#nicky larson

So I started watching Trigun today...

I wanted to clear up a confusion regarding Ryō’s mokkori. More than a comic trope, or mere perversity, his mokkori is actually quite complex and layered and masks something much more tragic. City Hunter is a complex masterpiece and it is absolutely necessary to distinguish form from content, or to put it more simply, the surface from the depths. 

 Disclaimer, the following post is quite long (sorry about that) so to help you identify the main ideas and themes, I have divided my post into small sections (cf titles) and there is a  spoiler-free TL;DR version at the very end. Also, in the first comment, I provided a few links (yt videos, blogs etc) addressing this topic, for those who might be interested.  Here are the most important parts ( 2- 3 - 4 - 5 - 6 -11) RED PARTS ARE SPOILS

The surface 

So, first of all, if one isolates certain behaviors out of context, one might see Ryō’s mokkori as mere perversity. On paper, he is flamboyant and transgresses some boundaries. As a result, uninitiated readers might be confused. However, it is worth noting that women often (if not always) recognize Ryō through his perverted clown persona, but they quickly perceive a flamboyant clown rather than a predator and do not feel in danger; even if surprised or initially disgusted, they understand his unique mechanisms, do not feel threatened, and eventually always see the kindness of Ryō's soul. 

The comic device 

 Playing the fool: The exaggerated cartoon effect The visual and auditory exaggeration of the mokkori routine is pushed to such an extreme that Hōjō's narrative intent clearly operates at a "1000th degree" level of pure cartoon pantomime rather than on a realistic basis. In the story itself, Ryō is not actually serious. When he switches into this mode, he becomes incredibly loud, proudly calling himself the "Stallion of Shinjuku" or "the most frivolous man in Japan," playing a resounding and flamboyant performance. But all this noise is just a smoke screen. The real Ryō hiding under this layer is entirely calm, modest, and discreet. In an interview, Hōjō explained that he plays with this striking contrast, deliberately contrasting the loud and hyper-talkative version of Ryō to the deadly serious man/warrior who falls into complete silence, making the heavy silence of his true nature strike the reader even harder.

The "perverted idiot" trope and why Ryō lets himself get punished

The whole perverted fool who gets punished right away is a classic comedy trope in shōnen and seinen manga — Master Roshi in Dragon Ball, Denji in Chainsaw Man, or characters in One Piece and The Seven Deadly Sins, the list goes on and on. 

In City Hunter, this behavior is never glorified or validated because Ryō is punished every time by Kaori and her 100-ton hammers or by the women he hits on, resulting in an  inverted power dynamic. Not only is Ryō the one being dominated by women and humiliated, but women are the ones being valued in their abilities to put him in his place. Also, (and this is one of the most important elements) Ryō LETS himself be punished and NEVER ducks the hits. And yet, he is the number one sweeper in Japan, a former child soldier who could easily dodge any assault in a split second. Plus, he never dodges Kaori’s hammers, slaps, or elbows.He deliberately puts himself in a position of vulnerability and accepts public humiliation, acknowledging that his behavior deserves to be called out. The narrative makes him an object of ridicule—we are supposed to laugh at him, and his ritual defeat makes him the butt of the joke.

This proves that by his actions, he is not an aggressor, but a character who uses ridicule as a shield. Indeed, it is absolutely essential to have in mind that when he goes into mokkori mode, Ryō isn’t actually being serious in his approach, he is more a clown than anything else, with his giant smile, his heart-shaped eyes, his tone ( Will you go ouuuuut with meeeeeeeee???). Last but not least, he never seeks to cross the line, as he knows that the women's "no" is the absolute rule that defines his universe. Therefore, Ryō is absolutely not a predator. He always remains within strict moral boundaries, never disparages women, never seeks to hurt them and never takes advantage of a vulnerable woman. To put it more simply, Ryō genuinely respects women deeply. 

Therefore, as soon as you scratch the surface, you realize one fundamental thing: these acts are actually MOCK AGGRESSION, a parody, devoid of any malice, domination, or predation.  It’s heavy, theatrical, and clumsy flirting, but Ryō stops the very second a "no" is spoken. Hōjō confirmed it himself in response to a fan letter in the 5th volume of the tankōbon edition. When asked about Ryō's true nature and why he remains so elusive with women, he replied: "As for your question regarding Ryō's true character with women: it's not that he doesn't know how to initiate things... it's just that he refuses to force the issue." His response confirms that Ryō's "incompetence" is a deliberate ethical choice and not a lack of social competence. His restraint acts as a protective barrier, seeking to preserve the dignity of the women he respects over his own desires, which is a fundamental moral code that defines his heroism.

The series isn't problematic at all because it uses CARICATURE to call out and make fun of the very behaviors it shows, WITHOUT EVER turning Ryō into an actual predator. If you look at these scenes out of context, they might seem off, but once you take them into context, the interpretation is the opposite. Far from being a harasser, Ryō is the opposite—someone who constantly puts himself in a submissive position, welcoming the humiliation.The bonus pages in volume 14 of the deluxe edition are a good example : these accounts about "sexual harassment" would be technically correct if taken in isolation,  BUT they are revealed to be pure theater once you see the full context.  Saeko for example, she knows perfectly how to manipulate Ryō with "mokkori" promises to get his help, knowing full well he’ll deliver but that the "reward" is a total bluff.  And Ryō knows it as well. In short, this is a game between them.  Or even Maiko Tsugihara, the dancer: she was initially annoyed by his behavior until Kaori helped her realize that Ryō’s "perverted clown" act wasn't just mere impulse. Kaori explained to her that although there is a part of Ryō's nature that leans toward these impulses, it is far from being 100% of his motivation; some of his behaviour is actually strategic. Ryō acts the fool to focus the client's stress and anger onto himself,  in order to help her de-stress and calm down before her big performance and to make her forget a bit that some individual was threatening  her. In every instance, Ryō is a buffoon by choice, not an aggressor, and everyone involved—especially the women—are in on the joke, because they eventually see beyond the mokkori persona and understand who Ryō really is. 

4. The dichotomy the mokkori man vs Ryō’s noble heart 

There is a sharp contrast between the mokkori persona and the sensitive man hiding underneath it. Not only is it exactly how readers perceive Ryō at first glance but also how the other characters perceive Ryō when they first meet him : 

- Kaori’s perception : When Kaori explains to her sister who Ryō is, she recalls that Maki, a man usually not very talkative, could not stop praising Ryō. Upon learning of her brother's death, left on her own, a part of her was curious to know this man who was so incredible. And who did she discover? An obsessed man, a pervert, a slacker... but she very quickly understood who he was behind this perverted mask, understood why he continued to do such a dangerous job, and understood that Ryō is a wonderful man. Later, she explains the same idea to Mick Angel. As she tells him the story of how she actually first met Ryō, she was in shock. She had just learnt the truth behind her brother’s secret new job after quitting the police force and discovered that he worked alongside a dangerous hitman. As she was following Ryō in the street, she then saw his mokkori persona, hitting on women in the street, going from one woman to another as soon as they said no. She initially believed that showing this side of this mysterious man to her brother would discourage him from working with him. Later that same day, she followed Ryō during one of his missions and realised that the heartless hitman she believed him to be, was actually a sensitive man, a good man who is deeply sickened by the vileness of an arms trafficker who profiteers from war and cashes in on human misery by selling illegal arms to opposing sides. And yet, he doesn’t kill anyone, he only threatens to scare the guy off. Not only that, but he did it for free. He did it because Maki asked him to do it in order to help a little girl scared for her dad. And when she wanted to pay Ryō with a 500 yen coin, he discreetly put it back into her pocket, explaining to Kaori that that coin is too pure for a man like him. As she woke up after passing out, she realised that Ryō was carrying her on his back, and she felt safe because she saw the real man and understood that he is not the dangerous heartless hitman she believed he was. It is quite the opposite, Ryō is a deeply sensitive man trying to do some good for those around him. 

The refusal of abuse of power: Ultimately, Ryō never uses his strength or his role as a protector to take advantage of a situation. For example, he never blackmails Saeko to collect those famous "favors" she owes him—which means he constantly risks his life and works for free for Saeko. When he teases his clients, it is harmless role-playing, and he almost always just waits for Kaori to intervene with the hammer. Faced with real abuse of power or real danger, Ryō is the first to intervene ruthlessly to defend a woman's dignity.

5. A former child soldier learning how to live in a civilized world 

Sure, Ryō is flawed and it is precisely what Hōjō intended. In the very first tankōbon volume of City Hunter, here’s what he wrote while addressing the readers : "I was getting a bit tired of drawing girls after working on Cat’s Eye. So, I decided, 'Alright, this time I’m going to draw a man!' But then I thought, 'Heroes often have this image of being taciturn and distant, but a man who is just cool without any humanity, that’s not for me!' So, that’s how I ended up creating Ryō—a character who is a direct embodiment of raw male instinct. From now on, please support us!!»

The more Ryō’s past gets slowly unveiled, the more we get to understand his core and how he became the man he is now. He became an orphan at roughly 3 yo after the tragic plane crash which killed everyone on board — including his parents — but him. He found himself alone in the middle of the jungle in Central America before finding the guerrilla camp nearby the crash site. From that moment onward, he has been trained and raised as a child soldier and took part in the war responsible for the death of his parents and the path of his life. To survive, he had no choice but adapt, his innocence being taken away from him. He grew up in a world where love meant vulnerability, he has not learnt how to properly love and being loved. The sole exception being Shin Kaibara, his adoptive father. The man who trained him and raised him — alongside Bloody Mary’s father — with whom he shared a true bond made of respect and love, the man who enabled Ryō to find some footing in this violent and inhuman world and thanks to whom he has been able to live in such a world… until Kaibara’s mind got perverted (as a result of his PTSD due to this endless war) leading him to manipulate Ryō and injected Angel Dust without him knowing. 

But Hōjō shows us that Ryō can be an incredible seducer when he wants to—like during his mission with the young novice woman where he acts like a perfect gentleman at the request of her father. As soon as he is serious, the clumsiness disappears completely. Also, the women he hits on immediately perceive his mokkori persona, know immediately what to expect, and do not get attached to him. This is because his mokkori persona is ALSO a way to hide his trauma and avoid intimacy 

6. Hiding his trauma, avoiding intimacy 

Every single time, things start to get serious or a woman shows the first signs of actual attraction and / or attachment. Ryō backs away immediately. Here are a few  examples : 

The Actress (early arc in the manga) : After rejecting Ryō being in his mokkori mode, the actress slowly starts to understand Ryō’s hidden persona and sees the sensitive man who protects her, listens to her suffering and offers a shoulder to lean on. She eventually falls for him, kisses him and lets him understand that she would like things to go further…. But to her surprise, Ryō returns to his room, although he would have liked things to go further as well 🤣. He did it because he refused to take advantage of her vulnerability and to have her get attached to him.

→ Vulnerable clients (The Princess, the Stuntwoman, etc) : Ryō drops the mokkori act every single time a woman, one of his clients shows real attachment and / or signs of vulnerability. He falls into complete silence, backs aways and is discreet. There is a sharp contrast with his mokkori persona — being noisy, exuberant — and the Ryō who drops the acts. In an interview, Hōjō explained that he wanted to create such a dichotomy between the mokkori man and the man underneath. That is why when he backs away, Ryō says little to no words. That is a true sign of respect as it demonstrates that he never takes advantage of women, even when he could, demonstrating once again that his mokkori mode is a clownish act and that he is not actually serious.

 Bloody Mary : This is perhaps one of the most striking examples. Mary has never hidden the fact that she fell for Ryō up to the point where she was pressuring him into getting married. The pressure was such that it led Ryō to put an end to their partnership and even to run away a few years later as soon as he realised that she was scheduled to arrive in Japan. He packed his things in such a hurry that Kaori was truly confused by Ryō’s hastiness and panic. 

 Hiding behind the act : Ryō’s mokkori mode is his mask, a way for him to maintain some distance between others and himself, between others and his real fears : 

 Bloody Mary and Kaori : Ryō asked Mary to not reveal the details of his tragic past to Kaori. Later that day, when she informs him that she told  Kaori everything, Ryō turns his head towards her and casts a cold, hard and incredibly dark look at her… only to hit on the first woman he sees passing by the very next second. Getting rejected right away. If initially Miki appeared to be worried seeing Ryō feeling apparently down, she is then exasperated when she sees him hitting on the first woman he sees. 

  Miki, Ryō and Kaori : Ryō uses the same avoidance strategy when Miki confronts him after she has discovered that Ryō tampered with the scope of Kaori’s gun. When she realises that he did it to out of protection because he has not planned to have Kaori as his partner forever, he immediately turn on his mokkori act and hits on her, only to be violently rejected and humiliated. Miki concludes by saying « it is impossible to have a conversation with you» 

 Mick, Ryō and Kaori : Once again, Ryō puts on his mokkori mask. Mick was confronting him regarding the status of his relationship with Kaori. He blamed Ryō for not admitting his feelings for her while it is obvious that she is in love with him. Ryō then walks away leading Mick to believe that he went out to look for Kaori as before getting scolded by Mick, Ryō seemed to be worried to see that  Kaori still wasn’t home by nightfall. Yet, he walks away, claiming he is simply going out to hit on women … it is pure smokescreen, Ryō went out to go out to look for her the entire time as it is revealed some time later when he finds Kaori involved in a fight with Mick and visibly boiling with anger to see Mick hitting on her and Kaori ready to risk her life. 

Ryō and Saeko : Both of them know how the game works : she manipulates him into getting his help in exchange for mokkori favours and he refuses to help if she does not pay him in mokkori … but actually, their dynamic and relationship are built on mutual respect. Both of them know full well that nothing’s ever going to happen. It is all an act and to prove it, in one of the early arcs of the manga, Saeko pretends that she is actually going to pay her debt to Ryō, who drops the act and hides in the bathroom, because things get too real. If Kaori is surprised, Saeko is not. She explains to her that she knew Ryō wouldn’t want things to go further, out of respect for Maki. She knew exactly how he would react, which is the only reason she allowed herself to play the game! But this does not prevent them from continuing this little game afterwards, each plays their part knowing that neither is actually serious. 

We see the same logic during his nighttime foray attempts or his raids to the public baths. Ryō appears to be serious but it is nothing but loud and theatrical. It is even calculated to get caught (usually by Kaori and a 100-ton hammer). Even if Kaori didn't intervene, Ryō would never actually force his presence on a woman or create a genuinely dangerous and uncomfortable atmosphere. He talks big, but when things get serious, he stops dead in his tracks. It’s only an illusion of transgression. Ryō himself admits that what he likes about his nighttime foray attempts is the sense of danger and the adrenaline that comes with it, suggesting it’s purely for the thrill.

7. Meeting editorial expectations 

It is important to know / keep in mind that the early arcs of City Hunter are different in tone and push further Ryō’s perverted side. It is due to editorial expectations. Hōjō’s tantō — a fan of hard boiled stories and film noir — wanted to imbu similar vibes into the manga. Not only was Hōjō not an actual fan of the direction his story was taking ( he believed that it was too dark and that humour should be added) but some requirements regarding the mokkori actually made him uncomfortable. It is within that context that the harem episode was created. Shortly after, Hōjō had a different tantō and enjoyed greater artistic freedom, he added humour, treated Ryō’s mokkori differently and that is why after the harem episode we never see him being successful with women. 

8. The anime team around the same philosophy 

In an interview published in the very first official City Hunter Artbook in 1991, featuring the author, director Kenji Kodama, producer Masao Ueda (Sunrise), and manager Michihiko Suwa (Yomiuri TV) explain that they deliberately chose to over-exaggerate Ryō's reactions to remove any realistic dimension, turning the whole situation into comedy. Just like in the manga, all is mere parody of agression and Ryō’s core persona remains unchanged : he is still the same sensitive and respectful man who refuses to take advantage of a woman. 

The dichotomy between the mokkori and Ryō’s core is more or less obvious, depending in the version : 

Nicky Larson (The classic French TV dub): This version was adapted for children's television networks, which means its darker and more mature aspects were heavily censored. The localization went as far as completely rewriting the original scripts, introducing lines that had absolutely nothing to do with the original context (like turning love hotels into "vegetarian restaurants"). Overall, the lines were also the results of pure improvisation, even when a scene's context wasn't violent or anything. The lines and the tones are as hilarious as they are ridiculous. This stands more as a loose adaptation of the Japanese animated series, shifting it into a cartoon comedy of pure, absurd slapstick. In France, this French version is as legendary and loved as it is mocked and heavily criticized. The purists rightfully claim that the heavy censorship and due to the target audience, the complexity and depth of Ryō’s personality cannot be perceived to anyone who is not familiar with the orignal work. Others argue that the series remains hilarious nonetheless and that faithful to the original work or not, this version has contributed to City Hunter’s popularity in France. 

City Hunter (The subtitled / Manga version) : it is more mature, dark and balances the action, drama and adult humour. Although it is not as developed and complex as the manga, it still frames the mokkori as a coping mechanism. In interviews, Hōjō stated that he felt all the action and humor were in the hands of the animation team while the heart of the manga lay in the human dimension.

9. Female agency and realism rather than hypersexualization

Every single female character in City Hunter has incredible agency. Women are strong, smart, independent and Ryō always treats them as equals and partners ( cf Bloody Mary, Saeko and Kaori of course). In fact, women are the engine of the action. Ryō never dominates them, he serves them. This dynamic of respect is very modern. Also, he is always the first to intervene if he sees a woman actually being harassed (think of the time he met Kaori in the early arcs or the Cinderella arc) 

On top of that, Hōjō art style is incredibly realistic, precise, and elegant. Women (and men) are never hypersexualised, on the contrary their appear beautiful and elegant.He always focuses on the nobility of the postures and the beauty of the anatomy 

10. Hōjō, a truly progressivist mangaka, ahead of his time 

To truly understand why City Hunter lacks any real malice, one only needs to look at Hōjō's wider work. He is easily one of the most progressive mangakas of his generation. He gave us massive series led by strong female roles (Cat’s Eye) and deeply humanistic and anti-war stories (The Cherry Blossom Time). He has also always been incredibly open-minded. He mentioned in interviews that he liked going to the transgender community bars in Tokyo.  He also wrote Family Compo, which provides a kind and ahead-of-its-time look at gender fluidity and trans identity, written well before these topics were widely discussed in mainstream media. The author is the complete opposite of "problematic."

But City Hunter is not just pure comedy; it is a human story. It is the story of two broken souls who lost their bearings and families, and who learn to love one another from the bottom of their hearts. Behind the hammers and their hilarious Tom and Jerrydynamics, Ryō and Kaori share a special, unique bond and develop a truly symbiotic relationship throughout the series. They cannot imagine life without one another, finding their reasons to live and their purpose in life in each other.

More than an action series, City Hunter is primarily a romance. It is the story of a man who learns to love, to be loved, and to truly live, for Kaori—no longer just surviving — and who learns to be human. Kaori humanizes Ryō by keeping him in check and always being there for him, making him realize that life is worth-living. She offers him the warmth of a home, something he has never known before.  In return, Ryō provides Kaori with comfort, a purpose, a sense of belonging, and true happiness, while allowing her to honor and carry on the legacy of her late brother. By accepting her as his partner he brings a profound sense of legitimacy to her life. She often feels insecure as to her real use in their partnership, not being trained, but Ryō has always accepted and recognized her courage, and her place by his side, even though he does not often state this. He never made her feel inferior — it’s quite the opposite, actually. Furthermore, he offers Kaori the absolute freedom to be unapologetically herself. With him, she needs no masks—she can unleash her explosive temper, show her deepest vulnerabilities, and grow into a confident, independent partner. If Kaori brings light into Ryō's dark world, Ryō shields her from the violence of his environment out of pure love, keeping her innocence intact. They blindly trust one another and share beautiful moments, no words needed, just being next to another. Both of them have never been as happy in life until they started working and living together. Kaori is the only person who is able to slowly break through Ryō’s thick shield, she is the only person he is able to open up to. This human, beautiful and unique story has a timeless and universal touch that explains why its massive popularity is so well-deserved.

As the reference work Forever Tsukasa Hōjō indicates, the series occupies a unique place in the cultural landscape:

« City Hunter s’impose comme un monument du manga qui crie à la face de ses lecteurs, sous couvert du simple divertissement, un profond message d’amour et de respect des différences. Il agrège à ses côtés les laissés-pour-compte de la société, les abandonnés et les marginaux. Celles et ceux qui sont dos au mur et cherchent à exister. Plus qu’un chef-d’œuvre, City Hunter est une voix, une famille »

Translation: " City Hunter stands as a monument of manga that shouts at its readers, under the guise of mere entertainment, a profound message of love and respect for differences. It gathers at its side those left behind by society, the abandoned, and the marginalized. Those who are backed against the wall and are looking to exist. More than a masterpiece, City Hunter is a voice, a family." (my translation)

We can only understand why Hōjō stated that he has never seen himself as an author of action series, although he has often been labelled as such. He rightfully explained that the action is a mere frame, the core of City Hunter is the human dimension. 

12. The popularity of City Hunter 

If City Hunter was not popular up until Hōjō was able to have all the artistic freedom he wanted and was able to add all the humour he wanted, the series became incredibly successful in Japan and in the world. Overall, 50 million volumes have been sold. 

Throughout the 80s, Ryō was frequently voted among the most popular characters : in 1988 and 90, he was voted in best male character and in 1990, he was voted in Japan the second best character of all time.

Also, City Hunter has always been quite successful among female readers since the beginning of the serialization. 

Even today, both City Hunter and Ryō remain quite popular : 

in Japan : 

In 2021, the national Japanese network TV Asahi has put into a vote 150 000 people from all generations. The aim of the poll was to measure the cultural impact, the historical popularity and the longevity of the works among the Japanese general public. People were asked to vote for the most popular mangas of all times and City Hunter ranked 57th on the competitive list of the 100 best mangas of all time. Furthermore, in their television animation poll, the franchise consolidated its timeless legendary status by securing the 66th position among the most popular anime series in Japanese history.This impressive achievement reveal just how deeply anchored City Hunter remains in the public heart, proudly holding its ground even against massive modern titans like One Piece or Demon Slayer.

Cultural status : 

Ryō was voted as one of the most iconic anime heroes of the Shōwa/Heisei eras + Ryō was officially named a tourism ambassador for the Shinjuku ward.

The current exhibitions in Tokyo (December 2025) and Osaka to celebrate the 40th anniversary 

The 26th of February which has become City Hunter Day since 2025

The 8th of April which is Get Wild Day 

Around the world : 

The note of 8.01 / 10 was given on MyAnimeList — which is a global platform for anime based on thousands of votes. 

Countless adaptations : 

The Netflix live-action series (2024 + current shooting in 2026) — it was a global hit

The 2019 French adaption by Philippe Lacheau — Nicky Larson et le parfum de Cupidon — the adaption did massive numbers 

The remasterisation of the video game in 2026 

The spin-off City Hunter Rebirth (Kyō Kara City Hunter)

The animation films 

City Hunter Shinjuku Private Eyes — a massive hit 

City Hunter Angel Dust — also a massive hit 

New animation films appear to be on the way 

The renditions of the manga 

In Japan — the XYZ edition of the 30th anniversary 

In France / Italy in 2023 — the Perfect Edition 

The first time full translations 

The anglophone edition by Abrams from 2025 

The Brazilian edition from 2025 /6 

The Polish edition in 2022

13.  Conclusion 

Far from being a problematic manga, City Hunter actually conveys a deeply positive message of tolerance and respect. It is a timeless classic that is absolutely worth revisiting beyond the slapstick facade. This manga is a masterpiece which stands as a timeless monument in manga culture.  Honestly, the anime is also a total must-watch—it’s a legendary piece of pop culture with an incredible City Pop vibe and an impeccable soundtrack. While the original TV series wasn't quite as dark as the manga, it is still just as wildly funny, bringing these absurd cartoon gags to life perfectly. Plus, with recent anime projects finally tackling the heaviest parts of Ryō's past, it is the perfect time to dive back into the franchise. Finally, if we had to summarize the lesson of City Hunter, it would perhaps be: Never trust the surface, always look at what happens when the hammer falls.

Thanks for sticking to the end! I hope you liked it! 

14. TL;DR version 

The "Mokkori" Smoke Screen: Ryō’s over-the-top, perverted clown routine is a deliberate cartoonish caricature ("1000th degree" pantomime) rather than realistic behavior. It serves as a theatrical shield to hide his calm, discreet, and deadly serious true nature.

Mock Aggression & Subverted Dynamics: His antics are purely a form of mock aggression—a heavy, theatrical parody entirely devoid of malice, domination, or predation. The narrative uses caricature to call out and mock this behavior, but Ryō is never its true archetype; in fact, the power dynamic is completely inverted. He is the one being dominated and humiliated by women, and he deliberately accepts public punishment (never dodging Kaori's hammers). Combined with his absolute respect for a woman's "no" and a profound sensitivity toward their dignity, this proves he is the complete opposite of a predator.

A Traumatic Past & Coping Mechanism: Having survived an intensely tragic and traumatic childhood, Ryō never learned how to properly navigate emotional intimacy or a peaceful, civilized world. His mokkori persona is actually a vital coping mechanism—a form of self-therapy to mask his deep psychological scars and hide his inner demons.

Strategic Foolery: His clownish behavior is often a deliberate tactic to absorb his clients' stress and focus their anger or fear onto himself, helping them feel safe and relaxed before facing danger.

Female Agency & Elegant Realism: Women are the driving engine of the story, possessing incredible autonomy, intelligence, and strength, and Ryō treats them as true equals. Hōjō’s masterful art style completely rejects hypersexualization, focusing instead on realistic, precise, and elegant anatomy that emphasizes the true beauty and nobility of the characters.

Hōjō's Progressive Vision: Known for his deeply humanistic and ahead-of-its-time work (Family Compo, Cat's Eye), the author infuses the series with genuine empathy, providing a kind and open-minded look at gender fluidity, trans identity, and those left behind by society.

The Heart of City Hunter: Beyond the relentless action and explosive comedy, the core of the masterpiece is a beautiful, symbiotic romance. It is the story of two broken souls, where Kaori humanizes Ryō and offers him a home, while Ryō provides her with purpose, protection, and the absolute freedom to be unapologetically herself.

P.S.: If you want to dive deeper into this, definitely check out these YouTube channels that provide the analysis (sorry, most of the links are from French yt channels or online blogs, some are in Italian also  but you can enable CC, some are in English though):

YouTube videos : ( don’t get fooled by the titles of the first three) (Feel free to check out the comment sections, some comments are insightful and interesting!) 

A) in French 

1. Selection Manga — Ce MANGA doit sortir de ma MANGATHEQUE ?? : [https://www.youtube.com/watch?v=7PLESsgX34M]

2. Jet Suzuyaki — City Hunter est-il Sexiste? : [https://www.youtube.com/watch?v=dDyfKGAUu04]

3. MademoiselleSoso : LE PLUS GRAND CHARO DE L'HISTOIRE... (City Hunter) : https://youtu.be/SMB-_vqCxDI?is=prTTCJYArk1V3-2M

4.Écran Large — NICKY LARSON — LE DOIGT DANS LE CULTE : [https://www.youtube.com/watch?v=tEXhe7kbCrE]

5. Anime Anthology — Tu connais Nicky Larson ? : [https://www.youtube.com/shorts/lVOX06QWHPs]

6. Mokkori Times - Ryō Saeba, l’homme idéal ? - https://youtu.be/0E_oE85vr30?is=Uo3GQAjGwc9HjqE4 

B) in English 

7. Le Grim Squeaker — Ryō Saeba Lore of the Manga : [https://www.youtube.com/watch?v=V_MuxEVHvlY]

8. Ultra Quan — RyōSaeba (City Hunter) - A Character Analysis : [https://www.youtube.com/watch?v=7ntX_BxHIos]

C) in Italian 

9. AlchillTV : 

    a) - L’uomo dietro il mokkori https://www.youtube.com/watch?v=ILyGD4MgcT0&t=1s

b) La vera storia di CIty Hunter https://www.youtube.com/watch?v=R22TI-2beIg