Riki-Oh 2: Horobi no Ko
1990 • Media Blasters
- Format
- OVA
- Aired
- 1990
- Episodes
- 1
- Status
- Finished
- Studio
- Media Blasters · Magic Bus
- Genres
- Action
Child of Destruction is the sequel to the RIKI-OH OVA Wall of Hell. Child of Destruction tells us more of Riki's past, as we flash back to his childhood to learn the terrible fate of his mother and how he himself was taken away from his twin brother Nachi during a game of hide-and-seek, with Nachi's plaintive cry of "Are you ready yet?" haunting him through the years. Riki has a six-pointed star emblazoned on his hand, while Nachi has a swastika on his, the significance of which go unexplained. Riki finds himself in the town of Misaki, dotted with illegal nuclear power plants and run by a religious fanatic military organization called "God's Judgment." He is taken prisoner and made to fight in gladiatorial matches in a sprawling arena. He finds his brother, whose special powers have given him the name of "Savior," but his reunion with his resentful sibling turns sour rather quickly. Part 2 is much gorier than Part 1, with Riki smashing his fists into numerous soldier opponents with far less restraint.
Synopsis from AniList
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Where it came from
Riki-Oh 2: Horobi no Ko, released in 1990 as an original video animation, serves as the second installment in the brutal cult-classic series based on the manga written by Masahiko Takajo and illustrated by Tetsuya Saruwatari. Following the success of the first OVA, this production was conceived to adapt the subsequent arcs of the hyper-violent saga, focusing on the titular character Riki-Oh Saiga as he faces increasingly grotesque adversaries in a dystopian, lawless environment.
The animation reflects the gritty, visceral aesthetic common to late 1980s and early 1990s Japanese horror and action OVAs. It was designed to emphasize body horror and martial arts prowess, maintaining the signature over-the-top carnage that defined the source material. While initially limited to niche distribution, the series eventually reached a wider Western audience through companies like Media Blasters, becoming a touchstone of the exploitation anime subgenre for its uncompromising intensity.
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