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Natsume’s Book of Friends, Vol. 1

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Natsume’s Book of Friends
By Yuki Midorikawa
Published by Viz Media

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Teenaged orphan Takashi Natsume has spent most of his life passed around from relative to relative, each anxious to be rid of him thanks to his habit of talking about things they can’t see. As it happens, Takashi is able to see spirits (yokai), an ability he inherited from his grandmother, Reiko. He also inherited the innocuously named “Book of Friends,” a book Reiko used to write down the names of yokai, effectively enslaving them to her every command. Now living with distant relatives near the home where his grandmother grew up, Takashi begins to encounter the many yokai she bullied over the years. Desperate to claim the book for themselves, the yokai first appear simply as enemies, but as Takashi discovers what it is they’re really after (thanks to an uneasy alliance with a cat-shaped demon he accidentally frees from its protective ward) he becomes determined to give them back their names. Word spreads, and soon the yokai are seeking him out, most with the purpose of gaining their freedom, though not all are so benign.

This story is a pleasant surprise on all counts–art, characterization, storytelling–providing something much more charming than I would have gathered simply from its PR material. It possesses a sort of xxxHolic meets Mushishi vibe I’d hoped for (but never found) in Tokyopop’s Tactics, which is not to suggest that it lacks its own unique charms. This volume is charming from start to finish, thanks to Takashi (whose good heart shines even as he faces rejection from family and peers) and the spirits he meets along the way, ranging from downright adorable to genuinely frightening.

The chapters are fairly episodic, each introducing a new spirit who has come to retrieve his or her name from Reiko’s book. Some especially poignant stories include that of a yokai who spent his life in a shrine, worshiped by locals as a god, now reduced to the size of a tiny doll as his worshipers have dwindled to one. His devotion to the last old woman to continue to offer respects is unexpectedly touching. Another especially moving story is that of a spirit (once a swallow) who attaches herself to Takashi in hopes of catching a glimpse of a human who once comforted her years ago. It is Takashi’s own loneliness that allows him to understand the feelings of these yokai and it is through his experiences with them that he learns the value of connecting with others. “Man and beast…even yokai… they search for that connection,” he says to himself at the end of the volume. “I love their fervent striving.” An emerging subplot involving another student at Takashi’s school promises more through-story as the series continues, which is something I’ll definitely look forward to.

This series is touching and even solemn in its treatment of both humans and yokai, but not without humor. Takashi’s supernatural companion, for instance (whom he refers to as “Nyanko-sensei”) is not a warm, fuzzy yokai by any means and only stays with Takashi because he’s been promised the “Book of Friends” should Takashi die before returning all the names. Yet he spent so many years trapped in the form of a Lucky Cat that he has taken on the form himself, much to his dismay. Several of the story’s characters, in fact (such as a couple of trickster yokai who at one point insist on becoming Takashi’s entourage) exist mainly to provide comic relief, but what makes the humor really work in this series is that it is never there purely for its own sake.

Yuki Midorikawa’s artwork is understated and perhaps nothing special, but she manages some beautiful imagery at just the right moments. There is a genuine feel to the story’s yokai, bringing a traditional sensibility into this modern story, much as the modern dress of Mushishi‘s Ginko does the reverse for its nineteenth-century setting. I particularly enjoy Midorikawa’s imaginative and intuitive panel layouts which are especially effective in terms of pacing.

Though many elements of its story are well-trodden territory in girls’ supernatural manga, Natsume’s Book of Friends brings a quiet thoughtfulness to the genre more characteristic of adult series like Mushishi or delicate shojo romances such as We Were There. An unexpected treasure among recent Shojo Beat titles, Natsume’s Book of Friends is definitely a series to keep an eye on.

Review copy provided by the publisher.

We Were There, Vol. 8

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By Yuki Obata
Viz, 200 pp.
Rating: T+ (Older Teen)

As Yano’s mother prepares for her move to Tokyo, it becomes painfully clear that her financial plans are far from sound, forcing Yano to confront the possibility of leaving Nana behind to join her, something he swore he’d never do. Meanwhile, with things still shaky between Yano and Nana, Takeuchi’s sister urges him to take advantage of the situation, but, unwilling to be a consolation prize, Takeuchi instead confronts Nana to let her know what’s going on, in hopes she’ll convince Yano to stay. Though the news shocks Nana out of her most recent bout of insecurity, she is determined to support him regardless of whether he stays or goes and tells him so, a declaration she ultimately regrets.

Though it’s quite a relief to see Nana finally released from the excruciating indecision that has plagued her for several volumes, it is decision that ends up hurting her most, regardless of whether she’s doing the right thing. One of this series’ greatest strengths, of course, is its refusal to pretend that there is a “right thing,” regardless of established romantic conventions. Obata’s characters make grand declarations in one breath and waffle in the next, ringing more true in their inconsistency than a hundred shojo heroines “doing their best.” Even as the story falls into familiar scenarios of rivalry and forced partings, it does so with a level of nuance so rarely brought to this type of manga that it manages to feel genuinely fresh, even in its most dramatic moments.

Even eight volumes in, this series has lost none of the emotional ambiguity that has characterized it since the beginning, while gaining a romantic momentum that has only enhanced its likability, at least for this reviewer. Its depth and poignancy, matched by very few titles in the current lineup of translated shojo (only Sand Chronicles immediately springs to mind), should be more than enough to place We Were There at the top of anyone’s must-read list.

Review copy provided by the publisher. Review originally published at PopCultureShock.

Lucky Star, Vol. 1

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luckystar1Good morning all! My big news for the day is my debut as a guest reviewer at Deb Aoki’s manga blog! To check it out, head on over to about.com where you’ll find Deb’s introduction, followed by my review of Kagami Yoshimizu’s Lucky Star, volume one.

As a pretty enthusiastic fan of the anime series, I was excited when Bandai announced they’d licensed the manga as well. Unfortunately, their first volume turned out to be a fairly stunning lesson on the importance of effective translation. For those who still haven’t read Matt Thorn’s recent smackdown on the state of translation in the manga industry, now would be a good time. On a positive note, the third volume of Lucky Star (which I have here in my possession) displays a change in translation credit I think many will find heartening. I know I do.

Many thanks to Deb for this opportunity! Read my full review here!

Amefurashi: The Rain Goddess, Vol. 2

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By Atsushi Suzumi
Del Rey, 240 pp.
Rating: T (13+)

At the end of volume one, Sora, Gimmy, Mil, and Mel set off on a quest to retrieve the core of Sora’s tree. Volume two opens with this quest well underway, though Mil and Mel are mysteriously absent and Gimmy’s guardian is with the group instead. The volume starts strong as Sora and Gimmy face off with two other Amefurashi in order to prove Sora’s claim to the title. Sora learns the value of letting herself get to know humans and Gimmy learns to show Sora that he cares, all over the backdrop of a standard adventure as they head toward a final battle with the power-hungry Amefurashi, Ciel.

Sora and Gimmy’s adventure begins well, but what comes as a surprise as the volume nears its end is that this is, apparently, the final volume of the series. One can’t help but wonder if this was a surprise to the mangaka as well, since the beginning of the volume is paced as though it is the start of something truly epic. The final battle arrives abruptly, tying up loose ends in startling (and not quite graceful) haste. The result is rather jarring and even disappointing as things wrap up just as the story was finally finding its groove. The series’ ending is not entirely unsatisfying but there is a sense that much has been left untold, and it’s rather sad to wave goodbye to the story’s young characters before they’ve really had time to grow.

Review copy provided by the publisher. Review originally published at PopCultureShock.

Though this volume shows great promise in the beginning, easily surpassing the strength of the first, a rush to conclusion in its final chapters keeps it from truly building on that promise.

Butterflies, Flowers, Volume 1

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Butterflies, Flowers, Vol. 1
By Yuki Yoshihara
Published by Viz Media

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Choko Kuze’s once-wealthy family fell into financial ruin when she was seven years old, forcing them to trade in their heavily-staffed country estate for a family-run noodle shop. Now a grown woman seeking her first job, Choko is cornered into signing on with the only firm to show any interest, which is unfortunately the same company whose interviewer asked her such wildly inappropriate questions as, “Are you a virgin?” Things are no better once she begins work, as the outrageous interviewer takes her under his tyrannical wing , choosing to personally train her for his department rather than allowing her to learn alongside the company’s other new hires. Confused by his attention and unwarranted familiarity, Choko tries her best, even while her coworkers rant about her behind her back. Finally, then, a slip of the tongue reveals that Choko’s new boss is actually the son of her family’s former chauffeur (once known to her as “Cha-chan”) who had cared for her a child and promised they would one day be reunited.

Though this revelation clears up a lot of questions for Choko, it actually makes her life much more complex. She’s grateful to reconnect with the boy she so loved as a child but his adult self is unfamiliar and fraught with contradiction. Furthermore, their relationship both in and outside of work is a confusing mess, with “Cha-chan” (more appropriately known as Masayuki) vaulting back and forth from controlling boss to obedient servant multiple times a day, leaving Choko constantly flustered over where she really stands. To complicate matters further, she also finds herself falling for Masayuki, whose perception of her as a helpless innocent he must protect (he still addresses her by the childhood name, “Milady”) prevents him from seeing her as an adult, let alone a candidate for romance. Help arrives in the (unexpected) form of Masayuki’s cross-dressing best friend, Suou, who sees Choko as someone uniquely worthy of his friend’s affection, but can anyone truly overcome such complicated mutual history?

This series’ premise may first appear to be shojo all over–shojo of the worst kind, even, with its controlling male love interest winning over the passive heroine with occasional crumbs of condescending kindness. Fortunately, there is a solid thread of adult humor and understanding running through the entire volume that makes its content both more complex and more palatable, exposing the series’ true brilliance. The result is a smart, funny, romantic comedy that takes some real shots at both soap-opera romance and Japanese office politics without ever taking itself too seriously.

Though Choko is undeniably drawn to Masayuki, she recognizes the maddening contradiction in her own feelings, something most every adult woman has faced at some point in her life. “I don’t want him to treat me like a child, but I want him to stay close and indulge me. I want him to call me ‘Milady,’ but I want him to see me as a woman,” she laments as she realizes she’s fallen in love. Meanwhile, Masayuki is just as confused as she is, torn ungracefully between the desire to control Choko and the world around her and the desire to be controlled by her. With both gender and class dynamics (some specific to modern Japanese society, others more universal) being constantly turned on their heads and back again over the course of this volume, the characters’ mutual confusion becomes both surprisingly sympathetic and genuinely humorous as the story progresses.

Speaking of humor, it’s important to be clear here that this manga is really quite funny, often in unexpected moments. For instance, when Choko finds herself in terrifying position of being expected to “entertain” a visiting client in the most horrifying sense possible, Masayuki arrives to save the day by gravely offering himself up as her replacement. The volume is filled with over-the-top behavior played with utter sincerity, rendering all of it twice as funny as it would be if it was delivered with a wink and a smile. Take this deadpan exchange for instance:

Choko: And please stop calling me “Milady.”
Masayuki: Then how about “Milady-Poo”?

The series’ art is a highlight as well–fresh, sharp, and stylized as needed. The use of popular shojo imagery, such as flowers and stormy backgrounds, helps accent the romantic melodrama while the overall cleanliness keeps everything in perspective. Like the story itself, Yoshihara’s art operates on multiple levels, maintaining its aura of smart humor while also providing the seeds of real substance. What this manga will ultimately turn out to be is anyone’s guess but whatever game is being played, both the story and its artwork are playing along perfectly.

With the second volume of Butterflies, Flowers not due out until March, it’s difficult not to feel impatient. Though the series’ first volume is charming to be sure, there is a sense that its true colors have not yet been spotted. Despite the story’s obvious commitment to humor at this stage in the game, there’s enough romantic substance bubbling underneath to suggest the possibility of a deeper direction. Though most of the characters in Choko’s life are painted with a hilariously broad brush, that each of them has more to offer seems quite clear. Time will tell how much of this we’ll see as the story continues.

In the meantime, there’s plenty to enjoy as-is. Butterflies, Flowers is truly delightful.

Review copy provided by the publisher.

Oh! My Brother, Volume 1

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Oh! My Brother
By Ken Saito
Published by CMX

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Ordinary high school student Masago has always lived in the shadow of her charismatic older brother, Shiro. Things change suddenly, however, when Shiro dies saving Masago from being hit by an oncoming truck. Grief-stricken and unable to accept that Shiro died in her place, Masago is unable pull herself together even to attend his funeral service, but Shiro’s best friend Yasaka soon gets quite a shock when Masago turns up on his doorstep claiming to be possessed by her late brother’s spirit. Though they first speculate that Shiro’s unfinished business is the upcoming school festival he worked hard to put together, it eventually becomes clear that his true mission is to help his little sister live a full life (as long as that doesn’t include romance with Yasaka). Though Masago claims to be happy with the arrangement and in no hurry for her brother to leave, how long can she truly be content letting him live on her body?

Though Oh! My Brother‘s concept sounds like a lot of fun, its execution is uneven at best, mainly due to the lack of time taken with character development, especially of the story’s supporting characters. The relationship between Masago and Shiro is certainly intriguing enough to be a fine candidate for a body/gender-switch scenario (and I think I may be the only reviewer to date not creeped out by Shiro’s sister complex) and the artist does well giving them individual traits and mannerisms when one or the other of them is in control of the same body. What’s tragically underdeveloped at this point is other people’s relationships with Masago and Shiro and how those relationships are impacted by Shiro’s death, particularly in the case of Yasaka, who is the only person aware of Shiro’s remaining presence in his sister’s body. Everything after Shiro’s death moves so quickly, it’s difficult to believe most of it and though there are some strong moments (Shiro’s explanation of his circumstances to Yasaka, for example) they aren’t given enough weight to effectively drive the story.

With its playful concept and strong artwork, Oh! My Brother has potential, but it will have to come a long way in its second volume to see any of it through.

Rasetsu, Vol. 3

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By Chika Shiomi
Viz, 208 pp.
Rating: T+ (Older Teen)

The volume begins with a mission to the home of Rasetu’s mother who is being haunted by a malevolent spirit of which she is blissfully unaware. Fortunately, Rasetsu easily sidesteps an attempt by the spirit to intimidate her by dredging up fears from her own mind, and as a bonus, Rasetsu finally finds out the truth behind the name she’s always blamed her father for (whether she’s ready to believe it or not). The volume’s second mission involves an old acquaintance of Yako’s, Dai Tendo, who is the little brother to Yurara‘s Mei (the boyfriend of the girl whose guardian spirit was Yako’s first love). His appearance brings back a wealth of sad (and not sad) memories for Yako and awakens some real jealousy in Rasetsu. This volume’s real treat, however, is a final side-story telling the tale of Aoi’s arrival to the agency and the development of his close relationship with its owner.

Fans of Yurara may be happy to see more of Yako’s story coming to the fore here, but the way his past with Yurara’s guardian spirit is brought up so blatantly again just after the previous volume has a bit of a gimmicky feel to it, or at best resembles flogging a dead horse. If Rasetsu is going to come into its own as a spin-off series, it’s going to need to rely on the here and now to keep readers interested. Though Yako’s past is surely sad and definitely a draw for fans of the previous series, perhaps this time would be better spent developing Rasetsu‘s original characters so that they have some chance of rising to that level. There are a few compelling moments in this volume, particularly some new hints at Kuryu’s true agenda, but overall the volume is only saved by the charming side-story at its end.

Though it may provoke protests from fans of the original series, the real key to making Rasetsu work is going to be letting it evolve a life of its own. Let’s hope this happens soon.

Review copy provided by the publisher. Review originally published at PopCultureShock.

NANA, Vol. 19

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By Ai Yazawa
Viz, 194 pp.
Rating: Mature

The bit of future story at the beginning of this volume reveals a stunning amount of information about upcoming events and it’s not hard to see how things begin to derail as the volume continues. As Hachi focuses on getting Nana and Ren back together with the magic of Valentine’s Day chocolates, Reira abandons all her defenses in pursuit of her long-held love. Meanwhile, Ren is falling further into darkness all on his own. Shin is released on probation, but it’s a bittersweet moment at best as Nana lets out all her own anger and frustration out on him. Though Shin and Nana reach an inspiring agreement by the end, there’s a pervading sense that it’s all too late to change anything significant in their futures.

Fans of Hachi will have a lot of difficulty with this volume but since that is due only to Ai Yazawa’s incredibly insightful writing, it’s hard to complain even with the sensation of a rusty knife twisting in one’s gut. Also, even though it is an incredibly painful volume when viewed from Hachi’s point of view, there is also a sense of impending freedom if one can shake off the accompanying humiliation enough to get there. “No matter where Takumi went, even if he completely forgot about me when he was gone,” she says in one of the volume’s between-chapter narrations, “I thought I had to make a sanctuary for him to return to when he got tired. That’s the only way I could win.” It’s one of the saddest narrations in the series so far, and that’s saying quite a lot.

Yazawa is brilliant in this volume, capturing the feelings of each of these damaged characters as though they were all her. Even Yuri shows unexpected depths in this volume, as she’s finally face-to-face with a real break in her career which would upset the plans she’s made with Nobu. As painful a destination as everyone seems to be imminently headed for, this story remains so poignant and so real, it’s impossible to leave the road.

Review copy provided by the publisher. Review originally published at PopCultureShock.

Nora: The Last Chronicle of Devildom, Vol. 8

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By Kazunari Kakei
Viz, 200 pp.
Rating: T + (Older Teens)

As the battle with Fall continues, Nora’s body has been put under the control of Fall’s ally, Deuce, whom Fall later kills without a moment’s hesitation when she is overcome by the combined efforts of Nora and Kazuma, an action which shocks Nora to his core. When Fall uses his power to transport their battle into the human world, Nora’s determination not to let any more of his friends die lends him enormous power, but in the end it is his relationship with Kazuma that gives him the power he needs to fight against Fall’s efforts to absorb his power.

After two volumes of action, revelation, and fairly significant character development, this volume, which consists mainly of action without all that much of the other two, is a bit of a letdown. Granted, there are some new developments for Fall, especially in terms of his relationship with the former Cerberus, Deigree, but Nora’s big declaration, “I’ll win ’cause I’ve got something worth fighting for!!!” seems anticlimactic now that his awareness of the importance of friends is a couple of volumes old. The relationship between Nora and Kazuma is still the most compelling thing about the series and there are definitely advancements made here, but they are a bit lost in the din of battle.

What would have been a pretty exciting volume earlier on in the series fails to quite live up to the new heights reached in the last two volumes, but the conclusion to this storyline is still quite satisfying in the end. Whether Kakai can continue to build on the series’ new strength from this point forward remains to be seen.

Review copy provided by the publisher. Review originally published at PopCultureShock.

Pandora Hearts, Volume 1

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Pandora Hearts, Volume 1
By Jun Mochizuki
Published by Yen Press

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Oz Vessalius, aged fifteen, is a carefree young aristocrat with an absent father whom he has emotionally replaced with his kind, attentive uncle. On the morning of his coming-of-age ceremony, he goofs around with his little sister, Ada, and teases his young servant, Gilbert, who is mortified to hear that Oz wishes him to be part of the ceremony, not as a servant but as a friend. The day is filled with oddities, such as the discovery of a hidden grave on the mansion property where Oz’s family ceremonies are held, accompanied by strange visions of an angry girl in a surreal, lonely place, and Oz’s sense of uneasiness begins to grow.

As his ceremony finally gets underway, Oz is shocked to find himself surrounded by cloaked figures ready to cast him into The Abyss, a place he has heard of only in stories as a terrifying prison where the world’s worst sinners are locked away forever. Though the proceedings are disrupted by the appearance of the girl in Oz’s earlier vision (whose dual appearance as an enormous black rabbit has earned her the nickname “B-Rabbit”), the cloaked crowd ultimately has its way and, branded with a sin he knows nothing about, Oz is thrown into The Abyss.

Once there, he finds himself battling “chains” (creatures of The Abyss who are anxious to eat him), though again he encounters the girl from his vision who introduces herself as Alice. Alice is also a chain, she tells him, and as Oz struggles for his life, she lures him into a contract that would allow them both to escape The Abyss. Upon their escape, they are greeted by three members of an organization called Pandora, who use Oz’s devotion to Alice (and Alice’s desire to recover her lost memories) as a tool to convince them to join in on their quest to discover the motives of the Baskervilles–the group who sent Oz to The Abyss in the first place.

That’s a lot of plot to spell out in a single review, though it really only scratches the surface of this whirlwind shonen fantasy. Impressively, though the story races along at an exceptionally fast pace, it is very easy to follow and its characters immediately take shape, evoking both sympathy and great interest from the beginning. Both Oz, whose carefree attitude hides significant intelligence and compassion, and Alice, whose aggressive, fearsome persona seems crafted to protect the psyche of a very damaged young girl, are immediately compelling. Even the three from Pandora–Sharon, whose youthful appearance seems a bit suspect, Break, whose attachment to a possibly supernatural doll-like creature (Emily) he keeps on his shoulder paints him as pretty much off his rocker, and Raven, a tall, dark, sullen man who seems unusually protective of Oz–are already distinctive and fairly enthralling, thanks to Jun Mochizuki’s clear writing and artistic skill.

Mochozuki’s art is central to the atmosphere of this manga, with its detailed character designs and settings. Much inspiration is taken from John Tennial’s vision of Lewis Carroll’s Wonderland, with the addition of Mochizuki’s own style which excels particularly in the story’s creepiest moments, such as Oz’s adventure in The Abyss. Mochizuki also has a tendency towards generously-sized coats and shirtsleeves that hang over the characters’ hands, which might suggest typical moe infantilizing if not for the fact that it is applied to male characters as often as (or more than) female characters. It is the costuming in particular that shapes Break’s character, for instance, rendering him strangely endearing instead of just terrifyingly crazy. These observations are not meant to belittle the writing at all, of course. In fact, it is the combination of both that creates these distinctive characters so quickly and with apparent effortlessness. The story’s actions sequences are unusually coherent and easy to follow, with a very dramatic use of contrast and paneling, matching its surreal setting beautifully.

As with any story as elaborately set up as this one, the real question at the end of a strong first volume is whether or not the author can effectively follow through with what’s been put into play. The series has offered more questions than answers at this point, relying mainly on the strength of its characters to hold the reader’s attention through the din. That said, there is enough promise in this fun, mysterious fantasy to ease all doubts for the moment and simply anticipate. Fast-paced, enigmatic, and attractive to the eye, Pandora Hearts is easy to recommend.

Review copy provided by the publisher.

Beast Master, Volume 1

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Beast Master, Vol. 1
By Kyousuke Motomi
Published by Viz Media

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Yuiko Kubozuka is a seventeen-year-old animal lover whose over-exuberance unfortunately sends the animals she so loves running away from her in fear. When Yuiko’s intrusive attention finally drives her own cat up into a tree, a mysterious young man emerges from the tree’s branches, rescuing the cat and running off into the night. The young man is Leo Aoi, who is soon officially introduced as a new student transferring into Yuiko’s high school class. Leo, who was raised on a remote island and later lived in other areas sparsely populated by humans, is more comfortable with animals than people, a trait that makes him appear frightening to the other students in his class. Eager to thank him for rescuing her cat, Yuiko follows him up to the roof of the school, where she easily befriends Leo, who is grateful to meet someone who isn’t scared of him.

As she gets to know him, Yuiko discovers that Leo actually has a warm, almost childlike personality (as well as a close connection with animals that Yuiko truly envies). Unfortunately, he also has a rather terrifying mental condition that sends him into a violent frenzy whenever he experiences intense fear coupled with the sight of blood. Though this reaction served him well in the wilderness (where he was frequently under attack by wild animals) it makes him a real danger to other humans, and even his legal guardian, Toki, is unable to control him by any means other than shooting him with a strong tranquilizer. It is Yuiko, then, who discovers that she alone has the power to soothe the beast in Leo and bring him out of his frenzy.

Despite its horror-movie title and fairly implausible premise, Beast Master‘s opening volume can best be described as sweet. Both Yuiko and Leo share a kind of open innocence that is undeniably adorable, even when it is responsible for some of their greatest areas of ignorance (such as Yuiko’s consistent failure to understand animals and Leo’s difficulties with humans), and watching the two of them together is pretty charming. This volume includes standard shojo-friendly elements like cute animals, gang leaders with a heart of gold, innocent cuddling, and people doing their best, but regardless of the levels of believability and cliché associated with any of these items (and more) there is an unforced warmth running throughout the story that is pretty difficult to dismiss.

Also, though the premise is pretty simplistic, there is some real depth to be found in the execution for anyone who’s looking. Yuiko’s inability to connect with animals is incredibly painful for her, blinding her to her own strengths. Despite her focus on animals, she possesses an understanding of people that is unusually well-developed, a fact finally pointed out to her by a friend late in the volume, which is undoubtedly responsible for her ability to recognize Leo’s true self while everyone else views him with fear and suspicion. Because of this, she’s able to offer Leo the opportunity to actually live with other humans instead of being caged by them, something she clearly does not recognize the significance of at this point. With Yuiko at his side, Leo is able to safely make a place for himself in the human world, while Leo offers Yuiko the opportunity to learn how to truly love animals rather than simply forcing her will on them, something of which perhaps he truly does not recognize the significance.

With both characters maintaining a level of innocence unusual for their age, the thing that seems most difficult to imagine is romance, though the artwork gracing the volume’s cover (as well as its individual chapters) would indicate that this is where things are headed. This incongruous tone is a bit jarring at this point, and it will be interesting to see how smoothly the author manages to pull that off as the series continues. That said, the fact that the two leads are currently unconcerned with romance is one of the story’s nicest characteristics. Both characters are strong and nicely layered, even early on, and it’s nice to read a school-based shojo manga in which the heroine’s focus is on something other than getting a boyfriend. This is quite nicely reflected in the internal artwork, which is effective (if unremarkable) and nicely restrained, especially in terms of toning.

Though Beast Master is not as immediately addictive as some of its soapier shojo neighbors or as emotionally complex as others, it is both warmer and more thoughtful than its premise would suggest, making it a promising new addition to Viz’s Shojo Beat lineup.

Review copy provided by the publisher.

Claymore, Vol. 15

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By Norihiro Yago
Viz, 200 pp.
Rating: T+ (Older Teen)

Volume fifteen opens with the conclusion to the battle with awakened warrior “Bloody Agetha”—a battle that will soon seem utterly insignificant in comparison to what comes afterward. As the fight ends, the rebel warriors finally reveal their true intentions to Galatea, Clarice, and Miata, after which Miria goes on to divulge what she’s discovered over her many years investigating the Organization, including its origins and true purpose. The truth she’s uncovered is genuinely shocking and as the rebels (along with their new allies) prepare for what may be their final battle, Clare embarks on a side mission of her own to reunite with Raki, the boy she left behind so many years before.

This volume’s new revelations are really quite stunning, pulling the story further into darkness and creating a deeper atmosphere of pathos around both the young women whose futures were sacrificed to make warriors and all the the citizens whose villages have long been plagued by Yoma. It’s difficult to discuss any of it without ruining one of the story’s best plot twists so far, but suffice it to say that the new information is a game-changer all around, giving the series a significant boost of momentum. Adding to this fresh strength is the reemergence of Raki, now a powerful young man, still traveling with Awakened One Priscilla who has become smaller (if not weaker) thanks to several years’ abstinence from eating human flesh.

Those who have followed Claymore to this point have already reaped many of the rewards of Norihiro Yago’s slow and steady approach. Both its plot and characterization have become significantly more complex over the course of the series. Volume fifteen moves all of this yet another great step forward, transforming this series into a real must-read for fans of dark fantasy.

Review copy provided by the publisher. Review originally published at PopCultureShock.

Shoujo Art Studio

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By Yishan Li
Watson-Guptill, 128 pp.

The subtitle of Shoujo Art Studio is “Everything You Need To Create Your Own Shoujo Manga Comics,” an interesting choice considering what is (and isn’t) inside. The fine print on the attached CD points out that users are required to own Adobe’s Photoshop Elements (at the very least) in order to use the files provided—an additional $50 investment casual buyers may not be expecting. On the other hand, one could argue that the CD actually includes so much of “everything,” there isn’t all that much left for the user to create.

What Shoujo Art Studio provides is 67 pages of basic instructions for manipulating the provided images (using Photoshop) in order to create a shojo-style comic, followed by a visual catalogue of the contents of its accompanying CD. The collection of images includes line art for several characters, backgrounds, basic effects, page layouts, word balloons, and accessories (like a bicycle and a cell phone), along with a variety of tones. Characters come complete with an array of possible outfits, hairstyles, poses, and facial features, each in its own layer to be added and removed at will, creating the equivalent of a digital paper doll. Two pages on the topic “Pacing Your Storytelling” are the deepest it goes into anything beyond the most surface elements of manga. The instructions are brief and fairly easy to follow, though Photoshop novices may find that things are not quite as simple as Shoujo Art Studio would have them believe. Though the book is far too basic for even intermediate users, it may move too quickly for some beginners.

<i>Say it isn't so, Kyo-kun! (Click to enlarge.)</i>

Say it isn't so, Kyo-kun! (Click to enlarge MJ's creation.)

Just as experienced digital artists will find this book of little use, dedicated readers of shojo manga may react negatively as well, particularly to the author’s statements about the nature of the genre which emphasize tired shojo clichés—an attitude that is further reinforced by the choice of artwork included. That said, non-artists will find some enjoyment in being able to “create” something that somewhat resembles a page of manga without having to acquire much in the way of skill. Some elements are more difficult to use than others (this reviewer gave up on toning after one disastrous panel) but the process is surprisingly fun, if undeniably superficial.

Black Bird, Volume 2

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Black Bird, Vol. 2
By Kanoko Sakurakoji
Published by Viz Media

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Misao Harada, already in the unpleasant position of having to depend on the dreamy yet controlling demon Kyo for her very life, finds things further complicated by the arrival of the rest of Kyo’s tengu clan. The new arrivals (all male, each prettier than the next) include Kyo’s older brother, Sojo, whom Misao also knew as a child. On the plus side, Misao finds out that Kyo fought to take Sojo’s position as head of the clan, presumably in order to marry her, lending additional credibility to his declaration of love. Unfortunately, deceptively mild-mannered Sojo turns out to be a pretty sick guy who will do anything to destroy Kyo and take back what was his, placing everyone’s lives in peril.

This is a fairly eventful volume that packs quite a punch, both in terms of romance and melodrama. Sojo is a truly hateful villain who even abuses adorable little tengu Taro and his brothers–the general equivalent of kicking an uncommonly cute puppy–making him incredibly easy to despise. Revelations about Kyo’s past with Misao and the memories that were erased from her mind by Sojo’s magic create a dark, romantic tone that would be difficult for any hot-blooded shojo fan to resist, despite the story’s sexually-charged violence. Unfortunately, this volume’s final chapter destroys the one thing that had, until this point, kept its misogynistic overtones somewhat in check.

In my review of volume one, I said that it was Misao’s clear view of her own situation that made the story palatable, despite Kyo’s deeply controlling nature. Misao knew that she was stuck depending on Kyo and hated it, highlighting both the poignance of her circumstances and her own personal strength, and presenting an opportunity for Kyo to be the one to change in order to be worth of her. This begins to erode early in volume two, as Misao falls further for Kyo’s charm and the bits of memories she’s clung to all these years. Still, it is possible to hang on as evidence mounts suggesting Kyo’s sincere intentions. Then everything falls apart all at once with a bit of internal monologue from Misao as Kyo unbelievably forces himself on her as a form of “punishment” for her behavior with his bishonen relatives.

He never has sweet words for me. He uses force to make me understand what he’s thinking. That’s why when he hugs me gently I can feel it. I get the message.

With these words, any hope of Misao remaining a strong heroine is lost and I suspect this series has lost me. Though it has great potential as a compelling piece of deliciously trashy shojo, I’m not sure it can come back from that. Prove me wrong, Black Bird?

Review copy provided by the publisher.

xxxHOLiC, Vol. 14

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By CLAMP
Del Rey, 192 pp.
Rating: T (13+)

With a quiet life restored thanks to her wish, Kohane gives her mother the space necessary for her to gain an understanding of how she must change by moving in with the fortune-teller from volume two, who will also take the opportunity to pass on her craft to Kohane. While visiting, Watanuki teaches Kohane to cook and Doumeki reveals to Kohane the reason behind his friendship with Watanuki. As they walk home later that evening, Watanuki startles Doumeki with a confession (no, not that kind) of his own. Back at the shop, a new customer arrives—a young woman with a wish to obtain cooking lessons. Watanuki is (unwillingly) tasked with fulfilling her wish, which gives him some unexpected insight into both Doumeki’s eating habits and the individual nature of cooking.

Though this volume proceeds more quietly than the last, it is filled with wry humor and thoughtful revelation, two of the series’ best qualities. Also notable in this volume is a strong sense of warmth, something that has increasingly become a part of the series. This is particularly evident in each character’s relationship with Watanuki—from Yuuko to the fortune-teller—including even dry-humored characters like Doumeki and Mokona (with whom Watanuki shares an especially sweet moment in this volume). It is the connection between people that makes this series feel so rich, a point made stronger in this volume when Watanuki reveals that it is these connections that have inspired him to continue his own existence. As usual, this volume also provides enough mouth-watering discussion of food to send every reader running to the kitchen (or at least the nearest Japanese restaurant).

With its gorgeous artwork and philosophical tone, xxxHOLiC continues to provide a feast for both the eye and soul.

Review copy provided by the publisher. Review originally published at PopCultureShock.