BASARA is a manga that belongs to the category of those rare manga that build a grand, sweeping, great premise, and ground it to the plain of personal and emotional storytelling. The story is set in the world of post-apocalyptic Japan where ruling over tyrant kings, Sarasa, a young girl has to dress up like her dead twin brother, Tatara, to be able to follow a revelation that promises people to set them free. What then ensues is a large-scale, heart-wrenching odyssey that is full of political politics, heartaches and gradual, gradual movement towards revolution.

Sarasa is an outstanding hero. She is not indestructible, nor is she absolutely sure of herself in her job. Her development is slow and she builds this on tough decisions and painful losses. The character is strong not because of some awe inspiring powers or fate but due to her determination to continue despite everything and her compassion and want to create a better world even at the expense of herself. Her dialogues with her allies, all of whom had their reasons to fight, were also among the most touching moments of the series. However, it is her friendship with Shuri, the Red King which makes BA SARA great. Sarasa and Shuri have fallen in love despite being enemies without knowing each other. It is a beautiful, hurtful and lyrical bond that makes every decision they make weigh on them, even causing them to pay the price of what happens when love and war collide.

Yumi Tamura artwork is concentrated and detailed. It may take some time to acquire the taste of the early 90s shoujo, but the sensitivity in her paneling, the excitement of her fights and the scenery of her natural environment glow. The world is so big, yet Tamura makes sure to keep in mind the human stories that make the world so big. Whether it is a destroyed city, a cozy conversation on the lakeside, the details of the setting appear vivid, and each region that Sarasa journeys to puts the mention to the pieces of the world apart. The tempo is controlled and though certain arcs seem to drag on, the majority of them turn out to serve a bigger thematic role.

The way BASARA treats revolution is one of its strongest sides. It does not preen on violence or revenge. It is all about the human beings, about devotion, reconstruction, the price of transformation. Sarasa wants to bring an end to the reign of kings not only because she does not agree with their idea of a person, but also because she wants people to have hope, to know how to defend themselves and their future. The ideas of identity and destiny, gender and freedom are also always present and Tamura treats them both subtle and bold. It consists not only of two-foldness of Tatara and Sarasa as a plot point, but as of a contemplation on the manner in which individuals create the characters that are assigned to them, and what it entails to become an icon in the eyes of society.

BASARA is not perfect. Some of the minor characters lack the development they should have and some of the plot points are melodramatic or overexplicable. Such are minor concerns however when compared to how strong the core story is. It is not a show about crazy twists, or superficial hype, it is a show that takes its time in its plot, and builds its emotional payoffs through obsessive escalation and dedication to its characters.

BASARA is, in short, a manga that pleases on every level, as the narrative combines the elements of political drama and emotional impact, romance, and revolution, character and a rich world. It takes a long trip, but you feel it is worthwhile and worth it in the end. Not only is it a story about how to change the world, but it seems like one too. The type of story that does not go away, not even having scars.