Reviews for Boruto: Two Blue Vortex

Peak fiction has finally arrived! After three months, the wait is finally over. I don't know how Kishimoto and Ikemoto managed to do it, but they came back with the best timeskip opening in manga history. From the fire new character designs to instantly being thrown into the action, this chapter was peak in every way. We see Kawaki in this chapter, and I know it's only chapter one, but Kawaki isn't acting as angrily as he would have pre-timeskip. He seems to be acting closer to how Boruto would when helping the Konoha villagers. Since it's only chapter one, we don't quite know yet if it'sjust a part of the act he's putting on or if he's actually grown fond of the village and its people.

We see Himawari sparring with Cho-Cho. We don't know yet if Cho-Cho is training her or if it was just a sparring match. All that aside, it was neat to see Himawari actually training as a ninja.

Not only did Shikamaru become the Hokage (sorry Kakashi fans), but the best MC in history had the greatest entrance of all time. Goatruto not only used Codes face like a doormat, but he never once even removed his hand from his sword.

This chapter was peak through and through. 1000/10 greatest timeskip ever!

boruto after the time skip and the first chapter is already peak in the first chapter alone you get loads of new info after what happened to boruto and the rest of the characters and where naruto is now, after seeing the first episode of boruto the anime you get to see a flashforwards of boruto in a full black cloak with sasukles sword which is exactly what happens in the first chapter alone characters - 9 same character but because of the time skip everyone's grown up and dripped out story - 10 i want to see where it goes from here overall - 9 this is thetime skip so it'll cure your curiosity

Boruto Two Blue Vortex has the worst writing I have ever seen. A long, long time ago or just in 2021. There was an online campaign (or something like that) where Boruto fans were flooding different DMs and groups, asking everyone to rate Boruto 10 stars on multiple sites. They offered innumerable links to different platforms and even links to individual episodes. In an effort to make those five episodes the highest-rated ones ever, I noticed this desperation, and all those new positive words obviously felt a bit of sympathy. And decided to read and review Boruto on one of their provided platforms. I found it to beextremely overrated and an insult to literature after several points in the reading where I was unable to continue. Then I ended up reviewing it twice here and then completely forgot about it.

Until a few months ago, too many people kept asking to give Boruto another try. They even claimed that most seinen fans, all Big 3 fans, and most other shonen fans had accepted Boruto as better written than every other manga in existence.

That's how, after another chance, I am here to say that, yeah… Boruto Two blue vortex is 100 times worse than before.

Reading this was a pain, and it's definitely one of the worst things I've ever read. As for criticism, where do I even begin? I don’t know where to start because there are just too many factors here. The writing in TBV is abysmal. Even if I tried to be as brief as possible, there’s no way I could fit a million words here.

So, here’s the deal. I’m ranking the top 20 worst aspects of this manga and doing my best to keep everything short and clear. Less confusion, with a professional tone.

Ready?

3...

2...

1....

Yeah, I’m not interested either.

But since I’m already regretting reading it, I might as well make that wasted time worth something, and what better way than to rank the worst things and review it here?

Spoiler warning. And trigger warning. (because Boruto fans are alway triggered)

And now

Number 20. The Dialogue

Ikemoto got every problem that can make an author unable to write decent dialogue. He has "author voice hijacked, unfocused, and all levels of "epic syndrome."

Why, you may ask? Because real emotion doesn't need fancy packaging; it comes from honesty.

Therefore, if you write a story in which every character, regardless of their age, life, or traits, has the exact same tone, manner of speaking, and philosophical or try-hard line with every dialogue, you will end up with a trash, self-serious story with dialogues like

"I have Source, But ... Sorry. I Cant Reveal His Identity. He Asked Me Not To, For His Own Safety. " or " IT DOESN'T MATTER HOW MANY THEY ARE, THE MORE, THE BETTER FOR ME. BUT NOT FOR THE ENVIRONMENT."

They may seem like typical cringe-worthy anime dialogue, but come on, man, there is a limit to how unrealistic and cringe-worthy dialogue can get.

Almost every line in Boruto franchise is so over-the-top, polished, and unrealistic that it can make you physically cringe at nearly every speech bubble. And who's plan was to use monologues resembling non-native speaker arguments in a story that seeks to be taken seriously?

It becomes tiresome to read when each dialogue contains so much edge, pretentious wordplay, and childish theatrics. This is not because of the grammar; rather, it is because it saps the story's motivation and emotional investment. Every speech bubble in tbv has the power to shatter suspension of disbelief. Every line pulls you out of the fantasy rather than drawing you in.

And dialogues are a great way to make readers attached to characters, but TBV manga completely sacrificed dialogues by trying too hard to sound profound.

Number 19. Lack of Investment (Disengaging)

This isn't about financial investment; it's about the audience's interest and the story's compelling nature.

Kishimoto once said that making a manga compelling is the most important thing. Unfortunately, Ikemoto (including Kishimoto himself) misunderstood this and believed that compelling simply meant creating curiosity.

TBV almost entirely depended on curiosity, which isn’t a good thing. Worse, it started losing curiosity after Chapter 1.

For a longer example: When I read the first chapter of tbv, it was 3/10 definitely wasn’t a good chapter, but it was overflowing with a huge amount of curiosity about every character and subplot.

However, by Chapter 2, most of that curiosity started disappearing at a very extreme pace because all the previous subplots of BNNG along with the main plot, were sidelined. The characters became duller with each page, and the only way I could maintain any curiosity was by forcing myself to care about the new plotlines and asking, "What happens next?" But none of that worked.

By Chapter 4, I kept closing the chapter, disengaging from each panel, and losing interest entirely. From there, it only became more anti-entertaining. Then the next 18 chapters are able to do the impossible and become more boring and disengaging with each passing column, testing my tolerance limit.

That’s too much for a single aspect.

18. Koji's Ability.

That's the only ability that manages to reach into the top 20, but it is impossible to cover even half the mess it got. But let me break it down anyway.

I doubt that the author and his group even made an effort to understand the extent of the power they were distributing.

When a character is given even a small portion of this ability, I know several authors who either establish strict limitations before the character is taught them or base the entire story on strict guidelines from the start. This, however? This story is comprehensive and free of all narrative.

Ikemoto basically inserted a story editor inside the story, and somehow, just like the one outside, he’s equally lazy and inconsistent.

A. The ability is beyond broken; there is no legitimate reason for any character he helps to ever be in danger or make mistakes. Any conflict that does happen is not organic. It’s the result of authorial negligence.

B. Events no longer feel like cause and effect. They feel like choices deliberately made. Yes, that's the big issue: every conflict is clarifying as a choice just because of the existence of ten directions.

C. Plot holes? They’re not errors anymore; they get rebranded as "mysteries" or "part of the master plan." It’s not clever; it’s just lazy storytelling dressed up as complexity.

D. CEO of Plot Convenience, You’re telling me that out of EVERY FUTURE HE SEES, there’s not one where Sarada gets an awakening without Yodo’s ted talk plus therapy? Or plan B: 5 minutes behind team 7 to arrange backup to delete Mitsuri? Yeah, get lost.

Basically this ability destroys the story more than Izanagi destroys Naruto and its suspension of disbelief, but on a far greater scale.

Take this example: Why was Boruto asking Code to take him to/find the Ten-Tail location when his own omniscient partner could just look ahead and see exactly where it is or where Code will go? Including different timelines.

The logic doesn't just break. It insults human intelligence.

And without even getting into the whole mess of timeline manipulation, possibilities analysis, or all the reality-bending calculations this ability could pull off. The character basically has more than enough power to guarantee an easy win (borderline author-level steering wheel of story) and yet is somehow still lackluster.

And this is just one of a billion structural problems this ability causes. It erases all accountability, all narrative logic, and forces the reader to either turn off their brain entirely or Get a headache trying to make sense of a world where actions have no weight and outcomes are pre-scripted but conveniently vague.

Number 17. Martyr Syndrome on Full Boost

Ikemoto genuinely thinks that being brave = dying for literally anything. Like, every character who isn’t some cardboard-cutout Shinju or Code is way too desperate to throw themselves off.

Boruto? He’s constantly talking about how he’s fine with “erasing himself but waiting for the right moment.

Kawaki? Same energy , already negotiating his own death multiple times like it’s a retirement plan.

Side characters? Oh, they’re sacrificing themselves left and right, not because it makes sense for their arc or they have any arc, but because the plot needed a "therapy talk while the character has a hole in their entire torso," a "new shinju," and a visual moment. It’s not emotional; it’s exhausting.

And the dialogue with that martyr syndrome? Absolute cringe. It's like watching theater kids compete over tough-sounding dialogue in their fanfics.

Boruto gets his body back? First instinct: “Guess I better nobly off myself by kawaki.”

A random character enters a scene? It must be their turn to heroically sacrifice themselves to save the plot... cough cough .. someone.

Even off-screen characters are out here turning into trees/cliffhangers of the dead/monologues while dying for the cause like it's a group challenge.

And every time someone almost dies or is gone from the story, someone else just unlocks god-tier powers out of nowhere. Like emotional trauma is a cheat code. Wait.... it's actually true in TBV.

It’s all setting up for some overly edgy ending where the protagonist sacrifices in a blaze of glory to “save everyone,” or maybe some childish writing like that.

But here’s the thing: real sacrifice has weight, and in well-written stories, it comes from a place of deep internal conflict with beliefs. Not just because the script says “Time for some feels" or "This character bravely was willing to end himself."

This isn’t noble. It’s not deep. It’s fake morality dragging characters around like puppets.

It’s not bravery; it’s just martyr syndrome written by someone who believes character rewrite is character development.

Despite reducing the content to the bare minimum and removing several points, these criticisms are still too lengthy.

Number 16. REASONINGS

Not saying much, but it’s obvious the Ikemoto knew exactly the IQ level of their audience. Alzo was aware that they would devour anything that was presented as "reasoning."

Everything was required to support a "cool moment," with no care for anything in franchise.

Furthermore, who gives a damn about in-universe logic or world-building?

Example A. How did the plot device cough cough.... Kurama even get there?

“The universe is full of mysteries!”

And with two random handwaved "possibilities," the audience is told not to ask questions because THE KURAMA himself said so.

Example B

When dumb Shikamaru's memories are altered, but somehow they still make critical, plot-convenient decisions — justified by some nonsense like "deep down, he truly remembered taking the decision to trust Boruto!"

Meanwhile, the rest of the world, whose memories were also erased, somehow forgot everything, including the decisions they made daily.

This doesn't make the dumb Shika "smart." It just proves everyone else in the world is a brainless NPC.

Example C

How are two characters like Sarada and Sumire somehow still walking around unaffected?

No explanation. No logic. Just a giant “Don’t worry about it” stamped over the plot.

Reasoning is something that authors shouldn't miss, but Boruto: TBV is a rare case.

15. THE PACE

Tbv pacing is really bad.

Just it, scroll to the next point.

But, just in case Boruto fans are still trying to convince anyone that this pacing is the fastest thing ever.

Listen, A. Pacing is not release time, pacing is not character count, pacing is how many pages are in it, pacing is not only an anime thing, and pacing is not any other reasoning you heard from boruto fans.

B. The pacing is how well the story is progressing toward meaningful goals. That's it.

C. The events don't even matter equal filler ( note anime filler are separate episodic fillers these two are different types of fillers)

D. Busywork disguised as progress. (Distracted the audience from the main plot line by fetch quests and others things for dozens of chapters)

E. If the main conflict is being stalled or ignored for dozens of chapters, the pacing of the core narrative is broken.

F. it’s info-dumping and stalling. If your character just keep talking reasonings and explaining plots holes and other bs.

G. Sometimes this pacing get fast when its comes to skipping over conflict, its just bad storytelling.

I. Everything padaring the pace include

J. Total 5 times, manga gave the illusion of character development, only to reveal that they were just stalling tactics pacing stretched across the multiple chapters. while quietly setting up another chain of plot conveniences.

14. ADDICTION OF PLOT SHIFT

This one needs just two lines to explain.

A Maybe the author realized how bad the original plot was, so he just dropped a new one in end of BNNG. (And completed original plot off screen).

B. Now he keeps adding random subplots or changing the main plot every time he likes, maybe for fun, who knows.

13. POWER FANTASY

Before we start, there's some news for boruto fandom. Every time someone calls boruto a Mary Sue, fans reply with the same video explaining why he supposedly isn't one. But here's the thing - maybe try finding someone credible. If the person in that video doesn't understand the difference between plot and character writing, storytelling flaws and character flaws, or worldbuilding and assumptions, then they're not someone you should blindly trust or spam their weaponized lack of knowledge reasoning as universal truth.

Now, I love overpowered characters as much as the next person but what's hard to enjoy is a generic power-fulfillment fantasy where every character is already in a 'Mary Sue' phase right from the start.

(Note: 'Mary Sue' doesn't mean just 'strong.')

The author keeps handing out plot-bending powers like candy, one character after another, without any care for credibility, consistent worldbuilding, or respect for the franchise.

Anyway lets skips to example A. deus ex machina extra Mary sue collection

Sarada, Eida, Himawari, Boruto, deamon, Kawaki and jura. They are granted overpowered abilities with no clear limitations, no consistency, and no real consequences. Some of them powers often show up out of nowhere, clearly added just to impress fans with how 'cool' they look, rather than serve the story or character development. With most hand wave or dull reasoning they're handed it when it's convenient, often in moments of fake tension.

Example B. Average plot device.

Mitsuki, Sasuke, Team 8, Momoshiki, Naruto, Shikamaru, Amado, Elders, Sumire, Sarada , Himawari, Kawaki, Gaara's children, Yodo, koji and all ten tails (including jura).

They're one-dimensional with meaningless lists of powers or stats just to highlight how inferior (when plot want) they are compared to the other Mary Sue characters. These side characters don’t evolve (not talking about ten tails evolution), face real conflict, or matter beyond their purpose of moving the story toward the author’s desired outcomes. They serve no emotional or thematic purpose; they simply exist to prop up either each other or boruto.

But the real reason tbv is worse than most other power fantasies isn’t just because the amount of power fantasy. it's because it actively rejects the good writing that its predecessors built.

To put it simply: many power fantasies like isekai and fanfics can have great writing and high quality by simply if they respect the core rules, themes, or foundations of the genre they come from. Boruto doesn’t do that. Instead, it takes the basic premises of its predecessors, multiplies them without care, and ends up destroying what made them work in the first place.

In short, those so called badly written works are building something new. so yes, there will be good writing in them with standards quality mark average meanwhile tbv is too busy replacing every aspects that are holding "good writing" in the franchise. Of course it stands below average quality.

It’s like throwing an expensive cake in the gutter just to serve a cheaper one on table and calling it an upgrade of course it feels worse,

Yes, Kishimoto's philosophy of the next generation always being stronger, and a bunch of prodigies had even bigger prodigies as children, but all of this could have been done with less bad writing.

12. LACK OF DEVELOPMENT

I have seen several unfortunate people attempt to explain character development to Boruto fans. And wouldn't advise anyone to try explaining.

Anyway, there are three types of character development in this franchise.

First, use a time jump to transition from potential development to static character.

Second, there is no development; the characters are completely flat.

And third, Sasuke of Naruto (basic but actual character development and still better than the other two).

Yes, for some reason, neither the fandom nor the author appear to understand that it is not about the character change; it is about how the character earned that change and how confidently they delivered it. It is the process something that Ikemoto chose to skip.

Seriously, spent 80 chapters in NNG and the protagonist's peak was "flat development," then started TBV and completely changed the character to be a static stoic with edgy dialogues. That is simply an unfixable problem.

While he did not change anything about the remaining characters, he demonstrated that each and every character is one-dimensional.

On a serious note, Boruto's main audience is people who enjoy self-serious and depth-pretending stories. Therefore, it is clear that this lack of development is solely for writing point of view. This boruto audience adores the poor writing and lack of character development.

The real problem begins when you try to give these kinds of characters a 'struggle.' Most of their struggles end up like fake struggles. because static characters don’t change. After every fight, the aftermath isn’t growth or consequence it’s just a reset, as if nothing ever happened.

Example chapter 22. That chapter's main highlight is Inconsistent Logic. Boruto has previously escaped multiple shinjus in Chapter 4, but now "he can not use teleportation because it is tricky" Ikemoto is making up rules on the flying raijin to force a scene to occur, which becomes more apparent when you have villains who are easy to escape and are more interested in irrelevant things. This entire struggle setup is so forced and qualified as a superficial plus. Character growth necessitates agency and If you have a static stoic character who only throws attacks and self-destructs with no reason or payoff, it is empty drama. This is not character development.

11. THE CANON

Boruto NNG and TBV damage the canon on two major levels, internally and across the overall franchise. But for the sake of review length, let’s focus on the broader framework of franchise impact.

Example A. Character ruins. This story could be used as a case study in how to destroy previously decently written characters. Many characters from the original Naruto have lost their consistency, core themes, and emotional arcs, resulting in a confusing narrative.

Their writing quality has dropped so drastically that they’re effectively removed from any serious discussion about well-developed characters.

To be fair, previous late Shippuden and spin-off novels have already damaged almost every character at their core. But Boruto stands out due to its high visibility, and it’s nearly 100 chapters long and is a direct continuation of the main storyline.

Example B. Legacy Damage

This deserves a clear example. A new Sharingan suddenly gains the power to create suns without significant struggle. That instantly undermines the stakes, emotional weight, and hard-earned victories of the original cast. It makes their journeys and themes feel irrelevant and reduces the value of their arcs.

In doing so, Boruto doesn’t just power-scale; it erases the foundation of what made the original world compelling in the first place.

This problem exists because protecting the legacy of previous characters while doing power creep in a sequel requires serious writing skills.

10. KITCHEN SINK WRITING.

No one is talking about kitchen sink; it's a term for a plot bloated with every idea the author ever got.

In shortest line possible "there are multiple plot line that was main plot line at one point and there are even more sub plots that's keep adding in numbers, rarely any of these touch their conclusions. So now its a mountain of ideas that author has inserted in story with no care about world-building credibility or genre understanding. Now the more interesting here isnt in plot its about how many and when these idea bloated here will be complete".

Just it.

9. CREDIBILITY

Note: for the last time, realism in writing is the very combination of internal logic and consistency. Stop those one million definitions by Boruto fans.

Well, every character in TBV is one-dimensional. And act like whatever plot it wants.

World-building where consistency is myth

And plot where everything goes.

This is the ideal formula for a zero-credibility story.

The story is surviving on cheap suspense, not genuine credibility. These characters are impossible to get invested in unless you are that fan who projects their headcanon over canon.

And powers pop in and out like cheap magic fantasy; the story has lost trust even if you're still "curious."

If you’re only reading for the next surprise but care about nothing else, that’s not a strong story.

8. THE WORLD BUILDING

Wish me luck.

Imagine a kid with a Lego set meant to build towering skyscrapers. the kid dumps the pieces onto the blueprints and calls that mess a skyscraper.

That's exactly what happened with boruto world building. Naruto world building was supposed to be a base for Boruto world building to stand on but 1st author didn't care and throw anything he want, resulting a world-building written by plot.

But it turn even worse by ikemoto.

A. Advancement and Internal Logic

A1. Magic System

Naruto had opened the magic system's Pandora's box (lost internal consistency) that blurred any solid system. Turning every single thing into different magic systems or another story of where everything goes in a magic system. Boruto just added more clutter and made it worse with additional magic systems with zero credibility work.

A2. Technologya

Naruto has trash world-building with a cluster mix of selective retro technology plus the Edo era plus magic equals never establishing a consistent technological timeline.

Boruto pushes this further into futuristic sci-fi, plus everything goes ancient god magic.

A3. Tools

In Boruto, the narrative keeps ignoring tech when it’s inconvenient for the plot, creating a "reversible" world-building approach where nothing is truly grounded.

A4. In-Universe Logic

Characters gain powers or survive situations with no setup or consequence. Just by plot convenience.

B. Groundwork

B1. Heritage & Characters

In Naruto, almost every relevant character is a prodigy (no need to scream, Naruto's average character bar starts where any other media would put the prodigy bar).

As for Boruto. Maybe there are any characters that are not prodigies. Who knows, and if they exist, they would be alien to this world-building. Speaking of aliens.

B2. Aliens

Otsutsuki don’t add depth; they function more like plot devices. Their overpowered nature breaks the original premise. Meanwhile in Boruto. They're writing shortcuts. Ikemoto can literally add the most random power-ups and plot conveniences with them, and it would make as much sense as the rest of Boruto.

B3. Timeline and Progression:

The world jumps from Naruto Shippuden to Boruto with an unconvincing timeskip. It feels less like evolution and more like handwaving.

B4. Premise

Every story has rules: what can and can't happen. Meanwhile in Boruto, fans attack other media and stories instead of calling out the author for breaking the premise rules.

B5. Lampshading

Instead of creating compelling present-day narratives, it relies on vague, unexplained ancient shinjutsu and creatures. That’s not deep. Actually, it’s narrative distraction.

C. Sociopolitical Layer

.... Actually, I gave up. Maybe I will write a separate review just about worldbuilding. Maybe.

Let's move on.

7. EXTREME FAN SERVICE (REACTIVE WRITING)

For that 100iq genius, fan service means just to please the audience. Get your dirty mind away.

Reactive writing is not a bad thing at all. But it can make an overall story hollow if done more than a few times.

Anyway, someone in 2020 said, "Boruto's story starts lighthearted and will get dark, and he will lose everything."

And boom, next month Eida was added to the plot.

Lots of fans said that again, then the pace suddenly went from slow to fast, setting up omnipotence in three chapters, and four months later, "omnipotence" happened (still, that's not losing everything; it's temporary separation plus Boruto clearly stated he wanted things to stay that way for a while, making everything a choice rather than a tragedy. So stop overgeneralizing, dear fans).

People point out plot holes about memories of Konoha and the internet. Next month, there will be "a chapter dedicated to patching plot holes."

Same, someone "both fan theories about how Kurama reincarnates in Himawari are trash" next month "universe is full of mystery," plus a stamp of both theories.

And this list can go on for the next 12 more times. But the point is how much fan-dependent story there is and the level of fan service.

Positive point: Ikemoto knows what and which demands can please the fans more and how to reject trash ones. For example, there were multiple fans asking for character development before both Himawari, Boruto, and Sarada spotlight chapters were released, and Ikemoto rejected them (the only demands that couldn't make it to manga). He understood his audience and knew which story choice would please the audience better.

6. THE STORYTELLING

There are lots of issues of storytelling in boruto but for now (length), let's focus on just 2.

A. Suspension of disbelief.

Metaphorically, Naruto built a room filled with credibility and suspension of disbelief (lack at Shippuden). Everything unrealistic in that space still felt real to the audience because the story earned their trust. But then Naruto handed that room over to Boruto, and Boruto quickly turned it into rubble. Now boruto fans are defensive and aggressive, asking why Boruto doesn’t feel right to others, all while trying to defend it by proving that Naruto and all other stories were equally unrealistic. While ignoring that it was never just about what was unrealistic, but how well the story made us believe in it.

In straight words, Naruto's world-building, its lore, and its credibility were supposed to be a base where Boruto's suspension of disbelief could stand on and should create its own rules, but both BNNG and TBV just installed the plot and powers without any worry of suspension of disbelief. That's why most boruto fans have to use real-world logic in order to defend their fictional story because for them every suspension of disbelief is equal, which is zero.

Side note: What’s up with this Boruto fandom? Their favorite manga has zero suspension of disbelief, yet they go around attacking other stories (including Naruto) with a mindset that instantly rejects anything that’s not 100% realistic.

Take Naruto, for example, it literally begins with a giant fox destroying a village and characters using magic eyes. And guess what? From the standpoint of writing, Naruto redefined what "ninjas" could be in a fantasy world, and it was successful because fiction reshapes ideas.

But instead of appreciating that creativity,

These entire fans (including most naruto fans) are desperate to discredit Kishimoto, convincing others to believe Naruto isn’t about ninjas just because it doesn’t match real-life definitions. They throw around real-world comparisons without even understanding what the fantasy genre allows.

What’s worse is that they criticize Naruto’s writing and suspension of disbelief. Fine, that's fair game since boruto is Naruto’s sequel, but then they turn around and use the same flawed logic to attack other series, like what?

It’s like comparing a hand to a stone statue and calling the statue trash because it doesn’t move like yours, completely missing the point of what it is supposed to be.

B. Narrative structure.

Well, if you put all styles of narrative structure into a blender, you will get the Boruto franchise structure. Resulting in there being no structure at all.

This franchise can be as long as Ikemoto wants because there are countless starts, setups, even more rising actions, and more plot convenience.

Here, you can have a plot ended and another plot rise, or worse, a plot ended off-screen and 6 more plots added along with 5 more subplots.

This is a narrative mess where everything can be the next plot or something else.

Seriously, it's a whole level of disorganized plots and subplots mixed together with plot convenience.

As I previously stated, this narrative is rule free- anything, including plot convictions, new plotsq or events, can be done or added here.

5.. THE CHARACTERS

Ikemoto can't write characters. Why? In an interview, he said "First, there's the role of the character. The basic premise is to create a character based on needs."

That’s not character writing, that’s the textbook definition of a plot device.

Then he went on to describe ada and hidari. One is an overpowered woman who chooses love over world domination and has a “silly” side. The other is the evolved from sasuke who shares similar techniques but behaves unpredictably. In short, Ikemoto's idea of depth is just giving each character an “unexpected trait” alongside their basic function.

That’s not complexity. That’s how you create one-note or flat characters that only exist just to serve a purpose and maybe surprise the reader once, but lack literally everything else that makes them characters.

If this is what the fandom calls great character writing, then by that logic, stepping into a kitchen makes you a five-star chef.

Same thing in a longer paragraph: Ikemoto only knows how to write one-note dimensional characters, and that's how he is writing every character he touches.

In results, all new-gen characters and villain intbv are one-note dimensional, and old-gen ones are one dimensional.

That's why the entire cast of its characters is either one-note dimensional or one-dimensional; there is no in-between.

Example of new gen: boruto, he is stoic ... And that's it. That's where boruto's character profile ends. And as a matter of fact, I have seen the Boruto fandom organizing rallies against people who don't prove Boruto is one-dimensional.

Never saw any other fandom this desperate to prove their favorite one-dimensional and believed one-dimensional is good writing. How can they call anyone a hater when the fandom itself is too busy proving it is already the worst-written thing ever while believing what they are doing is praise and defense?

One example of one dimensional old gen -

Well, every character that exists in the Boruto franchise, and I really want to talk about Shikamaru and Naruto.

But for context's sake, let's take Sasuke, for example. Because everyone in the Naruto Boruto fandom keeps calling Sasuke the best-written character in the series, and honestly, I don’t get why. Let’s break down his writing.

In Naruto manga -

He started off as the typical "edgy lord" but there was at least some depth, internal conflict, extra groundwork, a backstory, and believable motivations. He wasn't groundbreaking (for the most part), but he worked within the story. However, even here, his characterization suffered from inconsistencies, which already disprove the claims of strong/good writing.

By the Pain and war arc (aka Shippuden era) -

This is where things took a nosedive in bad writing. Sasuke was reduced to a blatant plot device. Both his agency and evolution can be turned off or turned on in any chapter. The traits that made him so compelling in earlier Naruto were stripped away. While multiple new traits were added, they were also washed away by the next chapter. He existed to say a few ominous lines, push the plot forward, and then wait for plot convenience.

All light novels that feature sasuke-

Due to consistently changing writers, it became painfully obvious. The new authors clearly thought the character's "cool factor" came from his silence and aloofness and mistaking stoicism for depth. What we got was a hollow, robotic shell who contributed nothing except staring blankly and occasionally mumbling cryptic nonsense. Personality? Gone, all of the scraps of remaining good writing? Gone.

In Boruto -

Writer changed after another, but none of them improved things. If anything, the fandom and the writing team both doubled down on this idea that being stoic, emotionless, and vaguely "cool" automatically equals good writing. Sasuke now exists to praise other characters (usually Naruto or boruto), get defeated or defeated off-screen, or stand around doing nothing again. His role has become entirely passive, and he’s more of an object than a character.

The Core Issue

Despite all this regression, fans still act like he’s the best-written character, clinging to the image of his OG naruto version. But canon matters, and canon has shown clear, consistent deterioration. You can’t ignore multiple chains of weak, lazy writing just because he used to have potential. What we’ve ended up with is a flat, one-dimensional plot device whose sole purpose is to prop up anyone necessary. He is not a well-developed or well-written character; as a matter of fact, he is quite the opposite.

4. THE CONFLICT

Let's talk about shinjus.

Enough about shinjus.

Let's talk about Code.

Enough about code.

Let's talk about Amado and his creation, gang.

Enough about...

Wait, that's it. That's all worth talking the boruto villains deserves.

Honestly, these villains aren't even worth discussing, but I've seen the anger of fandom when there is no criticism, so let's shine a little light on this sad collection of time-wasting characters.

Weak villains belong in weak stories, and by weak, I don't mean power levels. I’m talking about writing. What we have here are cardboard cutouts tossed into a cardboard trash can. These villains are written like flimsy straw men, inserted only to pad out the pacing and then brushed aside the moment the script no longer needs them. It's worse than it sounds.

A villain can be the driving force of a story. They can shape the narrative, define the stakes, and give the plot structure. But in this case, these so-called villains barely even qualify for the role.

Code—Every time he’s on screen, any sense of threat he might pose is instantly destroyed. The story spends ages establishing how inept, unhinged, and lacking in intelligence he is. You’re meant to laugh at him, not fear him. He’s a joke, not a threat.

Jura—Every time he appears, characters go on and on about how dangerous he is, while the script does the exact opposite and tells the audience how little of a threat Jura is. His curious personality kills any sense of menace. He’s treated like a plot device, not a character. Even attempts to make him seem powerful, like him tanking hits while rambling about his interests, just come off as hollow. He’s the weakest villain in the franchise, not in terms of strength, but in terms of storytelling, writing intelligence, narrative perspective, characterization, etc.

Amado - The Ikemoto’s so-called “mystery box.” Except there is no mystery. This one-note, one-dimensional plot device exists to dump random sci-fi nonsense into the story without any real world-building or narrative effort. Want to make Kawaki suddenly stronger? Well, Amado had nerfed the offensive power of Kawaki.

Want Sumire to learn about memories erased? Amado suddenly realized his tech and told Sumire.

Want to create a character who is extremely intelligent but lacks basic intelligence and situational comprehension, as well as an understanding of plans and outcomes? Amado

Yes, traits play a crucial role in character writing, but in this case, Ikemoto selects the worst traits for each villain, somehow preventing each one from being qualified as a real conflict.

Despite the fact that the plot revolves around fetch quests for them, none of these villains (including those not listed here) are as relevent as other supporting characters while they are being the story. That's extremely weird.

Discussing this collection of trash is equivalent to saying nothing at all.

And that’s it. They truly are unworthy of these 483 words.

3. THE PLOT CONVENIENCE.

Let's start with something positive. Both authors, from Vol. 1 to the current one, are smart enough to remember and see every mystery box that withholds information and opportunities for place plot convenience in every logic or surface level of foreshadowing they can insert. And that's it; that's where positives end.

Well, to put it simply, this isn't just a story with plot convenience; it's a full-blown Plot Convenience Fest, held together by nothing but the thinnest suspension of disbelief. Seriously, what should I even call it? 'Coincidence: The Ten Tales"? 'Deus Ex Machina: The Plot Vineyard "?

Some stories have a few convenient moments, but this one? There's plot convenience on every third page, more per chapter than some franchises have in their entire run.

Let's start with a short comparison with BNNG to get some idea of scale in BTBV.

In vol. 10 of NNG. The author made characters run, overhear, stand still, understand the emergency, gasp at someone in danger, get carried away, make senseless decisions, waste time, waste resources, and do the most obvious deus ex machina and the dumbest logic of conflict and lots of things without any worry about how his world works and why his own character responses shouldn't be those based on the information he has provided about the characters to the audience. And making the entire volume feel like either every character knew the script or most characters are the word that can't be said here.

Now look at BTBV. The entire thing runs on plot convenience; yes, every chapter is filled with it on an atomic level. And it started from Sarada talking to Shikamaru until the latest chapter.

Example A. Plot Convenience plus Contradictory Logic : -

In the 1st chapter, characters recap the NNG plot. Dumb-shika remembers that he remembered that decision to trust Boruto and Himawari's words in most chapters.

Example B. Plot convenience plus contradictory logics plus plot armor.

Having a villain walk away, talk philosophy, and ask questions when there is every moment where he can complete a task is a lampshade attempt to justify it.

Example C. Complex Plot Convenience plus Overengineered Plot Device

Gaara was with his children when the attack happened and got sealed. Obviously, it only exists to create artificial stakes. It’s not a deus ex machina, but it's a clear plot setup that's overly convenient for fetch quests, and the plot was desperate for a new villain for Sarada to defeat, and it couldn't be more obvious.

Example D. Extreme plot convenience. Creatures that can't care about each other evolved and choose side quests of hunting while ignoring their primary target for a hand-wave of reason just to create unnecessary drama or spread the plot around. And even worse, they don't even kill every time they have opportunities and can't do anything other than ask questions of the target while having billions of non-target people on that planet to answer them. Yes, that mindless 10-tail in Shippuden was billions of times better written than these cheap plot feathers.

Example E. Plot convenience plus anticlimactic writing.

We can't have Kawaki and Boruto fight now, so let Mitsuki knock out Kawaki while proving how little the audience needs to worry about Kawaki. The author has him as a joke. Actually, every character is a joke to Ikemoto.

Example F. contrived drama plus plot convenience.

If Koji can see the future, then why allow/create/put the scenario unless there's a deeper motive to send Boruto to fight Jura? That's the most obvious plot force to do something emotional or risky. In other words, it is both forced writing of being a hero at its finest and one of the worst kinds of writing.

These plot convenience examples can cover the entire TBV and almost all of its details. So let's move on.

2. INCONSISTENCY

Yeah, I'm not typing inconsistencies of BNN chapter 1 to TBV 22 here. Matter of fact, not even TBV chapters or character inconsistencies separately. I'm good. Ask someone else.

But the fundamental rule that will give you a proper idea of how many inconsistencies exist in Boruto is "When characters, world-building, or any part of the story bend purely to serve the plot, it creates inconsistencies, breaks immersion, and drains all sense of realism or stakes. It makes everything feel artificial and forced. Worse, it reveals a lack of care or discipline from the author, and if the writer doesn’t respect their own story, why should anyone else?

That's it; inconsistency is part of the Boruto series like heat is part of the sun.

Everything or anything can be sacrificed for the plot, and most of the things have been sacrificed.

- Dishonorable Mentions - Themes, Action, Fight Writing, Support Characters, Power Creep, Retcons, Premise, Foundations Of Each New Lore, Himawari, Character Assassinations, Dynamics, Sidelined Issues, Lack Of Honesty, Romance Writing, Flying Raijin, The Term Protagonist, Eida, and Misunderstandings Of Ikemoto.

1. The Fandom

I used to believe it was impossible for a fandom to affect the quality of a series. In fact, I always defended the idea that no fandom could make a series worse until I encountered the Boruto fandom. They've somehow found a loophole to influence the series itself.

This fandom has every problem it can have absolute denial, toxicity, hive-mind behavior, hypocrisy, and the list goes on. But the most common one is that they can’t comprehend that someone might be criticizing the series after actually reading it.

But the two biggest issues are

Canon destruction and coordinated behavior.

Canon Destruction

This is something that actually harms the series, because now there are two versions of it:

1. The actual canon. the physical manga, the one I’m reviewing right now.

2. The versions the fandom has decided are canon and project on the canon.

Confusing, right?

The Boruto fans don’t just love the story; they get full control over how everyone else sees it. They push headcanons and ignore canon. Whether you're part of a fandom or just some random reading person expressing your thoughts on manga in any corner of the internet. Your words will be considered "lies," "pure hatred," and misinformation if they aren't aligned with fandom headcanons. And yes, just talking pure canon is also hatred, according to them.

And mostly these types of situations are called widespread fanon, but this is a rare case where fans are 100% sure that they are talking about actual canon with no modifications because for them everything they project would become real, and everyone is a fool who can't see their projection on the actual book. So calling it fancanon isn't right. It's way bigger than that.

Example: Boruto laughs at the chapter 80 final panel. And with all the rules of storytelling, the manga seriously established that conflict isn't even real conflict for Boruto with that panel. But fans say, “He’s suffering; that’s a fake smile.” Total projection - but they treat it as fact.

Say the characters are flat or emotionless. They’ll attack you, say you didn’t read the manga, then send you images of facial expressions and explain made-up emotions and character thoughts that aren't in the text.

You might think they’ve just lost track of canon and headcanon—but the reality is worse.

Why? Because the fandom shares a hive mind. Somewhere, someone rewrote the entire story in their head, redefined the symbolism, stretched and twisted the reasonings to fit their desires, rewrote on the internet what the answers to every question (theories) are, and told everyone else what to believe. Now, that version is treated as true canon.

On the bright side, the manga lacks basic groundwork, clear traits, and consistent storytelling. So it’s natural for fans to fill in the gaps with headcanons. But the problem is, this rewritten version is now the dominant narrative. And that’s the worst thing that can happen to a story: the audience no longer engages with the author's vision, just a Frankenstein's monster of a story made by countless different theories, assumptions, and opinions on every part of the internet then protecting is real material.

As a result, 90% of the Boruto fandom lives under the delusion that critics are just hating. But in reality, the problem is that their so-called "objective canon" doesn't even exist in the actual story. It's all fan headcanon that's problematic here.

If it takes random fans on the internet to rewrite, reshape, and redefine the series and tell you what to think just to make it work, then either you lack brain cells or never fully engaged in the story to begin with.

Even worse, these fan interpretations don’t just patch over the flaws of Ikemoto’s writing; they expose them. The series is so weak that the only way to stay invested is through accepting fan hive-mind versions.

At this point, being a boruto fan means you’re not following the real story. You’re following a glorified fan rewrite/fan projection that exists only in people’s heads and is projected over Ikemoto's work. The fandom has rejected the canon and replaced it with projections that fill in the author’s shortcomings. Proving that many fans are better storytellers than the author himself.

Coordinated Behavior

This time it isn't about the zombie-like behavior from fandom it's much worse.

Imagine a kid finding this manga and making it their favorite... and then deciding this is what good storytelling looks like. What happens next?

Their "favorite" never cared about world-building, logic, credibility, characters, writing, or even basic storytelling. What if he wanted to be an author or something like that?

The fandom spends all day gaslighting itself, convincing everyone that all criticism is fake, that anyone who points out flaws "just didn’t understand,"or "didn't read it" and that every negative opinion online is some grand conspiracy or trend.

Now imagine what kind of destruction this creates. A generation of delusional fans, growing up believing made-up "lore" and lies until reality smacks them in the face the hard way.

Or even worse, they buy into the fandom’s fantasy forever and get trapped in the pathetic mindset of "My work is perfect; the world is just too dumb to appreciate it or "They don't know; it's their loss."

Well, no need to imagine, all of that took place. The funniest ones were when Boruto fans were going around lecturing literature professors, professional authors, and critics about writing and how things are with no source, just assumptions and boruto fandom gaslighting. Or when fandom was calling all other media fans mad corny for not finding Naruto aliens believable and their own believable but calling everyone liars and starting to threaten when being told that it's a world-building issue and all those other media in comparison have billions of times better world-building.

This fandom has developed a peculiar hobby of collectively deciding what is true, what is false, and what things actually mean regardless of how far-fetched those conclusions might be.

For example, almost all boruto fans' believe that "screen time" automatically equals "better writing." And that’s just the tip of the iceberg. There’s probably a massive list of their misunderstandings.

But here are a few highlights from their ever-growing pool of misunderstandings.

They seriously believe

Character rewrites = character development

Subjective Symbolism = objectively canonical definition

Writing Emotion = Facial Expression

Writing realistically = must exist in the real world

A character’s outfit = the entire character design

Projection = valid canon and reason

In medias res = foreshadowing

In medias res = plot twist

In medias res = character development

Background art = world-building

Author’s personal flaws = character flaws

Being “mature” = only way to develop

A symbol’s meaning = foreshadowing

Narrative = plot twist

Narrative shift = plot twist

New plot = plot twist

New character = plot twist

Anything new = plot twist

Explaining a scene = plot twist

Any conflict = dynamic storytelling

Power = better writing

Strength = peak character writing

One-dimensional characters = well-written

One-dimensional characters = greatest written

One-dimensional characters = complex villains

Something that sounds deep = philosophy

Plot expansion = foreshadowing

Narrative conclusion = unresolved conflict

Narrative conclusion = weird writing

Narrative conclusion = character struggle

Narrative conclusion = underdog story

Narrative conclusion = hidden depth

And the list goes on endlessly.

But an even bigger issue is that they’re all over the internet, convincing others (or any person they see) that their beliefs are the absolute truth. I lost count of how many times I see boruto fans try to tell others what writing/phrases/tools/writing business words supposedly mean objectively, and if someone points out that their definitions are incorrect and proves how objectively wrong those Boruto fans are, they don’t care either they will just focus on persuading the next person or rally against whoever corrects them.

meaning spreading wrong information and interruptions are completely fine with them, but actual criticism and correcting them, where they draw the line for attacking and rallying like criminal justice.

Disagreeing with them or telling them they are spreading misinformation is treated like blasphemy. They’ll rally others to mass-report individuals. Why? Because in their minds, they are the “living truth.” Whatever terminology they’ve latched onto, no matter how inaccurate, is treated as unquestionable fact. Anyone who dares challenge them or tell them that they are using forced reasoning on writing business words just to project Boruto as better written will see that person just as a “mad hater” spouting nonsense without their permission.

And it doesn’t stop there. If they ask for criticism and you actually give it, whether valid or not. Then there are high chances that you need to say goodbye to your words. They’ll mass-report you and then celebrate as if they’ve just brought down a criminal.

Basically, if you do not parrot everything they said. Well, there is no positive outcome.

Extra

There’s one more point that needs to be made. It feels like boruto fans are stuck in a kind of ‘fiction rejection mode’ their brains reject any sense of world-building, character depth, or internal rules. The only thing they seem able to process is a single flashy moment. And somehow, these same people go around calling others 'brainless' for actually getting immersed in others' stories.

They love pointing fingers at everyone else for the bad writing in their favorite series.

But how is this harming the franchise? Just say something fair like, ‘I miss when Naruto was about ninjas,’ which is a valid criticism since naruto spent over 200 episodes and 100+ chapters building what it even means to be a ninja in that world. Say that, and you’ll get bombarded with responses that don't defend Boruto they just trash Kishimoto and act like he was always a terrible writer.

There’s no fair engagement with their words, only broad attacks on the credibility of the entire franchise. This fandom has literally convinced a large chunk of Naruto fans that the series had zero world-building or consistency just to defend Boruto’s random power scaling.

Seriously, why can’t they defend their favorite without making it a mission to prove Kishimoto was trash all along? And yes, when a significant part of your audience complains they can’t even immerse themselves or understand what the story is about anymore, that’s when an author starts to earn the label of 'objectively trash.'

This isn’t a fair trade by any metric. You’re damaging an entire franchise (along with other franchises and tons of authors) just to justify a few power-ups.

As much as I would like to go over 130 more ways they are destroying this franchise, such as plot patching, overgeneralizing events, and projecting criticism onto other series rather than accepting it, it is best to end the review.

And done.

That's it.

These are the top 20 worst aspects of tbv.

This isn’t a story about destiny or sacrifice; it’s about a writer handing out divine powers like candy while still writing as if every character is flying blindfolded. Supposedly intelligent characters act like glorified fortune cookies, either consumed by a mysterious complex or offering zero tactical value, usually both.

No matter where you look, it's almost impossible to find good writing in it.

Characters who should be fleshed out exist only to pad the pacing, stuck as one-dimensional props instead of actual characters. This manga isn’t selling a story, plot, or meaningful development. It’s selling power fantasy and one frame of visual, sacrificing every element just to create single panels that look cool no matter how dull and hollow everything else is.

That's right, there is abysmal writing. And yet, the fandom is cosmic radiation from far away. It glorifies manga to the point of being unbearable for eyes, but as soon as you go near them, each second they give new forms of toxicity and harm everything, including the very thing they are defending. And no matter how objectively correct criticism you provided, for them it's a troll, and they believe they're the ones to decide what's objective.

They can't even comprehend that they might be in love with one of the worst-written stories on this planet, yet they are flying high in their superiority complex, also too busy insulting and cursing every work that has improved literature itself.

And fun fact: they will hunt you down if you personally like Naruto over Boruto or Shippuden.

Ikemoto, however... well, honestly, none of this is entirely his fault.

Every writer produces something cringe or nonsensical at least once or more in his lifetime. It’s part of the process.

That’s why publishers, supervisors, and editors exist. They’re supposed to be the quality control.

Their job is to catch these issues, tell the author where to improve, or stop disasters from getting through publication.

So if something with abysmal quality still gets greenlit? That’s 100% on them.

And after seeing the brainpower of these publishers and editors firsthand...

Yeah, it’s clear what they’re doing is the best they can, but sadly, this is the absolute limit of what they’re capable of.

And Kishimoto is supervisor... that's it, he’s just faithfully continuing the proud tradition of doing whatever nonsense the Naruto supervisor did back in those days.

Overall, boruto tbv is the kind of manga where the very concept of "quality" goes to die.

It’s made for people with zero standards and barely functioning brains. The audience who only care about some edgy, one-second "cool" moment to trick themselves into thinking/making it’s good.

Basically, it’s tailor-made for teenagers stuck in their edgy phase, adults who never grew out of it, and brain-shut-down audiences whose eyes are open but brains never process. Somehow they are weaponizing shallow understanding to protect their favorite while shutting their brain down deeper in fact-based discussion. Thus, this fandom acts more like a cult than actual praising.

What exactly does "hate" even mean to them? Their blind loyalty seems to have conditioned them to interpret everything as hatred. The moment someone questions or critiques anything, they respond with the same recycled lines: "You're hating," “You just don’t understand,” “You didn’t read it,” or “You’re not capable of comprehending it.” These aren’t arguments, they're deflections, serving as both a shield against scrutiny and a cheap way to dismiss others through thinly veiled insults.

What makes it even worse is that genuine attempts to engage, such as asking, “What exactly was misunderstood? Can you clarify?” are often met not with reasoned responses or anything, but with insults and profanity. At that point, it’s no longer a discussion. It’s a full-blown meltdown.

Reviews end here.

Additionally, I believe that I wasted Sunday here.

And if you have read this entire review without skipping anything, I'm impressed

Boruto: Two Blue Vortex is a beyond-exceptional manga and a must-read. The chapters (6 as of writing) have all been action-packed with improved panelling and artistic style from OG Boruto. Ikemoto has done some neat panels that play with perspective in ways the Boruto series has never seen before. So far, the art has stayed consistent; regardless of size and importance, every panel appears to share equal parts of attention from Ikemoto. Ikemoto continues his impressive character design into TBV. Every character change developed in believable and stylish ways. Of course, the leading trio Boruto, Sarada, and Kawaki are the shining stars of the designs. Thewriting of Kishimoto is nothing short of masterclass. TBV is sitting on a fantastic foundation. It's hard even to imagine how this story could flop. So many elements have been intertwined in this story. As a reader, I constantly question how in the world our protagonist is going to get through this. Even while most of the story in TBV and OG stays within the walls of Konoha or familiar ground, I have rarely felt the true weight of challenge and stakes as I do with TBV. This story is something truly unique, and it is almost impossible to have any accurate fan theories on what's to come.

OG Boruto needed a bit of a reset as many complaints of OG Boruto no longer apply as the series continued and drastically improved. So far, everything about TBV is superior to OG. It was a good idea for the timeskip to be a separate series so it could serve as a soft reboot.

Thanks for reading.

I really liked it. This manga is the greatest comeback of manga industry. I really love the artstyle. I was very hesitant to start this after boruto part 1 but Kishimoto really did a good job i am looking forward for its next chapters. Some people may not like it after seeing hate on internet but trust me this manga is amazing dont listen to the haters. The character designs are really good only one thing that i didnt liked was inojins design the rest of the designs are good. The character development of boruto is really good. The story has turned out tobe unique.

So here it is, Finally the long awaited part 2 of Boruto (Should've been named Boruto Shippuden but oh well). Being a massive fan of Naruto, I obviously watched Boruto as it started airing a few years ago and I saw it weekly and was kinda enjoying it. The manga is a separate breed though, It's just such a stark contrast to the anime. When part 1 ended, We all were left with our own thoughts and theories as to how the story will proceed since now Kishimoto is even more heavily involved than he was in part 1 so we expected some good stuff and sofar it has been pretty amazing! Like seriously, the vibe of part 2, especially of Boruto's character is so much different compared to the childish Boruto. Boruto has redeemed himself in my eyes and I honestly think this manga is off to a great start. The stakes are higher, The timeskip is here and if you're like me who likes Shounen then chances are that you'll love Timeskips too. The world has changed quite a bit since part 1, People aren't the same and sadly our favourite cast of characters is not the main highlight which is to be expected since they are not the focus here. It's time for the next generation to shine and the characters actually act their age even more now and don't just do random dumb stuff lol.

The only downsides of this manga in general are the Monthly release schedule which can be harsh for the readers and the art. Now don't get me wrong, there's nothing wrong with Mikio Ikemoto's art, it's actually perfectly serviceable but it's nothing to write home about either. It's just good enough but I can recall many scenes that would've had a much bigger impact if they were drawn a bit better. Again, this is just a nitpick of mine but I thought I should atleast mention it.

I hope this part goes a long way and we see the entire cast develop even more so and hopefully witness Kishimoto's genius storytelling again.

This is a 9/10, I'm biased when it comes to Naruto but oh well. We like what we like, don't we hahaha.

Thanks for reading!

As for now 14 chapters has been totally released and I am totally suprised. Since Kishimoto took over the Boruto manga from Kodachi after chapter 51 in Boruto NNG manga till the chapter 14 of Boruto Two Blue vortex, the manga is excellent and the one thing that I extremely like about this manga is Boruto's Character writing and development. His character writing is good from the start of the Boruto NNG manga since 2017 and the character development was decently established in Boruto NNG manga and it was well executed and improved in Boruto Two Blue Vortex manga. His character arc starts asan little brat where he was given everything and loved by everyone surrounding him to a Men who lost everything in his life and hated by the people surrounding him. If you think this is a typical shonen manga MC stuff then you are completely wrong about it. The way this Character evolved is absolutely insane and executed differently than the others.

The Second thing that this manga excell is in the Plot Twists and the Foreshadowing. The plot twists are mind blowing and it satisfies everytime it was unfolded, The Foreshadowing is literally PEAK and there is a thing which was foreshadowed by the author back in Chapter 1 of Boruto NNG manga in 2017 and every chapters foreshadows to a specific point in time in the future.

The Third thing I liked the most from this manga is the progression of plot and to be honest I was not bored a single time reading this manga. The storyline is paced perfectly but some do feel it is slightly paced slow because the manga pages is too low for a Monthly manga.

The emotional behaviour and the emotional depth of the characters is extremely good and well written.

As for the plot and storytelling. The plot is extremely complex and totally different from the previous manga and it is definitely better than the previous one. This follows Non - Linear way of storytelling. The thing that amazes me in this manga is that we used to see Naruto's point of view in his eyes in the Naruto manga but here it is totally opposite. We are seeing a Boruto's point of view in others eyes and it adds an different approach than the Naruto manga.

About the Art, Its good and better than before but one thing that annoys me more in this art by Ikemoto is that he mostly uses black strip of lines for the background. It could be avoided since it brings down the quality of a monthly manga. It would have been fine for a weekly manga but cannot be accepted for a monthly manga and also the costumes are weird and sometimes look unrealistic and cringy.

As for action, this is the best in this department by far and it's not even arguable. We get varities of action with different characters and most importantly the fights are not just wasted just to entertain you or something like that. Every fights in this manga tells a story which adds the necessary depth to a character. The fights blend with the story so it doesn't seem like it is separated from the story. Emotional weightage is given to the fights as well which makes it more enjoyable and interesting.

There are pretty good group of villains who are purely evil and the intentions of those evil characters are up to the point and it is clear. No dragging of character intentions for a longer time.

I couldn't say much about world building since it's been only 14 chapters and the world started to expand at this moment after the completion of 14 chapters.

The side characters apart form the main cast were being utilized well and their involvement in the storyline perfectly timed with the plot of this manga.

The only problem in this manga is that, It has lesser pages for a monthly manga and the lack of usage of old characters from Naruto. The old cast from Naruto was not actively participating with the plot of the story but they are like a background character which makes us little bad since we are attached to it from the Naruto manga. But I couldn't complain about it more because it's been only 14 chapters and I think soon the main cast of Naruto would actively participate in the plot progression of Boruto since the stage has already been set up until the 14 chapters

In one word, Boruto Two Blue Vortex is the best sequel to Naruto and it's PEAK already. If the manga continues as same as of this, then down the road after 5 - 6 years, this would be one of the greatest and best manga in the world.

PLOT - 8/10

Plot Twist - 10/10

Foreshadowing - 11/10 (Literally Mind Blown reading chapter number 13)

Storytelling - 9/10

Main Character - 10/10

Side characters - 8.5/10

Villains - 8/10

Fights - 9/10

World building - 7/10 (As for now)

Pacing - 8/10 (Less pages for monthly manga)

ART - 8/10

OVERALL - 9.5/10

Ah, Boruto, the serial that I've been defending since the pandemic. Eida's omnipotence has caused Boruto to lose all his friends and family, forcing him to battle the Otsutsuki God Trees while Konoha ninjas pursue him. After 15 chapters full of the rollercoaster journey of Boruto, here are things that I consider good and bad: (+) New Techniques I'm intrigued to see the new techniques (jutsu) being adapted into anime, especially Rasengan Uzuhiko, Himawari's Nine-Tailed form, Shinki's recent Magnet jutsu, etc. Their adaptation of RasenGun previously was slightly disappointing, so I'm hoping they're doing these new techniques justice. (+) Boruto vs. Everybody Boruto getting under attack from not only Codeand the God Trees but also the shinobi is a badass idea. Of course this idea will not be happening if Boruto becomes a seasonal anime, but Boruto fighting against his anime/side story manga friends like Iwabee, Houki, etc., would look totally insane.

Please buckle up.

(-) I prefer the anime's assets

No, I'm not talking about the anime originals or filler stories in the Boruto: Naruto Next Generations anime. If anyone says the anime sucked, so be it. I just wanted to express how much I love the assets the anime has created: Chunin Sarada; Team 5, Team 15, and of course my boi Houki and Team 25; and Nue. Not to mention characters originated from Naruto, such as Udon, Hanabi, and Mirai.

Now let's just focus on Hanabi herself. She's the biological sister of Hinata. Hanabi would have been easily outraged by Boruto's 'killing' of Hinata and Naruto. If Hanabi doesn't appear in the anime (since she doesn't in the manga), it will, in my opinion, leave a gap in the plot.

Therefore, it would be a shame if these anime assets are all scrapped as a result of the 100% adaptation of the Boruto manga.

(-) Mikio Ikemoto's paneling skill

I believe many Boruto readers have already voiced their concerns about this issue since Naruto Next Generations, and I only became aware of it two months ago. I gotta admit that Ikemoto-sensei's paneling is rather weak. Many panels repeat themselves to showcase different dialogues or possibly close-ups. Reading a 40-page chapter feels like reading just 25 pages. I'm curious about the current gap between Kishimoto-sensei's storyboard and Ikemoto's drawing. Like see, I'm still defending Ikemoto-sensei if he's accused of being a p-word, but I don't think his paneling skills can be defended at all this time. I definitely respect him for being the sole manga artist, but come on.

In conclusion, the sequel to Boruto: Naruto Next Generations is a worthwhile read. Yes, I might give it a score of 9, and I'm sure I won't drop below a 7, given how much I've enjoyed the story thus far. However, I chose "Mixed Feelings" due to my concerns about its potential anime adaptation in the future. I hope Pierrot remains committed to this project and secures skilled storyboard artists and directors.

Two Blue Vortex definitely feels like a true successor to Naruto. Part 1 was cool but had some glaring issues. TBV has addressed the issues that plagued part 1. 1. The side characters are more involved in the plot and characters like Mitsuki are finally getting character development. 2. The villains are very interesting and more compelling this time around. 3. The quality of the art has gone up. The paneling and choreography are more fluid and easier to follow. Ikemoto relies less on speed lines and uses them properly. He's also started adding more perspective to his drawings. There's still room for improvement butI'm enjoying his art right now.

4. The pacing has been really solid. The chapters aren't slow, nor do they feel rushed.

Aside from the improvements, the narrative has been really interesting. There's so many twists and turns to where it's hard to predict what will happen next. Part 1 may not be a lot of people's cups of tea but Part 2 has been really fun to read.

TBV is cool, I enjoy it but man some of these reviews are garbage lmao. You got one dude saying "Rock Lee and Might Guy be ruined" despite these fodder shinobi not even showing up in the manga. Guy got nerfed in Naruto, what is he going to do? LMAO. Not to mention getting annoyed that the MC is finally becoming cool. Anyone who want to give this manga a chance, ignore those silly reviews. Pros: Interesting premise, the narrative has a strong hook and the mystery behind it is really interesting. The villains this time around are cool. When it comes to pacing, it's prettywell paced, you get a bit of action and plot progression. The side characters are finally getting more development this time around, good stuff. The paneling is good.

Cons:

Ch1 has an unnecessary recap that doesn't really make sense considering the timeline of the events. There are some art inconsistencies here and there but most of them get cleaned up in the official volume releases.

“Boruto: Two Blue Vortex” is work of art in the manga world. It’s a series that has managed to capture the essence of adventure and the complexities of its characters, all while presenting it through beautiful and intricate artwork. The story itself is a rollercoaster of emotions and twists, keeping readers hooked with every turn of the page. The growth of the characters, particularly after significant events in the storyline, is portrayed with depth and sensitivity. The evolution in the artistic style from the original series is noticeable and brings a fresh perspective to the beloved universe of Boruto. The narrative flows smoothly, thanks to Kishimoto’sskilled writing, making it a standout series that has reignited excitement in the manga community. In essence, it’s the combination of storytelling prowess, artistic beauty, and character depth that makes “Boruto: Two Blue Vortex” a really good manga.

Boruto: Two Blue Vortex manga is a fantastic read! The storyline is engaging, and it brings new adventures for the characters we love. The artwork is stunning, with vivid colors and well-detailed scenes. The plot is well-paced, keeping readers hooked from start to finish. Boruto's growth as a character is beautifully portrayed, making it easy to root for him. The manga also introduces fresh, interesting characters, adding depth to the story. It's a perfect blend of action, emotion, and friendship, leaving a lasting impression on readers. Boruto: Two Blue Vortex is a must-read for fans of the series and newcomers alike!. The only thing iam worried about is the ending.

The manga started out great. The story is a lot more streamlined than that of Naruto, with little to no redundancy. NNG did well to establish characters that will play a significant role in TBW, and story is now focused mainly on them. Characters like Amado and Kashin Koji are not only good characters, they have the potenital to be one of the best characters in any animanga. Same applies to Kawaki and Shikamaru, who'll play a more central role in the story, but what's also worth mentioning is that the story does very well to develop its female cast. If you read the negative left here you cansee there's really not much one can blame the manga for except not being Naruto or not utilizing the legacy cast. If you read this manga to see Rock Lee, Might Guy etc. you're better off re-reading Naruto. As for powerscaling complains, they're not valid as the power levels fit completely within the established narrative from Shippuden

The only thing currently lacking in Boruto franchise is some good villains, but with how the most recent villains are shaping up, alongside with potential Amado and Kawaki have, that too is sure to be a distant complain in the future.

Lastly, as for Boruto himself, he is without a doubt one of the best characters ever introduced in the Nartuoverse.

This is a goldmine of horrible writing. Or, in other words, a huge sacrifice altar to this franchise. If I have to summarize both NNG and TBV in one sentence then: it's damage, then damage control, then damaged by damage control. As much as I look at it, every aspect of this work shows bigger issues than most massively flawed stories I’ve ever seen. Unfortunately, I could summarize the plot so far in just one paragraph, but summaries are often treated as the entire words here. So Instead, I’ll focus on summarizing the all storytelling structures, since that approach better captures larger relevant aspects of the work. Still, Spoilerwarning.

> Story structure summary: The story begins with one of the most apparent "power-gifting" arcs imaginable, and it's brutally plain that the entire thing exists just to allow the protagonist to grow ridiculously powerful with little to no effort—pure power fantasy at the cost of meaningful storytelling.

Then there's a mega plot device (to this day, I haven't seen an objectively worse magic system than the karma seal) so ridiculous that it makes me question the author's basic brain function, followed by several more that bend reality to serve the plot devices.

To give some credit, At least, the first nine chapters had some story and rushed pacing. But after that, the manga becomes almost completely plotless. And yes, that’s the right word. The pacing slows to a crawl, and from chapters 9 to 55 nothing truly develops. Those arcs between them feel more like filler than genuine story progression.

However- when kawaki was entered into story, the plot briefly moves forward before collapsing back into zero progress. Later, the author throws in random things like rescue missions and new villains—they add little but create the illusion that something’s happening. The story just drifts while pretending to advance.

Things pick up a bit once the new female plot device (Ada/eida). It’s not that the story gets deeper—it just becomes a tangled mess of spaghetti. So, bear with me as I try to make sense of it after chapter 70.

Around that point, a bunch of new characters are dumped in, and the story suddenly abandons everything before. Let’s break it down:

Main Plotline 1: The early story which was there for chapters 1–9 then disappeared yet still hanged as main plotline for boruto Naruto next generation but chapter 80 completely dropped it without closure.

Main Plotline 2: The “prove the protagonist’s innocence” plotline. While this is running, the author suddenly wraps up Plotline 1 in a rushed way, then drops Plotline 2 entirely by making boruto said that he wants things to stay that way for while.

Main Plotline 3: Starts soon after, but is abandoned at TBV chapter 24.

Now we’re left with a pile of half-baked new plotlines crawling slower than ever. Which one will become Plotline 4, 5, or 6? Honestly, I don’t care anymore.

Each chapter feels like the author is just making things up as they go, with no plan or structure. People say there was an outline from the start, but the writing screams otherwise—no vision, no consistency, just pure improvisation.

> World-building structure: There’s absolutely zero regard for believability, flow, coherence, or even the bare minimum level of consistency. Every chapter feels like the author came up with a new idea and just tossed it in—without any concern for whether it fits or makes sense within the established world.

> Characters: Every character follows the same tired formula: a single defining personality trait, a quirky gimmick, and an endless willingness to twist themselves to serve the plot. They don’t evolve, they don’t feel real, and they exist solely to move scenes forward. That’s not how you write characters.

But let’s move on from this basic summary of issues. Let’s count the positives—and then pick ten random negatives. Because trust me, I’m not even scratching the surface of how many problems are waiting to be listed.

Let's talk about boruto tbv

Well, on the surface, it looks like a typical mid-story with a flashy teen favorite edgy protagonist and lots of plot convenience fights, but the moment you scratch beneath that, it’s a dumpster fire stacked on a landfill of bad writing. It doesn’t just fail; it dominates failure. No other story could compete even if they were actively trying to be the worst. Each time I try rereading separate chapters to find good writing, I only find even more bad writing than before.

And when I didn't find any trace of good writing in it, I went to talk with fandom in the hope they would provide some intel or something about writing in it so I could add some positives, It was a huge mistake.

So let's start.

Starting with positives.

1. Aura farming - in simple words, if you are the person whose brain is always in shutdown mode and eyes get pleased by seeing headcanon projaction characters doing some aura moment, or you're the person who gets hyped/invested by watching any 15 seconds of a clip and never bothers with low quality and lack of context. Then this manga is only for you, bud.

And that's where the positives end.

Now for the bad part

Well, simply put - boruto is just a huge supply of bad writing; every reread introduced you to a new level of abysmal bad writing. And now I have to choose which 10 points should be in this review out of hundreds of other points that are equally bad.

And for some reasons majority of fandom call out people if they compare it with naruto but if anyone give examples of bad writing in boruto- the fandom will compare that example with Naruto, trying to deflect criticism on naruto acting like calling it bad meaning naruto is bad.

in short it's coin toss but they are ready to cry victim on both sides. so I'm going with both examples and comparisons with each point.

Now. First

Number 1. The Bloated plotline writing plus zombie fiction

This story CAN literally run forever. Because every time there’s a chance for resolution, the author moves the goalpost; it’s narrative treadmill writing. Readers are running, but they’re not getting anywhere.

In more sane words, The plot shifts every time it gets close to its conclusion, along with a few other unfixable issues, such as the plots being disjointed and never seeming to stack on top of each other in any cohesive way, which leads the story to the kitchen sink writing, where multiple plots, subplots, and the author's countless ideas are overstuffed, and most of it never gets to its conclusion while the author keeps adding more.

Examples and comparisons time: Tbh, I've seen multiple stories with a cohesive plotline while taking place in multiple timelines. So maybe I'm just surprised by an author able to mess up such a simple thing,

( - How a plot should be?

A cohesive plot starts with a clear goal or conflict that drives the story FORWARD. It develops through logical, connected events, with well-aligned arcs, smooth transitions, and subplots that support the main narrative—all reinforcing the central theme and character growth. Its really is that simple.)

But this boruto franchise plot is the complete opposite. Forget the forward; it doesn't even have direction. Forget the logic, everything is just straight up magic whether its science or alien remains. Any character or magic will do anything the plot needs. Events are disconnected, and the only thing they have in common is alien magic. Then you have the issue of "abandoned or brought back as reresolved" because, for example, as soon as the story introduces boruto's goals, they are sidelined and then brought back in tbv as achieved, while only a few abandoned subplots and elements are receiving this treatment but brought back later and resolved unexpectedly, resulting in sudden changes and implausible conclusions.

Instead of a unified narrative, it meanders aimlessly,

This plot is moving everywhere instead of forward. It’s moving by author convenience: “We need romance now triangle or square,” “we need a rival now,” “we need a power-up now.”, which creating question like what's the point of any of this?

As for the example, in NNG, it was bloated with insane amounts of subplots, unnecessary characters, themes, unfitting ideas, and world-building choices that decrease the credibility, like a hyper mix of sci-fi and ancient magic with zero groundwork but with the excuse that "you ate up Naruto's horrible world-building, so it's no different," while it is.

As for the TBV example, it oversinks with abysmal pacing, and lore is added for plot convenience. Yes, the author out here putting every theme and power rule just convinces us that it's about recalling the reasons rather than anything about writing or enjoyment.

And I will talk about all that plot shifts later.

Zombie fiction—well, a zombie fiction can be as long as the author wants with simple rules that makes it zombie fiction instead of a long story.

First rule: "It won't die"—Boruto achieves his goal of being a copy of Sasuke. Well, the plot shifts, and now it's about Jura, and then it shifts again. Don't worry; everyone knows countless more plot shifts will be there after it.

Second rule: 'Soulless'—it started with an easy premise like father-son issues and the curse of being a celebrity kid, but after a few plot shifts, Now it’s just action scenes, resets, and empty hype. Well, forget about me; even the fandom is having a hard time coming up with anything to talk about TBV that isn't fanfic ships, and that's the primary qualification of soulless work.

Third rule: "brainless"—characters don't get developed; they flip. The best example of plotwaki is from a flat character to angry Mary Sue to overly obsessed boy to villain to flat character who is an ally. And while we are talking about characters, the series' biggest issue, it looks like all characters know the script.

But fortunately making a zombie story doesn't come for free.

It burns all emotional weight early. Keep staggering forward with hollow hype. Its start damaging the world it's creating, and Lose every sense of identity, becoming genre soup.

And don't get me wrong I've seen multiple authors doing impossible and making a really long story without turning it into zombie fiction and Ikemoto ain't one of them.

Number 2. This is self-serious.

There is a huge difference between serious and self-serious stories. And this one checks every box of being a self-serious story. A tone that changed after BNNG (check mark forced tone), themes that are dropped like lectures though dialogues (check), every dialogue and walk that is extra dramatic even for in-universe logic (check), and rules being made by new chapters rather than the premise (check). Yes, this is the dictionary definition of a self-serious story.

Example and comparison - to be honest, I can rewrite Naruto'e comedy scenes like "introduction of Konohamaru" and "Naruto trying to apply for his first mission" or "any comedy scene of any other media" in boruto tbv's self-serious tone to explain further about self-serious stories, but no.

Instead, Let’s break down the story’s “self-serious” tone with a basic comparison.

Yes all characters from og naruto may have suffered from bad writing and “character assassination,” in boruto, but lets just focus on ten tails.

Ten tails in Naruto worked. Because It was introduced as emotionless, destructive, and unstoppable—that alone made it a great conflict. It didn’t need depth or complexity, because its purpose was clean. Even when later revealed to be fueled by hatred from kaguya, nothing about its nature changed—it stayed true to its role.

Now look at ten tails evolves in boruto part: Once inhuman terror is now walking around like some regular dude in a library, chatting, doing random side activities, showing curiosity, asking dumb questions to target when lots of people exist, And constantly backing away whenever action is possible.

Every time he has a chance to do something threatening, he just leaves. That’s the definition of lame. It’s character assassination of something that never needed to be over-written in the first place.

And those defending this by saying, “He’s a philosophical villain”—no. Philosophy isn’t a replacement for tension or conflict. A philosophical trait only adds weight after chaos has been created. Here, the author is just hiding absurd plot armor under the excuse of philosophy and curiosity. That’s not how you write philosophical characters.

What’s worse, most boruto villains fall into the same trap: they monologue, they make dumb decisions, they pick unnecessary fights, and waste potential by doing the lamest things possible—all while other characters act like they’re terrifying masterminds. But when you compare them to actual great villains—or even to the original mindless ten tails from naruto—they’re painfully weak, overhyped, and poorly written

Number 3. The Protagonist

Seriously, was the author trying to create the worst protagonist known to man? Let’s break it down by good protagonist criteria.

Boruto... (Nah, none of these characters deserve proper name mention; if the author can't respect them, why should I? So I'm going calling him suseto from now on)

So, Suseto doesn’t drive the plot. Instead, he’s moved along by Plot Device 1, Plot Device 2, the female plot device, the old plot device, random groups of plot devices, and every new villain group that pops up like clockwork. Because what the main characters are doing doesn’t really qualify as a story - it’s the shinjus, who are actually driving the plot, they are the story (from tbv chapter 8 to 26) while protagonist is just being dragged along, and that’s not how you write a proper main character. A proper protagonist should be able drive or be the story at very least.

And that shinjus story ain't any better. Well, previously in tbv it was jura aka cheap plot device from chapter 3 to 24, he was the driving plot, while author is seems to moving center of plot title to female plot device aka nothingness.

Back to Suseto, he’s stoic, that's not inherently a problem—but that’s all he is. Just blank. That’s not how you write a stoic character; stoicism is supposed to be ADDED along with depth, not with absence.

Worse, he doesn’t even fit into his own world-building. It's a complete mismatch in tone, theme, ability, and logic compared to the setting around him...

Actually nothing fits in that world-building; it's a selective approach of a sci-fi and fantasy mix bag with Bronze Age tools and weapons. Maybe it's the world-building's fault, who knows.

All this combined makes him objectively the worst protagonist I've ever seen.

And the biggest question of all: how did the author manage to cherry-pick every single bad choice while writing a protagonist—then throw them all into one character while seemingly believing they were making him better?

Even if you turn a blind eye to the massive issues like constant character rewrites, lack of plot focus, and the fact that he's emotionally and mentally frozen at teenage. There are still major issues that make him a truly terrible lead.

He has no development, no dimensions, no meaningful arc, and he lacks every essential foundation a protagonist needs: clear motivation (no, saving Emo Uchiha doesn't qualify for one; it's more like a task), emotional grounding, growth, and internal conflict.

(Side note for high-schoolers who confuse edgy behavior with mature, serious writing: Being dark or self-serious doesn’t make a story deep, and a sudden personality flip is not character development, its called bad writing.)

Instead of being a core of the story, the story uses him like an empty vessel for power-ups and philosophical monologues, surrounded by characters and plotlines that exist despite him, not because of him.

A strong protagonist should be the emotional and narrative spine of the story. This one is just a shell—armored in plot armor, immune to growth (not talking about rewrite), and constantly propped up by forced respect from side characters who treat him like a god simply because the story demands it, making the entire story pointless. Doing so, Ikemoto is checking all boxes of being Mary Sue.

Examples and comparison— In the Naruto manga, Hinata is largely a one-dimensional character. Her character revolves around her admiration for Naruto while Yes, there are moments and traits that could have been framed as flaws—such as her over-reliance on Naruto for motivation or shyness—but they were never meaningfully explored or challenged within the narrative and only existed when the plot needed them, making her character underdeveloped, shallow, and lacking literally everything. And became the dictionary definition of one-dimensional. Just because Kishimoto never goes beyond that "admiration" trait of hers.

The completely same issue is with Suseto, particularly in TBV, where instead of development, he just introduced in tbv with rewrite of personality, Suseto is portrayed as a stoic, brooding figure that comes off as a copy-paste of Ikemoto's version of Sasuke. Ikemoto seems to mimic WHAT HE BELIEVES Sasuke’s 'cool factor' is without giving suseto any meaningful personality traits beyond surface-level imitation. As a result, Boruto is more like a plot device than a fully developed character—defined more by how he acts than by who he is. Just because Ikemoto never goes beyond that "stoic" trait of his.

Yes, both Hinata and Suseto have this bad and one-dimensional writing, but Boruto's is worse because he is a protagonist and Ikemoto has rewritten the character midway in the story, while Hinata on the another hand at least had received character respect in Kishimoto's writing (only twice but still being little is better than none existing)

Number 4 The character design.

Before someone say something like 'character design is completely subjective' or 'you can’t decide what’s good or bad,' let me clarify a few things. Yes, liking or disliking a design is subjective but that doesn’t define what makes a design itself good or bad.

So, there are multiple criteria to determine whether a design is actually good or not. I’ll just focus on two of them, not because they’re the most important, but because they’re the only ones that really need here.

First, Consistency with the setting.

A good design should match the world it belongs to. If a story is set in modern day Tokyo then modern clothing makes sense. But in a carefully built fantasy world where setting already established itself as where characters just wearing fighting/combat clothing and gears from different cultures, eras and full random select from all over world (til this day I don't know how Kishimoto made it work) suddenly switching to pop star or K-pop outfits breaks immersion.

So, people who dislike it aren’t wrong what’s wrong is comparing it to completely different settings and ignoring consistency.

Second, Clarity of concept.

A good design should communicate the character at a glance

but that’s completely missing here.

These characters don’t fit their concepts at all; they’re just limited by the author’s preferences. Who needs unique shapes, consistent silhouettes, or clothing that reflects personality, when you can just slap the author’s favorite outfits on everyone and call it 'design'? Well, actual good character design does require those things.

Overall, these designs are terrible from a storytelling perspective. The author openly admits he loves K-pop, which is why he keeps dressing characters in K-pop outfits. But no one seems willing to point out that his story already has established world-building, and those designs feel completely alien to it.

They might look edgy or appealing out of context, but within the context of the lore and storytelling, they’re absolutely awful. So basically in order to like or call these design good you need completely ignore every single thing about naruto franchise and writing in general.

Number 5 The Inconsistencies

Note: I'm not even going to cover main inconsistencies or even 1 percent of total inconsistencies because even I don't like a single point in the review twice the size of the rest of the review.

Start with logic inconsistencies, so out of 115 event logic inconsistencies, I am going to choose the latest one to talk about here.

Example of inconsistencies by logic analysis: Suseto questions and demands answers from the plot editor when he sees a plan involving sacrificing Konohamaru, while the plot editor remains silent for most questions.

Suseto jumps in to save him, then the cheap plot device, aka J*ra, senses his presence, so as usual the cheap plot device tries shooting him one time; after that he remains talking about love and nonsense while Suseto is taking damage by performing his own attacks. Until Plotwakshows up,p, and flashbacks reveal that Suseto already planned everything and everything happened according to Suseto's plan.

Now where do I begin?

First inconsistency: If the plot editor is “the man who can see all futures,” suddenly he can’t, but the dumb plan just to make the Suseto look good is inconsistent. You either let him be a genius who saw the future (and force the susto to be clever in a different way) or don’t give the future-seeing power to the first.

Second, Suseto waited to ask questions until Konohamaru was already in danger; he was just waiting for his scripted heroic moment.

Third, that silence isn’t character-driven; it’s author-driven.

Forth, the flashback reveal is a cheap trick here—it makes earlier conflict meaningless, because we learn Suseto already had a perfect plan, too perfect. It invalidates the tension.

Fifth, Suseto criticizes the plot editor only at the right moment so he can look noble. Then he already has Plotwaki secretly heading to the location, which means all his concern earlier was fake. That’s not character growth; it’s manipulation by the author. That's the evidence that Suseto knows the script.

Sixth, stake collapse, aka how to not write any conflict.The setup: “Konohamaru is going to die!” -The payoff: “Never mind, I already knew I would jump to save Konohamaru, and the cheap plot device will sense my presence, so I already arranged for Plotwaki’s arrival in secret.” -So nothing mattered. No one was in danger. That’s a classic “fake tension” problem.

Seventh, instead of showing us Suseto making preparations ahead of time, the author hides it until the end to give him a cheap “gotcha” win. That makes the writing feel dishonest rather than clever.

Let's just move on to character inconsistencies.

Character inconsistencies happen when a character behaves, thinks, or reacts in ways that don’t match what we already know about them unless there’s a strong reason or believable growth. But here's the thing: every character in Boruto seems like they know the script.

So let's look at Ikemoto's statement for character writing.

“First, there's the role of the character. The basic premise is to create a character based on needs. After that, I make sure to give them an unexpected aspect. In Ada's case, she has abilities that would allow her to dominate the world. Instead she prioritizes love and has a silly side to her”

That statement alone proves every single criticism. He’s not creating characters—he’s stamping out cardboard cutouts with one-note labels. It’s a formula for shallow writing. That's not how you write characters. No wonder they come out trash. And worse? They’re not only flat, they’re inconsistent and inconsiderate.

Examples of these disasters

Mini plot device

Supposedly built around one core trait—“loves to fight anyone strong”—but the moment the plot needs him to be scared, he is trembling in fear. That’s not character-driven. That’s plot convenience cosplay.

The dumb-kamaru

Marketed as a wise strategist, but then sends a few important people into a plan he doesn’t even know. His brilliance switches off whenever the plot demands stupidity. And what's worse, that plan was also stupid, a classic "bait, divide, and attack," but the plot editor didn't invite anyone to attack Mitsuri. Maybe Mr. Future Seeing didn't see anyone good enough to fight Mitsuri; who knows?

One-note Uchiha

Supposed to be the “smart, strong, and loving.” In practice? Just a walking plot device lacking basic character writing and traits, but maybe all of that was sacrificed so she can blush at Suseto. That’s not complexity; that’s negligence.

Female plot device (Ada/Eida/whatever)

Introduced as “the strongest woman alive so far,” yet she spends her scenes simping or gossiping. No depth, no drive, no purpose. She exists because the author thinks the plot will “need her” for a love square? Deus ex machina? Who knows? Either way, she’s not written as a person, just as a placeholder. Her writing isn't even worth calling writing—"a girl who can do whatever the plot wants, with a simp gimmick." That's not character writing; it's a man-made tragedy.

Hohoshiki

The most blatant plot device of them all. He literally powers up and down depending on whether the story needs him. Want a big twist? He teleports into frame. Want tension? He conveniently talks trash. He doesn’t have a character arc—he’s a vending machine for conflict resolution that can turn on or off whenever the story wants, and that's also the definition of a plot device.

The author proudly admits he only creates characters if the plot requires them. That’s the exact opposite of good writing. Characters shouldn’t exist for the plot. The plot should emerge from the characters.

When you design a cast to serve story beats instead of giving them agency, you don’t get people, you get props.

And props don’t create drama. Props don’t evolve. Props don’t surprise you. They just stand there waiting for the author to press the “on/off” switch. Props don't have beliefs or believability in them, so no matter what story made them do, it's always the same level of bad writing.

That’s why every single one of these so-called “unique” characters feels like dead weight: because they were never allowed to live in the first place.

Number 6. The Rule Making

Rule-making in storytelling is the simplest thing ever unless your name is Ikemoto.

In TBV, any rule can be made up or stretched on the spot in any chapter, and it's not limited to just a few rules like magic systems, technology limits, abilities, societal laws, divine beings, or places. You name it, and Ikemoto will show how to not make rules.

Tbh, its world-building is a mess from the start, and literally everything lacks basic groundwork. And bonus: ikemoto never put any limitations on anything in this world, so obviously whether you make new rules or something old, it is going to be stretching and bad writing.

Example and comparison: “You can’t teleport because flying rejin is complicated! And need lots of focus”

On third chapter: Suseto teleports from different dimension to his desire location because he's panic.

Or the entirety of ten directions ability just compare this bs rule making to literally any madia and it still qualifies for worse.

But it doesn't end there—the issue with this story's rule-breaking is that it leads down an endless rabbit hole in this franchise. Anyone could spend an entire day discussing everything wrong with how the author creates and destroys the world. It's as if the author is actively using every story-destroying tool at his disposal to exacerbate the situation..

Let’s talk about two of the worst offenders: Mystery Box Abuse and Deus Ex Machina.

Mystery Box Abuse

The majority of the story runs on mystery for the sake of mystery. Nothing is explained (yet the pacing is dead due to every chapter just trying to explain or make sense of plot conveniences), everything is vague, and the audience is expected to stay hooked just because "something big" might be revealed—eventually. Spoiler: it never is. The author abuses the idea of "the universe is mysterious" or "it's alien magic" to justify literally anything.

Examples:

1. A plot device that could reincarnate suddenly reincarnates inside a child. Why? “The universe is full of mysteries,” plus two handwaving theories.

2. A world-affecting power affects everyone... except two specific characters, because the plot needs them. No logic—just the author's mystery stamp.

3. A character who can see all futures—until he can’t, because the plot says so. That's the same mega BS and the “mystery override.”

4. A monster known for killing everything on sight suddenly walks around calmly, follows people, and lets them live—for no reason other than “he’s mysterious.”

5. This character can see the future until he can't, and let's watch him getting surprised.

The mystery isn’t deep—it’s lazy. It’s a cheap way to skip explaining how things work, so the author can throw in whatever they want.

Deus Ex Machina

This is where the story just pulls solutions out of nowhere, usually at the last second, with zero build-up.

Examples:

A. The Suseto is fighting a cheap plot device; the entire cast spends multiple chapters saying there’s no chance. Plus, noobs can't teleport like earlier. Not even the future-seeing guy can help. Then suddenly Plotwaki shows up and saves the Suseto. Just like that, and who could've guessed it? It is not like the entire franchise has a pattern of using deus ex machina in every fake tension nonsense. Like how?

B. A cheap plot device villain appears; even the Suseto can’t fight him. He’s about to kill a bunch of side characters. But he didn't. Why? Because the author is participating in a bad writing measuring contest. Then one plot device girl watches her friend get hurt and then, while unconscious, somehow talks with another mega plot device. Despite the mega plot device being weaker than the villain, her sudden “special move” causes a draw. Then the other kids just pick her up and run away safely. What writing! Every 10-year-old with fanfiction writing plans should take notes.

C. The villain is absurdly powerful, so evil he’s attacking air. Meanwhile, a side character who got impaled with a huge hole in her torso is lying on the ground doing lectures about acceptance of love, and two are standing still at the mercy of a merciless plot device villain, while a one-note Uchiha is dodging all attacks. Listening to someone dying/research talk of mid-battle, Planning a counterattack Then, out of nowhere, she awakens a new power through “emotions” and one-shots the villain. That's what sits on the throne of bad writing.

(Side note: I know deadbeat Uchihas awaken their magic eyes by emotion, but sometimes just because something bypasses the establishment of lore, that doesn't mean it's good or even acceptable, not only One-note Uchiha awakening her eyes proves previous story characters are clowns with awakening, but it also lacks lots of things, like cost, placement in world-building, proper cause-chain-effect, credibility, etc.)

At this point, it's not storytelling—it's damage control dressed up as plot. When the story constantly cheats its own rules, dodges logic, and relies on last-second miracles or empty “mystery” to solve problems, there are no stakes, no tension, and no trust between the writer and the audience.

This isn’t complexity. It’s a bad author taking advantage of its barely functioning audience’s IQ.

Number 7 The Flashbacks made of duct tape

Starting with micro issues, which would be story-canceling issues in any other media.

Small issue A: Flashbacks here don’t enrich the story; they stall it. Instead of raising stakes, they pause it.

Small issue B: They strip the narrative of tension—if the answer is always “oh, he already knew this in the past,” then nothing is earned.

Small issue C: They erase mystery. You’re not discovering how powers work naturally; you’re spoon-fed filler explanations after the fact.

Small issue D: They undermine character arcs—instead of characters learning and struggling, they’re gifted skills in flashback vending machines.

Small issue E—They make the story feel like it’s constantly rebooting itself: every forward step is dragged back into retroactive justification.

At this point, these flashbacks aren’t storytelling—they’re a lazy patch notes log for a broken game.

But we all know that the worst one is yet to arrive.

Normally, flashbacks are a powerful tool: they reveal hidden motives, add emotional weight, or connect the past to the present in meaningful ways. But here, the author is basically huffing engine oil and using flashbacks as cheap duct tape to cover every hole in the plot.

Every time Suseto gets a new power-up, ability, or random explanation, it’s immediately followed by a flashback chapter. Suseto teleports? The next chapter isn’t about the stakes or the tension—nope, it’s a clunky info-dump about how the plot editor “secretly” taught him teleportation with lots of new rules.

This makes zero sense because if the plot editor can see the timeline and give training by seeing the future, then why was he even interrogating the Code the joke for ten tails in the first place? He’s literally got the biggest walking plot editor standing right next to him.

And then it gets worse. The most blatant plot device shows up on the last page of a chapter to save Suseto, and then the next chapter starts with yet another flashback—this time with the protagonist Suseto explaining the future, telling Plotwaki about the location, and handing him a symbol like he knows the script. It is like he’s the one who can see all timelines.

It hasn’t been confirmed if he actually has that power or not, but it definitely stamps the biggest Mary Sue mark possible on his forehead. Either he’s secretly omniscient, or the author is just winging it and retconning on the fly.

Then we have the plot editor, the crying old man who supposedly sees all futures. He constantly wails about how there’s no way for the Suseto to survive, only to act shocked when the most obvious savior strolls into the scene. If you’re writing a character who can literally see every possible outcome, and then you make him clueless for fake suspense, that’s not just sloppy writing—that’s rock-bottom bad writing. You can’t get any lower than that.

Ikemoto just withheld basic logic to force a cliffhanger. Readers eventually see through it, and then the “tension” feels like stalling instead of drama.

In some basic English, it’s treated like cheap exposition. The plot editor visions don’t guide the story or add depth; they are limited by the dumbness of the author. Just make him cry about how “there’s no way” until the author decides to add the most obvious additional Retroactive Insertion (a.k.a. “Backfill Writing”) without care of who can see the future or who already stated seeing countless futures. Or which character he is turning into omniscience

The point is, Ikemoto has found Retroactive Insertion (Backfill Writing) the solution to his every problem in writing, but the man doesn't understand that nothing is free.

Retroactive insertion costs lots of things, like writing quality, immersion, pacing, trust, and depth, and the list goes on.

Example and comparison time. well, just explaining, not giving any statement or saying anything extra, because this fandom doesn't understand the word "hypothetically."

So hypothetically imagine Naruto fighting Pain. Suddenly a flashback appears of Kakashi vs. Zabuza, but this time there are additional scenes that weren't there firstly, but this time Zabuza uses some advanced taijutsu, and Kakashi uses even bigger BS jutsu, and then Naruto gets up and uses that BS, and I hope you get some idea of what retroactive insertion, aka soft retcon, aka backflip writing, aka narrative patchwork, is actually meant to be. And again, if you're a Boruto fan, then please note: I'm not claiming that hypothetical example as part of anything.

Number 8. The plot shifts and plot stalling.

First of all, what’s with this plot shifting? The story starts as a family drama, a simple tale of family struggles, which is abandoned unsolved in a few chapters. Then, boom, plot shift. Suddenly it’s an overpowered power-fantasy flick where characters get dragged by the plot and solve other people’s problems. And the “magic plot device” protagonists carry? Easily one of the lamest ever written.

Almost every single chapter introduces some new power or ability. The number gets so ridiculous you have to ask why Hohoshiki—the origin of these powers—didn’t use most of these abilities himself.

Then—plot shift again. The author goes madman and introduces a brand-new plot device with a tragic backstory and the personality of wet cardboard. Instead of giving him any depth, the author spends forever showing his miserable situation. That's not how you write characters.

Then—not a plot shift but something worse—the author tries symbolism. But unlike literally every other writer on earth who keeps the plot moving and runs symbolism in the background, that guy stops the entire story to shove dozens of chapters of one single symbolism into our faces.

Bonus: it’s still not how you write symbolism, and the entire fandom collectively chooses one person's assumption from the internet to declare it the objective meaning of that symbolism instead of having their own understanding of symbolism.

Then the author changed, and Ikemoto took over.

Plot shift again. Now, the least interesting member of the lamest-looking group suddenly wants to “devour worlds” and attacks the Suseto, which resulted in a cliffhanger and the most brain-dead reason for reviving a character.

Plot shift again. A female plot device with clothes and fashion that don’t even fit the world-building joins the story. Suddenly we’re back to love triangles and family drama.

A few chapters later—plot shift again. Now it’s an average edgy power fantasy. The Suseto is a known criminal with a name to clear while juggling a bunch of subplots.

Two chapters later—plot shift again. Now it reveals that Suseto doesn’t care about clearing his name or rescuing family members who have been trapped for years, and it makes zero sense for his character. The story becomes fetch quests: kill cheap plot device, collect their plot beetroot, and listen to every character hype up the “super strong” leader—who is laughable at best.

And then—plot shift again. At this point it’s too much to even count.

And as if all this constant flipping wasn’t enough, the author also suffers from severe plot stalling.

But lets keep moving.

Number 9: worldbuilding that's more like shuffling cards.

I can't possibly say something that isn't commonly pointed out about this garbage world building every day. So instead of listing the "20 biggest flaws of world-building," let's just see what's mostly overlooked. I'm talking about flaws that are sitting in "30" to "21."

One. Tone Clash

I love when an author blends different tones into a seamless harmony. But here? It’s not blending—it’s force-feeding one tone over another. We’ve already seen characters shrug off fire, impalement, crushing, and worse without batting an eye.

So when Ikemoto is trying to give a long “tragic death,” it falls flat. Because the audience didn't recover from the "no worries" tone.

Another tone issue is that it's trying to play extremely important, but performance is equally irrelevant. For example, from the start of TBV, its intent is serious and epic, yet its execution is a silly plot fetch quest, empty characters, and toothless action.

Two. Zero Impact

This worldbuilding has no connection to its own story. Every day, we’re told the world faces “world-ending” danger. Yet no one reacts, nothing changes, and life goes on like normal.

The author doesn’t seem to grasp how to build consequences or the basics of the world being in danger. Without impact, “world-ending threats” are just background noise.

Example: every single village—remember when multiple villages used to send their kids and people to each other's village, and every basic event had the impact of multiple nations? Nope, me neither.

Three. The People Problem

Are these people made of flesh, clay, or pure energy? Even the author doesn’t seem sure. Sometimes everyone’s indestructible; sometimes only the unlucky few take damage.

And why is every character introduced by the constant info dumps instead of actual characteristics? Why is every character here the greatest prodigy ever?

Four. All Powers, No System

Fantasy needs a framework—rules, limits, and balance. Instead, TBV just vomits out a new power every 2 or 3 other chapters. There’s no logic, no cohesion, just an arms race of “who has the bigger pile of nonsense abilities.” Unlike every other fiction where authors put a system in place that makes powers realistic within the fictional universe, here the author is just adding what abilities he can think of, and at this point he isn't even using alien horse-waste writing shortcuts like Kishimoto.

It's an insult to literature in broad daylight. This isn’t a power system. It’s an author’s inability to write.

Five. Premise Drift

If your story at chapter 100 can’t even be recognized as the same story from chapter 1, forget the Naruto chapter, and try to match it to NNG chapter 1. Yeah, it has sci-fi tools and the pre-established lore of its predecessor, which ballooned into a timeline saga of god-remains, androids who can feel, and laughable villains. Instead of bridging the gaps, the author just doubled down on escalation, leaving us with timeline-ending threats that feel both hollow and protagonist-centric.

Six. Inconsistencies Everywhere (literally)

At the end of the day, this story cheats itself. The rules bend, break, or vanish whenever convenient, and it applies to both its own and its predecessor's rules.

It's not developing its light on the fact that it's fictional. And that's the last thing you want to have in your fantasy setting. The world doesn’t believe in its own logic—so why should the audience?

Seven. Lack of believability

The goal of world building in literature is to make the universe seem plausible. However, Boruto is rock bottom in believability. Although its predecessor's interference with historical aspects and selected technology was unacceptable and bad. Boruto went over and beyond.

And TBV is a combination of lazy writing about ancient magic, hyper-sci-fi, and whatever the plot requires. Even in their respective genres, all of these things need a great deal of effort and hard work just to be plausible. however, is not important to ikemoto here.

Because he is aware that a number of fans may be persuaded to overlook its absurdity by a series of power-ups and action sequences.

Eight. Lampshading

Not everything needs an explanation.

Some stories are stronger when they leave the audience space to wonder, rather than shoving a forced explanation down their throats. But here, the author lampshades everything.

Every supernatural event, every mystery, every anomaly—all lazily hand-waved as the work of some random multiverse god. Instead of history, culture, or figures that shaped the world, everything gets traced back to one boring, all-purpose answer.

That’s not clever worldbuilding—that’s just narrative duct tape.

Nine. Missing Cause-and-Effect Chain.

Worldbuilding lives and dies by consequences.

For example, if any nation banned certain weapons, it would cause smuggling, and the effect would be obvious.

Just like that. If monsters invade, the nation should collapse or adapt. If godlike powers exist, politics, economies, and human behavior should change around them.

If a politician is kidnapped or trapped, the entire nation should react. But here? Nothing. Problems appear, turn one random kid into a tree, vanish, and reset like video game quests.

Characters suffer no fallout, nations don’t react, and battles leave no lasting scars. Without a chain of cause and effect, the world becomes weightless—nothing feels like it matters beyond the scene it’s written for.

And that's why literally everything in Boruto lacks a cause-and-effect chain. Author just minimized everything to lowest like as for nation reaction they sent one, dude to investigation. As battle scars author send another fan favorite out from the story. If you can't write the proper or decent scale then just don't write it because writing these things in bacteria size is worse than not even writing them.

Ten. No psychology at all.

Let’s skip this one.

Number 10. How to not write character arcs

I seriously doubt the author has even the faintest understanding of how character arcs are supposed to work.

Take Plotwaki, for example. He jumps into the story out of nowhere, starts off as a villain, becomes a victim two chapters later, and after 6 more flips, he suddenly flips into a savior… all without any development or progression. No buildup, no motivation (that obsession qualifies as plot convenience), some setups,

But those have no payoff, while payoffs have no setups, and he even becomes the most unrealistic character in the franchise by over-obsessing on Naruto (somehow topping Hinata)—just pure chaos.

Why does this happen? Simple: the plot needs things to happen, and Plotwaki is the tool to make them happen.

Need someone to jump out of a capsule so that Suseto can use the karma seal? Plotwaki.

Need the villains to conveniently end up at Naruto's house? Plotwaki.

Need a fan-favorite father removed from the story without killing him? Plotwaki.

Need another fan-favorite father removed and all of his one-dimensional personality along with a sword given to Suseto? One-note Uchiha.

Need someone to rescue the suseto from this week's randomly introduced threat? Of course, Plotwaki.

Need an epic payoff of a heroic rescue moment without setup, followed by more epic moments of brotherhood bond, which are followed by a big reveal that the entire fight was preplanned with all setups to extend the villain's runtime more? Use PlotWaki for all that.

He is not a character. He's the story's Swiss army knife, a walking plot device whose personality shifts according to the setting. That isn't clever writing. That is inconsistency, broken continuity, and the exact opposite of how characters should be written. That is the dictionary definition of the worst writing.

A real character arc is earned, not shuffled like a deck of random playing cards.

Another Example: Suseto

Suseto is a perfect example of how not to handle character development.

At first, the author tries to make him a rebellious and chaotic protagonist but forgets that a character with only one exaggerated trait and no depth is rarely enjoyed and quickly becomes unrealistic and unlikeable.

Then there was no effort to explore or growth in him found in NNG, just a constant stream of fake hype or plot-dependent behavior with no substance.

Then suddenly, the author seems to realize this version of SUSETO isn’t working. So instead of developing him properly, the writing room just copies the personality of an old fan-favorite character (a quiet, brain-damaged gift receiver of the Uchiha clan, talking and acting like a 70-year-old war veteran in his 30s, character assassinated 5 times) and pastes it onto this teenage boy.

It will never make sense and never fit the character we were originally introduced to.

And of course, the shift happens completely off-screen. After Plotwaki temporarily turns evil and Suseto is forced to leave the pirated Tokyo city (thanks to more convenient plot devices), we’re told that the old man trained him for a year. When Suseto comes back, he’s completely changed into a stoic, all-knowing, plot-dependent person in every situation.

He’s basically a young Mary Sue now, with no flaws or emotion. The chaotic version of him is gone, replaced by a flat, overpowered shell.

The problem isn’t just the sudden shift. It’s that the author skips the journey entirely. We don’t see Mr. Teen Wise Omniscience Stoic Boy grow, struggle, or evolve—we’re just told it happened and expected to accept the new version of him.

And that’s the real issue. Instead of letting us watch a character grow, the story just drops the final version in our lap and says, “Here you go. Character arc complete.” That’s not how development works. That’s just lazy writing pretending to be less sensible.

In doing so, the narrative misses a fundamental truth of storytelling: characters need to change in ways the reader can see, understand, and feel. Skipping that process isn’t just lazy—it undermines the emotional core of the story.

Because no matter how wise, powerful, or perfect your character becomes, if we don’t see how they got there, it doesn’t matter, and the story itself is irrelevant.

And a complete set of different issues are with the rest of the side characters. But instead of talking about each one of them, let's just compare them to Naruto side characters with very few lines.

In the Naruto manga, side characters are mostly irrelevant; anyone who isn't few of main antagonist or plot device has suffered from a lack of development and screentime, but despite that, almost every character had a good introduction as an oddball, which shows they have all the elements to become well-written and could have be turned into great characters if handled right, but sadly Kishimoto never did but canonized the character assassination light novels.(yeah i won't dare calling any of those characters even decently written or nice after reading those)

In Boruto, however, side characters are getting their separate chapters for highlights yet are still trash, because since their introduction, those characters have been in a Mary Sue phase, and there are no elements to improve, or the author doesn't bother to add any. So their screen time is just showing their abilities and nothing else; everything about them works as in-context fillers.

They get a highlight moment in the middle of a slow-progress plot, and after dragging the pacing as much as possible, they are left with no development, just a few feats for the power scalar.

Writing is the easiest thing on this planet, isn’t it, Ikemoto?

Extra.

Information Corruption

It seems this fandom has developed a full set of issues: Canonical Confusion, Subjectivity Shield, False Equivalence, and a growing tendency toward Deflection.

Most of the information they discuss, spread, and even post on official or fan information pages is either twisted by personal headcanons or suffers from these same issues.

Example one: About a year ago, a middle schooler from South Asia copy-pasted theories and headcanons from multiple theories sites and created something known as “fanfixed fiction.” The shocking part? Fans actually tried to insert that fanfixed material into legitimate information pages and even more insane that not even single fan calling him out infact quite the opposite — and that kind of behavior has basically become normal in this fandom.

Example two: Another fan tried to “prove” the series had the greatest world-building and storytelling ever, using only his own headcanons. Luckily, his analysis was limited to glorifying random scenes. So just like every other fan he also wrote his understanding into info page But now, whenever fans ask symbolism or anything's meaning, they check whether answers are copy-paste "that Fan's" text word for word or not— as if that’s the objective truth. They don’t want real analysis; they just want confirmation.

So here’s the question: why are people judging whether someone has “actually read ” by comparing their words to some fan-made text online? If anything, that just proves they’ve read that instead — not the original work, plus symbolism is completely subjective, So if you like writing in symbolism explanation then its that's person's writing- not authors.

The most fun part is that this fandom is under their own spell.

For example, someone can come up with the most ridiculous and baseless logic — like that one time when a few fans claimed a protagonist was “realistic” because he cheated on an exam, while another wasn’t because “nobody is copy of them in real life.” Even though the logic was flawed from the start, many boruto fans took it seriously and began arguing with professionals about what “realistic characters” actually mean.

And that’s just one example among thousands. This fandom operates like a group of ... New peoples who invent their own meanings for writing terms, and everyone else in it blindly follows them. The moment someone tries to correct or question them, they shut down brains. If anyone refuses to accept their baseless claims, it only fuels their anger — because to them, whatever they’ve been told is absolute truth. They can’t comprehend the idea that someone might simply disagree unless that person is a “hater,” something they’ve been conditioned to believe for years.

In short, it’s a cycle: they invent nonsense definitions, someone rejects them, and that rejection just drives them to create and spread even more garbage information.

I’ve lost count of how many fans tried to convince me and others that “That’s just hate from that fandom.” “That was the adaptation’s fault.” “You haven’t actually read it.” Excuses piled on top of excuses.

All of this—the deflection, the fake objectivity, the anger—isn’t coming from confidence. It’s coming from fear. These fans aren't defending the series—they're defending their denial.

To this day I laugh when I recall how a huge amount of boruto fans tried to convince me why narrative shift, plot shift, plot twist, character interaction, and themes are exactly the same thing. You can't find a more wrong fandom than this.

If the author had just tried to write a coherent, well-paced, meaningful story, none of this fandom mental gymnastics would be necessary. But because Ikemoto didn’t, the fandom has become a coping mechanism. They’re not reading critically. They’re rewriting reality just to feel good about a broken narrative.

Why am I even talking about the fanbase? Because, let’s be real—the fandom is way more entertaining than the actual story. Honestly, it’s the only thing keeping this dumpster fire alive. You cannot tell me it’s not peak comedy to watch people call someone “pure evil” and “the worst alive” and wish tragedy on him… just because he corrected a piece of misinformation about their manga. That’s sitcom-level comedy.

These fans genuinely think they can fix bad writing by screaming “NO IT’S ACTUALLY DEEP!!” and glorifying scenes.

Like, when Suseto was all charged up after getting his identity stolen and refused to bring back his parents when he had the chance—flat out said he wanted things to “stay the same”—and instead of calling it what it is (garbage), fans are out here crying, writing fanfics in their heads, a large number of them just glorifying flat scenes on the page into great sorrow and explaining how tragic and heartbreaking Suseto must have felt. They’re writing a better story than the actual author without even realizing it. It's pure cinema.

At this point, the fandom has unintentionally built the most entertaining internet guidebook ever—on how to take hollow, shallow writing and defend it with better-written fan headcanon fixes.

but why? how this fandom got so dewp into headcanon confusion and information corruption like no other fandom has ever gone before? how this fandom able to become problem of work while every other fandom in global even most toix fandoms ain't able to damage media itself to slightest. while boruto fandom is currently on the point where actual manga reading is far from being be fan or able to talk about it.

Well, 20 percent blame goes to ikemoto for creating each chapter so badly that each require as much headcanon and projections as possible to make it even readable, while 10 percent to qualify control, and rest goes to leaders of these fans. but that's a long topic for any other beautiful day.

—————

So in short: the story itself is garbage, pure anti-entertainment, every aspect of it from base to characters, all are just trash and abysmal quality. But the fandom? Pure uncut comedy gold. They don’t just carry the story—they’re dragging its corpse across the finish line.

Simply ask them about the worldbuilding or characters, and they will provide a summary; if you call it bad, they will demand a summary, and no matter how good your summary is, they will call it incorrect for leaving out some irrelevant details... that has to be the funniest fandom on the planet. Like, seriously. I can watch them arguing with professional authors and critics all day and can ask you not to correct any of their misinformation; it brings uncontrollable laughter when you have lots of adult fans trying to use reasons and headcanon of some kid against actual criticism.

I would not recommend this horribly written piece of work; it is filled with most amateur writing as humanly possible. The sooner it ends, the better it is for humanity. But if you do read, try arguing with the fandom once to test mental health or ability to laugh; there is no in-between.

The end.

This is the fabled time-skip of Boruto: Naruto Next Generations. So far, I think it's done a good job carrying the momentum of part 1's ending. This review won't contain a lot of spoilers, but it will contain a couple of plot points established from part 1 and the first 3 chapters of part 2. Plot (8.5/10): As of right now Boruto is the most interesting it ever been. The writer does a really good job at establishing mysteries and making you ask questions. For example, as of right now we're left in the dark on what Boruto did throughout the time-skip however there areseveral clues that point to what may have happened to him, such as his change in demeanor. By the end of part 1 Boruto was very positive and optimistic, however in the beginning of part 2 he's very stoic and doesn't even crack a smile. It's implied that he knows information that we don't know, and the absence of Sasuke adds a layer of mystery that makes the plot more interesting. You're reading this manga for these answers. It also doesn't repeat its mistakes from part 1 and starts off the first chapter with a bang, as we lead into Code's invasion and Boruto's sudden appearance.

Characters(8/10): The writer does a great job making Boruto look like a cool character. He's stronger than ever, has a bigger presence, and is very calm and collected. It's day and night between his character in part 1 and part 2. There's an air of mystery about him that makes him very interesting. Kawaki is the deuteragonist and is also one of the leading antagonists of part 2. His character isn't all that different however omnipotence has granted him new dynamics with different characters. Mitsuki is a ride or die for Kawaki now, Himawari sees Kawaki as her big brother, and he seems to have a more professional relationship with Shikamaru.

As for the other side characters, there are a couple of characters who haven't made an appearance yet like Sasuke and Amado however I will say that in the last 3 chapters, TBV has done a better job intertwining its side cast into the main plot. Sarada and Sumire are given a bigger narrative importance in the narrative due to being immune to omnipotence, Himawari and Team 10 are more involved in the core plot as Himawari now as her own subplot and team 10 are more than likely to support her. Mitsuki has his own side plot where he wants to kill Boruto and is questioning if Kawaki is truly his sun. While we're still in the early stages of their arcs, it took about 80+ chapters to finally see team 10 fighting on the battlefield, which honestly sounds ridiculous but now we're here. Additionally, Code is pretty interesting as he's being built up for something big.

Art (7/10): The art leaves more to be desired, as Ikemoto still suffers from inconsistency. However, ch3 of TBV seems to look like one of Ikemoto's best drawn chapters as the choreography is more interesting and fluid, the background looks more detailed, the paneling is a bit bolder with a better use of perspective shots, and the character expressions are a bit more expressive. There's still a lot of room for improvement but if Ikemoto takes what he did in chapter 3 and build on it then we'll see improvement. So far, the color pages look really nice. As for the character designs themselves it does fit the aesthetic that the Boruto series has been aiming for. The kids are given their own unique identities rather than looking like the carbon copies of their parents.

Pacing (8/10): Chapter 1 does suffer from an unnecessary recap however aside from that there isn't a lot of issues with the pacing aside from the dialogue being a little repetitive in the later chapters. Aside from that there is a sense of progression. Code invades, the character fight claw grimes, and then Boruto fights Code. The chapters are also action heavy; they don't drag on like it did in part 1 for example Boruto vs Code is 1 chapter as opposed to Naruto vs Delta which was 3 chapters for no good reason other than padding. Readers may feel frustrated with how the manga constantly put out more questions than answers but that's how they pull you in, because you want those answers. None of the chapters feel like a waste.

So far TBV seems like it will be an entertaining read. I do recommend giving it a try.

Boruto Two blue vortex is peak fiction from kishimoto. Many people won't read the series but hate it by getting brainwashed by internet. They think boruto is not a good story by seeing haters posting hate posts on boruto. Believe me and read boruto it's a piece of art and a masterpiece. The story is completely changed from the last chapters of Boruto: Naruto next generations.It literally tilted the life of boruto upside down. This makes him grow from a spoiled brat to one of the greatest shinobis. The art style improved a lot from NNG to two blue vortex. I think people will love boruto ifthey actually read Boruto without getting brainwashed by internet and hating on it.I am a hardcore naruto fan and I can say that Boruto is perfect sequel for Naruto

Without any spoilers, I must say that Boruto TBV has already lived up to its hype. Phenomenal time skip, which is something that we saw within Naruto, however, it's perfectly dark. Boruto has gone through changes, and has completely changed as a character, and honestly, I'm living for it. TBV has done a great job introducing dark tones in the Naruto/Boruto franchise, and honestly I'm happy that Boruto isn't just a happy jolly kid like Naruto was. He's gone through things, he's changed, and he understands the weight of things... all while being 16(ish). With TBV, I doubt we'll be getting the 'power of friendship'treatment, and we'll see Boruto aura farm while kicking ass.

For those who dont know: this is the timeskip of the boruto manga i assume you have either watched the anime or the manga, i will not spoil many staff outside chapter 1 (cant really say for more there are 2 chapters+ few panels from chapter 3 that got leaked at the time i am writing this) Plot: (6/10) Its rushed, he just left to instantly return in 1 chapter inverse its 3 years but for us its a few months and 1 chapter not to mention the horrible powercreep that makes even dragon ball seem balanced Code was supposed to be stronger than jigen andhe instantly gets his ass kicked with 0 build up for boruto being that strong again we know there is a timeskip but we show nothing of it, other problems with the timeskip: Eida still doesnt know sarada and the purple hair girl know what happened with omnipotence, Code has been doing NOTHING FOR 3 YEARS seemingly what everyone is doing is train and nothing else there are countless staff that they should have happened while in the timeskip but nothing did, until now its a wasted opportunity.

Art: (7/10)

The art isnt bad i cant draw it but i have seen many manga better drawn that this

Characters: (6/10)

Edgy Boruto who wears a jacket bellow the coat

Edgier Kawaki who can apparently use fly now

Loser Code who based on what boruto said still gets no girls

Sarada whose age has been forgotten once again by the artists and writers

Overall (7/10)

As neither a super-fan of Naruto/Boruto nor a hater of the franchise, I believe that I'm capable of writing a short and unbiased (unlike most other reviews for this manga) review. Plot: Above Average, coming off of the heels of the first three installments of the Naruto franchise (Naruto, Naruto Shippuden, and Boruto: Naruto Next Generations), Boruto: Two Blue Vortex improves upon a lot of aspects present in the original 3 series. There's a ton of new lore and information that's intriguing to those who're interested in the general worldview (good world-building), there are a ton of well timed and decently executed flashbacks. Learning aboutwhat happened during the three year gap is very interesting and it's great that it's done earlier than in Naruto Shippuden. Though starting chapters off in a flashback is a bit of a turn off. Kashin Koji's Ten Directions Shinjutsu ability was a nice twist and is excellent buildup for the inevitable Flashforward sequence. Also, I like this series' usage of characters not seen too often (Sakura, Ibiki, Two Elders, etc).

Characters: This section will be broken down into shorter segments.

Boruto: Nice outfit, nice demeanor, nice jutsu. Sure, it might seem that he's edgy for the sake of being edgy but that's very much not the case. The juxtaposition of Boruto at the end of Part 3 to the start of Part 4 is really intriguing (especially since you know how Boruto ended up how he did via Boruto: Naruto Next Generations and flashbacks in Boruto: Two Blue Vortex). His relationship with Kawaki is complicated but realistic, in the world they live in, brothers are bound to face impossible odds. (A theme carried over from Naruto) Overall pretty good.

Sarada: I'm not a fan, though there've only been 14 chapters released at the time of writing this, Sarads hasn't improved much from Boruto: Naruto Next Generations. Her outfit and jutsu are an improvement though.

Kawaki: My feelings on Kawaki (like his relationship with his brother) are complicated. I'd like to say that he's an improvement but I can't definitely do that yet. He unfortunately doesn't have enough showings. Though his care for the village and his sister is definitely nice to see, his treatment in fights isn't. (Hopefully for a good reason.) Good outfit.

Mitsuki: Standout character of this series, the first bit of development he's gotten since the story started. (Kinda, for the manga at least.) He went from loving Boruto to hating him to loving him again. (Oversimplified but still.) The love being unconditional now (in a way) is a plus and their Moon/Sun dynamic is definitely an excellent addition to the series. Good outfit and fight scenes.

Himawari: I'll keep this brief, not a fan of Kurama being brought back. (Though Bijuu revival has always been a thing, Baryon Mode initially seemed to be an exception. And this kinda ruins that emotional moment in my opinion.) Am a fan of her getting more of a focus as the new Kyuubi Jinchuuriki, though I hope her Byakugan gets expanded upon. Outfit downgrade, not a fan of her design when using Kurama's power.

Eida: She's alright, she's pretty stagnant right now (which is fine given her character) but I hope she gets more focus and motivation beyond what she's doing now. Functioning as an Anti-Hero like she was in the very end of Boruto: Naruto Next Generations is better than acting as a tool.

Shikamaru: Him becoming 8th Hokage was refreshing but a bit boring, though I hope he'll be counted as an official Hokage unlike Danzo. Him trying to overcome Omnipotence is interesting to watch, and his character is definitely built upon from Naruto Shippuden. (Ino too.)

Code: Bland villain, bland motivation, sad losing streak. He honestly may be the worst part of the series. (And his creepy remarks are cringe also.) He's not bad but he's about as average as it gets, please do better.

Jura: Better than Code, he long with his allies are an entertaining bunch, definitely better than Kara. His self-discovery themes and design bring you back to the days of Classic Naruto (though he can't match their highs just yet), and his fight scenes are cool.

Art: Improvement to Boruto: Naruto Next Generations though it's still Ikemoto's style so it's different from Parts 1 and 2. Less speed lines, better designs and fight scenes, better proportions, coloring, full body shots, and covers.

Overall: 8/10 (Great Media, Good Animanga): It's for Boruto fans, that's the demographic. If you don't fit that description, you won't like this, if you do, you'll love this. Don't read it if you haven't experienced part 1-3 of this franchise as you'll be very confused. Ikemoto definitely improved and I hope this series improves further with him.

I am talking especially about this 2 blue vortex, the prequel manga is not upto level of Naruto series, but this I have to say is best sequel Naruto can get, the story is just getting more insane, the new villinas are introduced which are of next level, plus the revelas and twists every chapter brings is just amazing, the Himawari revela in recent chapter is the best thing in this manga till now, it shocked the complete fandom and community of naruto,, It will be lasting atleast 2-3 years, so guys pls follow it and pls animation studio deivideds it in seasons, it willbe best, just like tybw of bleach became...