his fear and started to run, intending to return to the living and abandon his death-ridden wife. Izanami interpreted this as her husband shaming her. She started to follow her husband while also dispatching hags and thunder deities to bring him back to her. After a long chase Izanagi finally reaches the entrance, Yomotsu Hirasaka, the location connecting the land of the dead and living. Yomotsu Hirasaka means a steep cliff to the underworld. He pushed a boulder to create a separation between the world of the living and the world of the dead as well as separating Izanagi from Izanami, an absolute boundary. Now standing on opposite sides of the boulder, Izanami and Izanagi said their final farewells. First Izanami said, “Izanagi, for the shame you have caused me, every day I will kill one thousand inhabitants of this world you cherish so much.” To which Izanagi replied, “If you do that, I will create one thousand five hundred people every day.” And they never saw each other again. This story is the basis for the creation of the cycle of life and death.

In our case the abyss is absolute too, but I believe a boulder doesn’t do it a favor and I think there is a better analogy for this in a physical concept. A white hole, a hypothetical object that acts as time reverse opposite of a black hole. Abyss Just like a black hole, doesn’t let anything out, the perfect prison of the universe. A white hole on the other hand is an object that also has an absolute boundary, but this boundary acts directly opposite to black holes, nothing can penetrate it, an analogy for the perfect safe, that lets nobody in. Now let's revert back to the echo. I believe it represents two boundaries and the place that connects them. The first one doesn’t let anything out, once somebody descends to its boundary and the second one doesn’t let anything in because what is once dead can never be alive again, so for a deity trying to influence or even trying to communicate to the other side, it can only be done using a medium organic to the other side. I will once again iterate that these comparisons are not direct comparisons, but similarities. 

Calling of the Abyss, a gentle calling from beyond the absolute boundary are both recurring instances in the Abyss and one of the major reasoning behind why I choose Izanami for the deity among other deities. Lets see the first two verses of the hymn of Gronze.

Both verses start with a gentle calling. The meaning of the name Izanami is said to be "She-who-invites" or the "Female-who-invites". The calling of life comes from her because she is the mother of the land. The calling of death also comes from her because she created it. 

This can also explain, the verse, written in the page related to the echo of Hariyomari collection, "Before his slumber, Gronze, on the symbol of departure, put the words of the stars together and hid them" A boulder at the boundary of life and death, symbol of departure at the essential part of the abyss, where all souls return after death. 

I want to add one more direct similarity with Shintoism, because I couldn’t find a fitting place to squeeze it in. The gates separating the boundary between the sacred space of a shinto shrine and the ordinary world are called Torii gates. Torii means a bird’s abode, a place where a bird lives, its nest. After this I will up the speculations because there are still so many unknown concepts that forming anything coherent about these will not be easy with the missing information that we have.

"In addition to a medium or a miko, the site of a takusen may occasionally also be attended by a saniwa who interprets the words of the possessed person to make them comprehensible to other people present". If we draw a parallel, the words of Izanami are the words of the heavenly plane, even if it comes from the netherworld. In the case of Abyss, Miko’s words are not so incoherent, they need accessibility more than they need explanation. Maybe Gronze is the Saniwa of the abyss. Taking the words of the stars that are mediated through Miko, and taking them out of the shrinking point of the curse so they can be heard. Reg can fill in the same spot, for Riko's Miko. 

If we assume, the figure next to representation of the priestess is Gronze, then maybe this is the reason why he is embedded with the same shape that is on various relics, even the relics of utmost importance. Maybe the way to interpret this is the same as Reg, Gronze is created from the relics.

Finally, let's talk about the 2000 year cycle. I believe this results in a new Miko chosen for the next cycle. The Priestess cult seems to be in search of a proper candidate for the role. With the concept of time dilation in place maybe it gets denser as we traverse through the echo. It gets dense enough so that the promise of Izanami about taking 1000 lives every day becomes a ritual that is occurring every 2000 years and in made in abyss fashion the promise of Izanagi of creating 1500 lives corrupted in a way that, the value of lives scattered around in the form of Relics.

I am an anime only and I love made in Abyss. I would read the Manga but when I last checked it had like 70 something chapters. Is Tsukushi done releasing chapters for this year, if so does the story make progress when it seems like he drops 2-3 chapters and dips. I don't want MIA to end up like HxH, at this rate they might as well be the same. I wonder how long till he starts having health issues then what I fear is the story won't get finished or maybe I might be wrong. How far is the story to being completed for those up to date. Forgive my rant, I am sure I ain't the 1st to raise this concern. Atleast the movie comes out soon

I’ve been looking everywhere and I have season 1 and scorching city but I can’t find Dawn anywhere :(

I tried to calculate how many pages it takes to create an episode of anime and it seems it would be around 60 pages of manga for an episode

A movie length is around 1 hour and 40 minutes (without end credits) so it would basically cover 5 episodes time-wise.

We know that Bondrewd's movie covered around 2 volumes of manga, Volumes 4 and 5. And it follows my estimation too and it covers 320 pages of the manga.

Based on this the new movie is gonna adapt volumes 11 and 12 of the manga for the most part and it cannot go beyond that since there are scenes that were unadapted from past volumes that need to be adapted, mostly the content of Volume six that establishes many important things. Also at the end of volume 12 we got back to where we were in volume six so they are related.

About the ending of the movie I don't think it's gonna be that interesting since the arc won't finish but there is a chance that they would probably rearrange some stuff and even show things that aren't even in the manga to make a more compelling ending.

This movie I believe is gonna end where we reach the beginning of the seventh layer I guess we're gonna see a glimpse of the environment by the end of it

I believe from now on we're gonna get a movie per year and each movie will cover 2 volumes, since 5 volumes of the manga are already written and out we have enough materials to make future movies starting now so we get one each year.

Also make sure to watch my new video before watching the upcoming movie, I covered everything you need to know and probably forgot or missed before watching the upcoming movie, there are a lot of unadapted panels from previous arcs that are gonna matter a lot for the new movie! The video doesn't have any spoilers for the new arc so check it out!

https://youtu.be/TnC46NJTVmg?is=Ug52BjLlLEYlk47F

la posta es que no he conocido a nadie en argentina que le guste made in abyss, me gustaria hablar sobre teorias de los ultimos capitulos del manga! :3

hi guys ! its been a minute since I last posted here , since then I've started gurren lagann and almost finished it ^^ so , since ttgl and made in abyss are some of my favorite animes , i thought I'd draw Riko as Simon . It's a lazy doodle because I was on the bus home as I drew this (and as I type this now), but yeah ^^ sorry if it doesn't look like her , it's been a minute since I watched the anime

I just started drawing at the start of this year I think. I'm not sure if I'm improving. Will just copying manga pages help me improve or should I draw without reference?

So uh.. i drew my own player character from the MIB game and it went decent.. so i thought why not make a visualizer featuring Rin (whom is what i named my character) and Tiare... it only went as far as Rin because.. i cant make Tiare for some reason... i just aint able to.

So here is the drawings of Rin

I think i was going for a Slendytubbies Nocturnal Protocol feeling.. but i dunno..

Also i dunno of Fan Art is the right flair, i hope it is