Some stories do not simply ask to be read — they demand to be endured. Centuria, the dark fantasy manga by Japanese artist Tohru Kuramori, is precisely that kind of work. Set against a mythologically charged world of treacherous seas, ancient gods, and the crushing weight of inherited fate, the series follows Julian, a man bound by a divine contract that grants him extraordinary power at an extraordinary price — the spiritual burden of one hundred souls lost aboard a slave ship. Part cosmic horror, part character tragedy, Centuria draws from deep wells of world mythology and folklore while forging something distinctly its own: a narrative where the gods are neither benevolent nor malicious, merely unknowable, and where human agency flickers defiantly in the shadow of forces no mortal was ever meant to understand.
Kuramori’s work has earned widespread praise since its serialization in Japan under Shueisha, celebrated not only for its dense mythological architecture but for monster designs that feel genuinely uneasy — creatures that belong to their world as naturally as darkness belongs to deep water. With the German-language edition now available through Egmont Manga, European readers have the opportunity to discover one of the most ambitious dark fantasy voices currently working in the medium.
What follows is a conversation about mythology, divine unpredictability, the price of power, and what it means to build a world dark enough to be believed:
Q: The contract between Julian and the ancient sea god echoes Faustian bargains and mythological pacts throughout history. How did you approach creating this divine bargain, and what mythological or folkloric traditions influenced your depiction of an ancient god emerging from the sea to offer cursed power?
TOHRU KURAMORI: First of all — as many readers have probably already noticed — the story is rooted in the mythology surrounding Cthulhu. Various elements are also drawn from Pirates of the Caribbean, which would be my second major influence.
Q: The hundred slaves on the ship represent both Julian’s literal burden and a symbolic weight he carries throughout the story. What does this number symbolize for you, and how does it function as a mythological or spiritual element in Julian’s journey?
TOHRU KURAMORI: The hundred souls are on one hand a burden for Julian, but at the same time they also grant him superhuman strength — so they serve as a kind of support as well. What exactly they signify will be explored further as the story progresses, so unfortunately I cannot say too much about that at this point.
Q: Centuria incorporates elements of prophecy and larger cosmic forces that seem to shape the narrative. How do you approach depicting fate and predestination in your work, and what role does the tension between prophecy and free will play in your mythological worldbuilding?
TOHRU KURAMORI: The theme of fate is something I want to portray in a very ironic way. When it comes to prophecy and predestination specifically, I am honestly still searching. I do not yet know exactly how to weave those elements in — that remains uncertain. I am trying to introduce them carefully as the story develops.
Q: Julian’s powers are described as more curse than blessing. This duality echoes many mythological traditions where divine gifts come with terrible costs. How do you explore the relationship between power, sacrifice, and the price of supernatural abilities in your narrative?
TOHRU KURAMORI: The divine forces in Centuria are described as something closer to a double-edged gift. There is a duality present in traditional mythology — gods grant power, but at a terrible cost. There is a balance at work, and I try to convey that clearly within the story.
Q: Your monster designs have been praised as exceptional. What mythological traditions or creature folklore inform your monster creation process, and how do you balance making them feel both fantastical and grounded in a believable dark fantasy ecosystem?
TOHRU KURAMORI: There are definitely many different inspirations involved — mythology and folklore on one side, and quite a few horror stories, films, and related genre elements on the other. All of that finds its way into my work in some form. The world I am describing is dark enough that unsettling creatures feel at home within it.
Q: Centuria is often compared to Berserk, particularly in its approach to cosmic horror and divine intervention. How has Berserk‘s mythological framework influenced your own approach to creating a dark fantasy world, and how do you differentiate Centuria‘s mythology from its predecessors?
TOHRU KURAMORI: The mythological design may appear similar to Berserk on the surface, but in my work the focus is really on the unpredictability of the gods. Humans are essentially victims of divine arbitrariness — they never know whether a god will grant them the same grace or mercy a second time. That unpredictability is something humans cannot comprehend by any rational measure. I think that may be what makes Centuria distinctive in this space.
Q: Mira’s sacrifice and Diana’s birth create a transformative moment that defines Julian’s entire journey. What symbolic or mythological significance does this act of sacrifice hold, and how does it relate to themes of death, rebirth, and responsibility?
TOHRU KURAMORI: Julian’s responsibility toward Diana actually began as a small subplot that grew more and more meaningful over time. Through the death of a woman, a form of responsibility for the child she left behind was born. That fits the overarching theme of loss and gain — a certain balance arises from it. What started as a minor element has become a much larger theme. You could call it something of a byproduct, in the best sense.
Q: Julian carries the weight of the hundred souls who died on the slave ship. How do you conceptualize inherited trauma and collective memory as mythological or spiritual elements in your storytelling?
TOHRU KURAMORI: On that I would prefer not to spoil too much — this element is still developing, so stay tuned.
Q: The sea god’s intervention fundamentally alters Julian’s fate and destiny. How do you balance divine forces with human free will and agency in your narrative?
TOHRU KURAMORI: This goes back to the theme of divine arbitrariness — humans are left uncertain as to why they were helped and whether they will receive the same grace again. That unknowability is something humans simply cannot process by their own logic. Julian is intelligent enough to question divine logic rather than accepting it from a purely human perspective, and that is one of his defining strengths.
Q: As a mangaka working in the tradition of dark fantasy but creating something new for the Reiwa era, how do you approach building original mythology while honoring the genre’s roots? What do you hope Centuria contributes to the evolution of mythological storytelling in manga?
TOHRU KURAMORI: Honestly, I think that question is perhaps a bit more complex than the way I actually work. I do not think that deeply about it — I am not trying to become some grand interpreter of dark mythology. Ultimately it is much more about the people and the drama. My contribution, if there is one, would simply be that the reader is entertained. That is really what matters to me.
It was at the Leipziger Buchmesse 2026 that this conversation took place — a rare and fitting setting, given Leipzig’s long tradition as a gathering place for storytellers and readers alike. A special thank you goes to Egmont Manga and Shueisha for making this interview possible, and for their ongoing commitment to bringing exceptional manga to international audiences.
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