Tatsuki Fujimoto 17-26 Polishes These Adapted Short Stories To a Fine Sheen

By Elijah Gonzalez | November 7, 2025 | 9:15am

Anime Reviews Tatsuki Fujimoto 17-26

Tatsuki Fujimoto 17-26 Polishes These Adapted Short Stories To a Fine Sheen

Tatsuki Fujimoto is on quite a run. As the manga artist approaches the (seeming) end of Chainsaw Man Part 2, his previous output has been receiving some of the most loving adaptations in recent memory, from the thematically appropriate artistic passion of Look Back to Chainsaw Man — The Movie: Reze Arc blasting past expectations. This kind of lavish treatment is no guarantee, even for many of the most popular and beloved series, but so far, Fujimoto has received nothing but the best.

So when it was announced that several short stories from earlier in his career were also receiving an anime, this naturally led many to wonder if this trend would continue. Thankfully, it seems this author signed a deal with the Good Anime Adaptations Devil, because the hot streak remains intact, this time in an eight-episode anthology that largely elevates its source material with barrages of visual creativity. Admittedly, two of the episodes fall a bit short, and a few plot beats are beyond saving, but as a whole, Tatsuki Fujimoto 17-26 emphasizes the compelling elements in these stories while minimizing the flaws. It’s pulpy, thorny, uncomfortable, and rough in spots, but it makes for a wild ride.

To be more specific about what’s being adapted here, eight of Fujimoto’s short stories were previously compiled in two manga volumes: Tatsuki Fujimoto Before Chainsaw Man 17-21 (his age when he wrote the stories), and 22-26. These were released in English in 2021, marking the first time most of these were officially translated.

To be frank, having read it, most of these stories don’t reach the level of his later work. While there are certainly exceptions, and you can see almost all of the author’s trademarks on display in one form or another, some of these yarns feel like unfinished thoughts, while others are defined by disconcerting elements that overshadow their strengths.

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Thankfully, though, with Tatsuki Fujimoto 17-26 nearly all of these adapted shorts make the leap to animation splendidly, as experienced animators leverage artistic firepower to bring out their best element. For instance, the anthology begins with A Couple Clucking Chickens Were Still Kickin’ in the Schoolyard, which delivers the action and melodrama of its source material to soaring heights. Set in a world where humanity has been almost entirely wiped out by invading aliens, two remaining humans survive by pretending to be chickens.

Unsurprisingly, this ruse eventually goes sideways, and this is where studio ZEXCS kicks things into high gear—it’s not a shock that director Seishirō Nagaya and this studio contributed to the Chainsaw Man anime and film, because there’s a similar sense of frenetic carnage on display, as hulked out aliens crush buildings and each other. In the grandiose moments and the small, this adaptation teases out the defiance towards fascism and bigotry at the heart of this story.

Meanwhile, others like Nayuta of the Prophecy and Shikaku intensify the already striking imagery of the manga, whether in a well-rendered apocalyptic display or a gore-slicked nightmare. It all serves to amplify the central thrust of both, making the non-traditional relationships at the heart of these stories resonate more deeply. On the less violent side of things, Studio Kafka and director Kazuaki Terasawa (the studio and director behind The Ancient Magus Bride) employ stylish presentation choices that make Woke-Up-as-a-Girl Syndrome pop, with creative cuts, fun flourishes, and other touches that heighten the humor and absurdity of this core premise.

Beyond these enhancements, this anthology shares a core appeal of the manga: you get to see hints of the concepts Fujimoto would expand on in his later material, like Fire Punch, Chainsaw Man, Look Back, and Goodbye, Eri. For instance, many of these short stories endear us to deeply flawed people despite their foibles, making us appreciate these freakazoids (even if they are sociopaths who literally pull the limbs off spiders, for instance). In many of these tales, love and hyperviolence sit side by side, and the fantastic intermingles with the mundane—if it wasn’t clear, this dude loves putting strange spins on genre fiction tropes. And through it all, there’s a sense of humor and comedic timing, even when circumstances get grim.

All that said, these tales also demonstrate some of the more uncomfortable elements of Fujimoto’s work that he would eventually tone down (after he went all in on them in Fire Punch). To be specific, there’s an overly flippant attitude towards sexual assault, gender essentialism that undermines an otherwise sweet romance, and one very weird familial relationship that I guarantee will make you deeply uncomfortable. While all of his material goes down with a bit of bite, his later stories almost always engage with heavy topics like these in a more well-considered way than some of what’s found here.

And even as most of these adaptations help mask these pitfalls, there are a pair of episodes that don’t quite impress in the same way. Sasaki Stopped A Bullet was the worst installment in the manga collection, and it receives the crummiest adaptation job of the bunch, with unappealing character designs that similarly don’t look great in motion.

Much more disappointingly, a charming short story from the manga, Love is Blind, receives some so-so execution, as the anime is unable to capture the hilarious intensity of its protagonist and his maximalist attempt at a romantic confession. The animation from Lapin Track is far too modest and comes up short in replicating the original’s overdramatic panels; it’s not enough to entirely undermine the appeal of this one, but it doesn’t elevate it either.

Still, even with a down pair of episodes, overall, Tatsuki Fujimoto 17-26 puts an impressive sheen on a former up-and-comer’s output. The action has verve, and the visuals have a sense of timing that makes the punchlines land; you can see hints of what would come later as a powerful montage about the pains and ecstasies of art heavily foreshadows Look Back, and supernatural beings that look like they might show up in Chainsaw Man meet tragic ends.

While the base manga is something I would only wholeheartedly recommend to dedicated Fujimoto fans interested in seeing his development as a storyteller and artist, this animated anthology stands apart, a refinement that makes it easier to appreciate the fascinating, messy idiosyncrasies found therein. Whatever Faustian bargain Fujimoto struck to get on the good side of the anime gods, his work remains in capable hands.

Tatsuki Fujimoto 17-26 premieres Thursday, November 7 on Prime Video.

Elijah Gonzalez is an associate editor for Endless Mode. In addition to playing the latest, he also loves anime, movies, and dreaming of the day he finally gets through all the Like a Dragon games. You can follow him on Bluesky @elijahgonzalez.bsky.social.