The seas are fascinating, and have always held a special place in mankind’s history. Beautiful yet also turbulent and treacherous, they have divided or bridged cultures and destroyed or benefited civilizations in equal measure. Mythologies and sailors’ superstitions are among the most prominent examples of mankind recognizing the seas’ majesty.
Kaijuu no Kodomo pays homage to this, but is also a unique sample of ecological storytelling, although Daisuke Igarashi is following an approach different of say, Hayao Miyazaki.
At this point, readers are introduced to supernatural mystery. And gradually, more and more anomalies connected to the sea occur, which baffle marine biologists. However, Daisuke Igarashi does not limit his scope here. Instead, he expands the mystery towards a bigger picture and connects human condition with nature, from which mankind attempts to detach, but in reality remains but a thread of a grand tapestry. This is not unlike what is expressed in the Nausicaä manga.
Retracing to the introduction however, I mentioned how his approach differs from Miyazaki’s. The latter connects in Nausicaä many ideas from social and natural sciences with personal tales to forge a big picture, and the setting covers the land environment. On the other hand, Igarashi connects marine biology, mythology and cosmology with personal “testimonies” connected to the sea.
The result is simply put, unorthodox. I could summarize it as “abstract and monistic, sensual and symbolical”. Some chapters are dialogue-heavy, whereas others go for “show, don’t tell”. Questions are left unanswered, the story has a lot of disbelief to suspend and interpretation is more recommended rather than taking it at face value.
The main trio is composed of her and the titular “children of the sea/marine mammals”, Umi and Sora. They too are mature yet detached from their peers but also much more unusual, for they were raised in the sea under unusual circumstances. Their origins drive the narrative, whereas Ruka and the rest of the cast act as observers. The rest also help bridge human condition with the bigger picture, by being part of “personal testimonies” connected to the sea. No true antagonist exists, only humans with conflicting views and different pasts, influenced by the sea in their own ways.
The true stars however are the depictions of landscapes and of wildlife and the textures. Oceanic and land environments and marine wildlife - be it e.g. starfish, cetaceans or manta - are brought to life by meticulous (almost photorealistic) sketchy drawing, characterized by rough yet rich linework. There are also colored (and some colorless) pages whose textures and shading resembles watercolor, adding to the already unique artwork.
Artwork is at its finest during the “show, don’t tell” moments of the narrative, when it becomes purely visual and lets nature do the talk in the place of the characters. Mythological elements are also portrayed quite vividly.