You’re holding a volume of Akihito Tsukushi’s masterpiece. You’ve just finished a chapter that probably left you feeling emotionally hollowed out or deeply disturbed. Naturally, you flip the book over. Most manga treat the back cover as an afterthought—a place for a UPC barcode, a generic blurb, and maybe a small character bust. But Made in Abyss back covers are different. They are part of the world-building, and honestly, they’re kinda terrifying if you actually look at what’s happening in those illustrations.
Tsukushi is known for his obsessive attention to detail. Every gear on Reg’s body, every layer of the Abyss’s vegetation, and every gruesome anatomical shift in a Hollow is intentional. The back covers function as a "field guide" of sorts. While the front covers usually feature a vibrant, almost deceptive watercolor aesthetic showing Riko and her companions exploring, the back covers often strip away the whimsy. They give us the cold, hard data of the 5th Layer or the 6th Layer, often focusing on the flora, fauna, and the sheer verticality of the Curse of the Abyss.
Why Made in Abyss Back Covers Aren't Just Marketing
Look closely at Volume 1. It seems innocent enough. But by the time you hit the middle volumes—specifically around the Ido Front arc—the back covers start documenting the biological reality of the Abyss. It’s a shift from "adventure" to "survival horror."
Most fans don't realize that the back cover art is often a continuation of the "Abyss Record" or the field notes Riko’s mother, Lyza the Annihilator, might have kept. It’s not just a drawing; it’s a specimen study. Take the Orbed Piercer (the Tamaugachi). On the back cover, we don't just see the monster; we see the scale of its needles. We see the way it interacts with the environment. It’s a reminder that in this world, humans are not at the top of the food chain. Not even close.
The contrast is the point. Tsukushi uses a high-contrast storytelling method. The front is the hope. The back is the reality. This reflects the dual nature of the Abyss itself: a place of infinite wonder and infinite cruelty. If you aren't checking the back of every Japanese tankobon or English release, you’re basically missing 10% of the environmental storytelling.
The Evolution of the "Field Note" Aesthetic
Early on, the back covers were a bit more focused on the geography. You'd see the map. You'd see the depths. But as the story descended into the Ilblu Village (The Capital of the Unreturned), the artwork became more claustrophobic.
I’ve spent hours looking at the back of Volume 6. The way the biological structures of the Sixth Layer are rendered is almost nauseatingly detailed. It’s not just "gross for the sake of gross." It’s meant to show how life adapts to the 20,000-meter deep pit. The back covers often highlight the "Relics" as well. These aren't just cool gadgets. They are remnants of a civilization that failed. By placing them on the back, separate from the main character art, Tsukushi forces the reader to acknowledge the Abyss as a character in its own right. It is an entity that exists whether Riko is there or not.
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The printing quality matters here too. Seven Seas Entertainment, the English publisher, has done a decent job maintaining the matte finish that makes the colors pop. However, if you can get your hands on the original Japanese releases from Takeshobo, the tactile feel is slightly different. There’s a grit to it. It feels like you’re holding a cursed artifact found at a dusty relic shop in Orth.
Hidden Messages and Subtextual Horror
Ever noticed the silhouettes? Sometimes the back covers of Made in Abyss back covers include small, blackened silhouettes of characters or creatures that haven't appeared in the main chapters yet. Or, more chillingly, characters who have already died.
It’s a subtle nod to the "Unreturned." In the world of the Abyss, once you go deep enough, you aren't coming back. Your physical form might change, or your soul might get trapped. The back covers often serve as a memorial. While the front shows the survivors moving forward, the back lingers on what was left behind. It’s a somber experience. You've got this gorgeous art, but the context is soul-crushing.
- Volume 4's back cover: Focuses on the Nanachi and Mitty tragedy in a way that feels clinical.
- The Bondrewd Arc covers: These are arguably the most "sterile" and frightening because they look like laboratory notes.
- The Ilblu Sequence: These focus on the "Value" system, showing the distorted shapes of the residents.
There is a specific kind of "Abyss fever" that hits collectors. You start looking for the tiny text. Sometimes there are descriptions of the creatures in "Abyss-speak" or specific runes that fans have spent years decoding. This isn't just fluff. It’s a puzzle. The back cover is the key to the lock.
The Role of Typography
Even the font choices on the back covers change. When the story is in the upper layers, the text is cleaner. As the characters lose their humanity—literally and figuratively—the layout becomes more chaotic. The barcode is shoved into weird corners. The blurb text starts to feel secondary to the overwhelming presence of the Abyss’s biology.
It’s honestly a masterclass in layout design. Most manga artists focus entirely on the splash pages. Tsukushi focuses on the 360-degree experience of the physical book. He knows that when you put the book down on your coffee table, the back is what you’re going to see. He wants that image to haunt you. He wants you to remember that the 6th Layer is waiting.
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Collecting for the Art: Japanese vs. English Editions
If you’re a serious collector, you’ve probably noticed the differences between the Seven Seas English versions and the original Takeshobo Japanese prints. People argue about this all the time on Reddit and Discord. Some say the English versions lose some of the "inky" depth in the darker sections of the back covers.
Is it true? Kinda.
The Japanese paper stock is thinner but often has a higher ink-absorbency, which makes the deep blacks of the Abyss feel more bottomless. The English editions are sturdier, which is great for longevity, but the colors can sometimes feel a bit "flatter" under bright light. If you are specifically hunting for Made in Abyss back covers for the sake of the art, the Japanese B6 format is usually the gold standard.
Why the "Special Editions" are a Different Beast
There are also the "Anthology" books. These have back covers drawn by guest artists. While they are cool, they lack that "canonical" dread that Tsukushi brings to the table. They feel like fan art. If you want the true experience, stick to the main series. The main series back covers are a cohesive narrative of their own. They tell the story of the Abyss's ecology.
Specifically, look at the Volume 10 and 11 covers. The shift in color palette—moving into those sickly yellows and fleshy pinks—tells you everything you need to know about the Golden City before you even open the first page. It’s a warning. "Abandon hope, all ye who flip this over."
The Practical Value of These Illustrations
Beyond just being "creepy," the back covers provide actual information that clarifies the plot. The Abyss is a vertical world, which is hard to depict in a standard 2D manga panel. The back covers often provide cross-sections.
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- Navigational Context: They show where the characters are in relation to the surface.
- Biological Classification: They name the monsters that Riko barely survived.
- Relic Documentation: They explain the "Grade" of certain items (Special Grade, First Grade, etc.).
This information isn't always explicitly stated in the dialogue. Sometimes a character will use a Relic, and you’ll be confused about how it works until you see the technical breakdown on the back of the book or in the "data" pages at the end. It turns the reader into a Delver. You aren't just consuming a story; you’re studying a map.
Addressing the "Misconception" of Cuteness
A lot of newcomers see the art style—the round faces, the big eyes—and think this is a Ghibli-esque romp. Then they see the back cover of Volume 3. The facade breaks. The back covers act as the "truth" of the series. They are the anchor that prevents the story from feeling too much like a standard shonen. They remind you that the environment is the antagonist.
The way the back covers handle the "Curse" is particularly interesting. The Curse of the Abyss is an invisible force, but Tsukushi tries to visualize its effects through the distorted flora on the back covers. You see plants that grow in ways that defy gravity. You see water that flows upward. It’s a visual representation of the "Staircase to Hell."
How to Properly Preserve Your Volumes
Since the back covers are such a vital part of the aesthetic, you really shouldn't just shove these books on a cramped shelf where the matte finish will get scuffed. The oils from your fingers can actually degrade the ink over time, especially on the darker volumes like Volume 5 or 6.
- Use Archival Sleeves: If you’re a hardcore fan, get the clear plastic sleeves meant for manga. This keeps the back cover art pristine.
- Avoid Direct Sunlight: The watercolors Tsukushi uses (even in the digital-to-print process) are prone to fading. That deep blue of the First Layer will turn into a sickly grey if you leave it on a window sill.
- Display Them "Back-Out": Honestly, some of the back covers are better than the front. If you have a display shelf, consider facing a few volumes backward to show off the creature designs.
Final Insights on the Abyss Records
The Made in Abyss back covers are essentially the "soul" of the physical media. In an age where everyone is moving to digital reading on tablets, these books make a compelling case for physical ownership. You can't get the same feeling from a low-res JPEG on a pirate site. You need to see the way the light hits the back cover. You need to see the scale of the Abyss laid out in print.
Next time you pick up a volume, don't just rush to the first page. Spend five minutes with the back cover. Look at the Latin-style naming of the creatures. Look at the way the terrain is notched and scarred. It’s all there. The history of the 1,900-year-old pit is written on the back of the book.
Actionable Steps for Fans and Collectors
- Compare Editions: If you own the digital version, go to a bookstore and look at the physical Volume 6. The difference in the "texture" of the back cover art is eye-opening.
- Translate the Runes: Use a fan-made cipher (available on most Abyss wikis) to read the small text on the back of Volumes 4 through 9. There are hidden lore bits about the "Birthday-Dying Disease" tucked away in the margins.
- Audit Your Collection: Check for "first printing" marks. Sometimes the back covers in later printings have slight shifts in color saturation due to different ink batches.
- Document the Flora: If you’re an artist, use the back covers as your primary reference for the Abyss's biology. They are much more accurate than the action-heavy interior panels.
The Abyss doesn't give up its secrets easily. Sometimes, you have to look at the "hidden" side of the book to find them. Stop treating the back cover like a barcode holder. Start treating it like the survival manual it actually is.