Thunder 3 burst onto the scene in May 2022 as an exciting mash-up of style, where cartoonish characters find themselves transported into a highly detailed parallel world. The manga has gone from strength to strength, selling upwards of half a million copies, though little remains known about its author Yuki Ikeda, which some commentators suspect may be an alias for a more well-known mangaka.
As it begins, the manga is set in a simplistic rendition of Tokyo, with a style which lacks embellish, but is all the more charming; analogous to something like Doraemon or Azumanga Daioh. Its three central characters are particularly chibi-esque and are referred to as the ‘Small Three’ by their classmates. One day the trio borrow a disc from their homeroom teacher which, when played, opens a portal to a parallel dimension via the TV screen. When they aren’t looking, Futaba, the little sister of one of the Small Three, clambers through the television and wanders off into the other world, with her brother and his friends following once they realise she is missing. They find this other dimension is familiar in design, yet completely alien in style, with everything meticulous and extremely detailed in comparison to their cartoonish guises.
This medley of style is a major selling point of Thunder 3, where the artist thrilling juxtaposes his cartoonish characters, not only against their realistic counterparts, but also against ten foot aliens who pilot enormous mechs. Upon arrival, the Small Three quickly discover that their parallel homeland has been invaded by extraterrestrials, which humanity seem powerless to resist. But in an exciting twist, the little trio realise that, despite their slight stature, in this kindred world they are much stronger and more resilient than its inhabitants, effectively making them superpowered, anti-alien combatants.
What develops is an action-packed story akin to something like Gantz, with guerrilla factions fighting an alien threat with all manner of experimental weaponry. Gantz has also drawn further comparison due to its distinctive art style, with the artistic techniques used in Thunder 3—which implement 3D modelling and CG rendering—very much resembling those in Hiroya Oku’s flagship series, so much so, some have suspected that Yuki Ikeda might actually be Hiroya Oku.
The comparison is a fair one; not only are the art styles similar, but both Thunder 3 and Gantz exhibit some kindred mech and futuristic tech design. The framing, too, sees some overlap. Hiroya Oku has a favourite technique in which action develops across a series of static shots — he employs a consistent frame and background across several pages, while the action in the foreground gradually unfolds, crafting spectacular set pieces that progress like frames in an animation. Yuki Ikeda recreates this technique pitch perfectly where, in the first instance, he illustrates the destructive power of an alien weapon.
Yuki Ikeda is also an uncommon case of a mangaka who was able to debut a series without any previous published work. Sudo-san, the author’s editor at Monthly Shonen Magazine, has stated that the concept was so good, it was serialised on the spot. Though not unheard of, typically artists will have authored oneshots or have a presence in any number of manga contests before they have the option of serialisation.
At the back of each Thunder 3 volume, a person named Takehito Hoashi is credited for the mech design and 3D modelling. Hoashi is quite a renowned creative, with credits at major film and video game studios. He currently heads his own studio, Picapixels, which is credited on two Hiroya Oku IPs, contributing digital and modelling work for the CG anime GANTZ:O and the live-action adaptation of Inuyashiki. It’s possible that Oku and Hoashi are acquainted, though equally if one were to develop a style which implemented CG and 3D modelling, Takehito Hoashi would be a fine collaborator in the absence of Oku himself.
The jury’s still out on a connection—if any—between the two authors, but Thunder 3 is certainly one of the most impressive renditions of a style first popularised by Oku, more so I would argue than even the Gantz spin-offs. The sense of scale, venturing from the comic world of the Small Three into a grandiose planet with skies dominated by alien freighters, is awe-inspiring. Furthermore, the level of detail in the backgrounds, tech and alien structures is tremendous, capturing a similar fidelity and meticulousness that is as prepossessing as in some of the sci-fi greats.
Kodansha have brought the series over to English-speaking regions via their Vertical, Inc. imprint, releasing four volumes as of May 2025, with the next due in July. The manga is published monthly in Japan, which means the chapters are quite sizeable when they come around, often spanning fifty pages or more. The story thus far has been frenetic, with multiple factions—the Small Three, the aliens, a guerrilla group called Rebellion, and some rogue members of the JSDF—all crashing together in deadly combat.
Despite the ferocious conflict, the manga is also quite humourous. The unassuming Small Three, who wander the streets in search of Futaba, are like a travelling exhibition, gathering the attention of Tokyo’s residents who fawn over them as “little manga dudes.” Meanwhile, Futaba, who was promptly abducted after arriving in the parallel world, has been causing the aliens much alarm thanks to her increased hardiness. At first they attempt to experiment on her, and then try to destroy her, but the small child rebuffs their attacks with little effort, as she searches for a way off of the giant alien ship.
The plot lacks in some of the finer detail, where the parallel Earth seems to both accept and reject the alien presence, with some living side-by-side and others at war. The state and stance of the world isn’t exactly clear, but perhaps it wouldn’t be in such a situation, with many living a life of idle unease until they’re spurred into action. Nonetheless, the dearth of political clarity leaves a confusing hole in the worldbuilding. Some of the other writing, too, is comically strained. In one chapter, a character named Segami receives a call from his mother to inform him that their home has been crushed flat by the aliens. Secondary to that, they’ve also killed his father! It’s a bit of a romp, quite like Gantz again, with some rough edges and contrived moments, but all-in-all it’s a brilliant concept presented with exemplary flair.
In the upcoming English volume, author Ikeda flips the concept on its head by having a group of aliens find their way into the Small Three’s cartoon world, whilst more of their classmates hop over into the parallel Earth. A running tagline on each of the covers reads ‘Great Adventures in the Multiverse,’ suggesting the opportunity for all sorts of cross-dimensional hijinks to come. Readers looking for a taster can check out the manga’s 76-page opening chapter for free over at Kodansha.
Morning, Roo 