Anna N

I will concede that there are many shoujo series out there that are better executed than Library Wars, but I will always love this manga because I am a librarian and this manga is about paramilitary librarians falling in love. While some of the plot contrivances in Library Wars are a bit on the thin side, it still functions wonderfully for me as a cute fluffy read. The main story in this volume centers around the enigmatic Komaki and a young deaf girl who he picks out library books for. Komaki might be deluding himself that he’s only performing reader’s advisory services for an old family friend, but as Marie grows up she falls in love with him. Their relationship is totally innocent, but this doesn’t stop the Media Betterment Committee from making false accusations, kidnapping Komaki, and tying him up and torturing him. Because that’s what happens if you are accused of making insensitive book recommendations. With the eyes of a young girl in love herself, Iku clearly sees that Marie cares for Komaki and takes her along on a rescue mission, even though Dojo objects.

I do wish that Dojo would stop slapping Iku whenever she’s trying to strike out on her own to do her job. He usually does this just before she’s supposed to rush into danger, but it suggests an unhealthy relationship dynamic, which I don’t think the author is going for. Aside from foiling the Media Betterment Committee and dodging her parents, Iku does have a great moment where she gets a surprise makeover as part of her guard duty at a literary event and Dojo spends most of his time fending off other men. So nothing earth shattering in volume 5, this installment is pretty much exactly what the previous volumes delivered but it is good enough for me. I was amused that when Dojo was chiding Iku about her reference duties, he called it “referencing,” which I thought was a bizarre but charming way of referring to the classic reference interview.

I love the cover for this volume! Most of the previous volumes had daytime scenes, so it seemed like a nice change to feature the characters against a night time backdrop. I’m a little concerned about Kaze Hikaru. I’d been behind on this manga but then decided to read a good chunk of the most recent volumes. I hadn’t realized that there was a year between volumes 18 and 19. Now there are 28 or so volumes out in Japan and the series is still ongoing, and I’m wondering if we really will get the complete series out here. Kaze Hikaru isn’t a manga that clobbers the reader over the head with tortured vampire bishonen but it is exceedingly well-crafted, with plenty of historic charm and angsty cross-dressing.

As always, Kaze Hikaru blends historic details with the drama provided by the slowly developing relationship between Sei, disguised as a boy to enter the Shinsengumi and her mentor Okita who knows her true identity. This volume was a little more heavy on the historic politics front, as it detailed some of the maneuvering from the arrival of foreign ships outside Japan. Sei is on a mission to locate a mysterious geisha Captain Kondo fell for, as he is overcome with illness. Sei’s girlish good looks become a problem for her mission, as she heads into a confrontation with a man named Ukinosuke who appears to be a dissolute drunkard. Okita arrives just in time to help out, and Kondo is able to finally meet the woman he fell in love with. Ukinosuke is revealed to be an alias for a very important man, and Kondo’s devotion to his duty ends up influencing a critical decision from the shogun. Sei ends up comforting and supporting Okita for a change, when he thinks he’s been put aside by the captain. The volume concludes with a delightful stand-alone story where Sei and Okita confront the bad reputation of the Shinsengumi and meet a pioneer of photography in Japan.

I’m always amazed at how much story Watanabe is able to pack into one volume and the fact that even though the relationship between Sei and Okita is progressing at such a slow pace, I don’t feel impatient about the idea of the story of Kaze Hikaru needing to resolve anytime soon. I think I’ll start to get impatient if I have to wait a year for volume 20 though!

Review copy of Kaze Hikaru provided by the publisher.

Arata Volume 5 I think I’m really hampered from fully enjoying this series due to my familiarity with Watase’s other works. Modern Japanese Arata still is putting together the pieces of his quest in a fantasy world with an imperiled princess, while the Arata he switched places with is back in Japan navigating the difficulties of modern school life. Watase does do quest storylines very well, but there’s not much new here to someone that’s already read the piece/people collecting narratives of Fushigi Yugi and Fushigi Yugi: Genbu Kaiden. I continue to me more interested in the other Arata’s adventures in Japan, and in this volume he gets an unexpected ally when a classmate sees through his disguise. What disappointed me was the plot twist at the end, which seemed so reminiscent of the whole Miaka/Yui dynamic in Fushigi Yugi that it didn’t carry much suspense or dramatic tension for me.

Nura: Rise of the Yokai Clan Volume 3

Nura: Rise of the Yokai Clan continues with its well-executed story of a boy who happens to be the heir to a clan of demons. Nura confronts the rebellious Guyki, and comes up with some clever maneuvering with clan politics when his grandfather announces his intention to make Nura his formal heir. Nura’s classmate Kana is menaced by yokai, and when Nura’s older and stronger form comes to her rescue a little bit of a Lois Lane/Clark Kent dynamic develops when Kana suspects that her classmate and the powerful yokai boss might be connected. The volume wrapped up with a story where Nura’s grandfather meets the powerful exorcist Yura, who attempts to defend the old man she assumes is human from a yokai assassination attempt. There’s plenty of action in this manga, which is enlivened by all the off-kilter character designs used for the yokai. I think this is one of the more solid recent shonen manga series from Viz.

Saint Seiya: Knights of the Zodiac #27

My favorite of this recent batch of shonen manga was by far Knights of the Zodiac. I don’t collect every volume, but I’m always happy to read it when I come across one. The over the top manly shouting and endless battles between gods ensures that it isn’t too hard to just pick up a ransom volume and enjoy it, without worry too much about the ongoing storylines. Basically I read Knights of the Zodiac for two things: crazy battle shouts and ridiculous moments of insanity. The Bronze Knights are about to battle the henchmen of Hades, but there are horrible complications that might prevent them from being effective in battle. Awesome battle cries were in evidence from the first few pages as Dragon fights a trio with their “Grand Axe Crusher!, Blood Flower Scissors!, and Annihilation Flap!” No! Not the Flap! The craziest image in this manga occurred when Thantos was describing to Seiya how he trapped Athena in a vampiric urn, which slowly turns red as it absorbs all of her blood, thus killing her. Athena is shown sleeping with her head sticking out of an urn, tendrils of hair spread out everywhere. Phoenix shows up, as does Seiya’s long-lost sister. Everybody is gearing up for the final battle in the next volume, which I am going to have to get. I certainly hope Athena manages to escape from her vampiric pottery prison.

Review copies of Arata and Nura: Rise of the Yokai Clan provided by the publisher.

The manga moveable feast for this month is Wild Adapter. I’m not able to participate fully, because I only read the first two volumes of that series a long time ago. I didn’t follow through with collecting Wild Adapter because I was much more taken by Minekura’s other series, Saiyuki. I’ve read most of the first series and have collected a decent chunk of Saiyuki: Reload, but I haven’t read Reload yet. This Manga Moveable Feast is a good excuse to go back and remind myself why I liked Saiyuki so much in the first place. Hopefully I’ll be able to make a second pass through this series over the summer and finally read most of Reload.

Minekura’s Saiyuki is very loosely based on the classic Chinese tale Journey to the West. Saiyuki’s quartet of womanizing and drinking heroes set off on a journey to prevent the escape of a great and destructive Yokai who was sealed away centuries ago. The land they journey through is Shangri-La, an uneasy mixture of Heaven and Earth, populated by both humans and yokai. Many of the yokai have started to turn on humans and the great priest Genjo Sanzo is charged with preserving Shangri-La. With him are yokai companions, the powerful and irrepressible Monkey Kin Son Goku, the womanizing half-breed Sha Gojyo, and the enigmatic Cho Hakkai. The bickering relationship between the characters makes their quest sometimes seem like a very strange episode from one of the National Lampoon Vacation movies, if it was cast with a boy band who makes frequent stops to murder insane demons.

When rereading the first few volumes of this series I was struck by how well Minekura paces her story. It starts out quickly with the quartet heading out on their quest and quickly getting into trouble. In between the fights are stories that showcase the individual characters and giving the reader insights as to why their combative friendship works. They see how distrusting humans are of yokai. Sha Gojyo shows an uncommon degree of gentleness to a woman who is pining for her lost yokai lover. Son Goku seems to spend most of his time getting into trouble and obsessing over food, but he’s devoted to Sanzo and is likely to be the most powerful of the group if he was ever unleashed. Cho Hakkai’s smiling and calm exterior hides a tragic past. Sanzo resolutely maintains his cynical exterior.

As the character’s personalities become more defined, it is also fun to see the world they navigate through on their quest. Minekura blends fantasy elements with modern anachronisms. Cho Hakkai’s dragon transforms into a Jeep that the characters drive through the landscape of Shangri-La. The heroes are chain-smoking beer drinkers who love gambling. When other monks encounter Sanzo they are horrified by his dissolute habits, but he’s able to put down rogue yokai with his awesome sutra chanting or his gun. With a cast of bickering cuties with tortured casts and Minekura’s growing habit of drawing her men in random pin-up poses, it is easy to see why Saiyuki developed a huge female following. I’m not even sure if this manga ever actually ended, because it seems to spawn any number of sequel and prequel series. But the point of Saiyuki is the journey, not the destination. I think I liked it just as much when rereading these volumes that I last read several years ago.

Tenjo Tenge is infamous as the manga that caused anguished otakus to rage at CMX for the censored edition that was put out during the earlier days of its publishing history. I’m wondering what the economic impact would be if everybody that complained about the CMX editions were to pick up this new Viz edition of the series. I generally am not a big fan of fighting manga where female nakedness is as much of a story element as the battles, but I have an inexplicable fondness for Oh!great. He did pick as a pen name a moniker that wouldn’t be out of place in the discussions of pseudonyms in Even a Monkey Can Draw Manga. It takes a certain kind of moxie to design a pen name for yourself that incorporates an exclamation point in it. I read and enjoyed the first few volumes of Air Gear. Air Gear had plenty of great action scenes, and I enjoyed the visuals and over the top idea of rival gangs fighting it out on flying roller blades. I hadn’t read the CMX version of Tenjo Tenge, so I was curious to see what this earlier Oh!great series would be like in the uncensored edition.

Complaining about misogyny in an Oh!Great series is a bit like protesting all the skulls used to decorate female private parts in Tarot: Witch of the Black Rose or the spinelessness exhibited by Miki Aihara heroines. Certain things just go with the territory for series like this, and there are plenty of illustrations of large bosomed girls busting out of their clothes in fights, a bizarre rape, and a weird habit of staging scenes in women’s bathrooms. Todo High appears to be a school that exists mainly as a staging ground for fights, because there are never any scenes of students actually attending class. New kids Bob and Soichiro arrive and announce that they’re going to be number one, but the members of the Juken fight club think differently. Maya Natsume spends most of her time in the form of a small child, but she transforms into a robust teenage girl when she wants to take down an opponent. Aya Natsume has untapped hidden power and an unfortunate habit of falling madly in love with the first boy (Soichiro) to fall on top of her when she’s taking a shower. Masataka Takayanagi is a skilled martial artist who spends most of his time mooning over Aya. Bob and Soichiro join the Juken Club, and the Juken club has to fight the evil Executive Council. So the fighting begins!

It is probably unfair to compare a later series with an earlier work from the artist, but I did like what little I read of Air Gear more than the first couple volumes of Tenjo Tenge. In the first few volumes at least, Air Gear had less frequent nudity, better proportioned female character drawings, and much more innovative action scenes. I hadn’t read far enough into Air Gear to encounter the time one of the characters is basically dressed in string while wearing a paper bag over her head, so I understand plenty of that stuff happens in that series but it seemed to be toned down a bit at first. One of the things that annoyed me a little bit about Tenjo Tenge is that the female characters often are drawn as if they have shrunken heads on much larger bodies. I understand a certain amount of exaggeration is going to happen in a title like this, but it gets a little ridiculous if one person’s boob is three times the size of their head. I did find Tenjo Tenge’s absolute commitment to endless fighting in school to be somewhat amusing. There are a few interruptions like when someone watches porn, a minor character explains how her rape wasn’t a rape using incredibly bizarre logic, or a bowling trip goes wrong, but mostly there’s an endless parade of fights or people training to get better at fighting. For people who like plenty of action scenes in their fighting manga, Tenjo Tenge certainly delivers. The girls fight just as much as the boys, with Maya being particularly deadly.

It wasn’t until the end of this volume that I started having a bit more fun reading Tenjo Tenje. I always enjoy it when martial arts techniques like “Linking Heavenly Iron Blossom Strike!!” are incorporated into the action, but this happened far too infrequently. The endless parade of panty shots seems to be there more to distract from the lack of compelling storyline or more stylish fights. There seemed to be more exuberance on display in Air Gear, so I’m sure that as this series goes along the art improves. While I read Tenjo Tenge and concluded that it isn’t for me, I do think that the Tenjo Tenge fans who were put off by the CMX editions will like this edition. The series get the full Viz Signature treatment with an oversized edition and color pages.

Review copy provided by the publisher.

Only in shoujo manga would you find yourself rooting for the romance between a peppy orphaned high school girl and an emotionally damaged ex-hacker turned school custodian. When this series first started I was hoping that the industrial espionage aspects would be more fully explored. As this series settles down for the long haul, it is clear that the mystery behind the death of Teru’s brother and the secret he left behind is really going to be used as more of a background element to either bring Teru and Kurosaki closer together or further complicate their relationship. I don’t mind the lack of industrial espionage at the forefront of the series, because I’ve come to care about the characters. Plus, wishy washy industrial espionage is a little more compelling than school club activities, evil student councils, sudden sibling scenarios or any of the other slightly shopworn plots used in much shoujo manga nowadays.

Dengeki Daisy Volume 4

The third volume ended with a plot development that had the potential to move things along nicely. Teru discovered that Kurosaki has been acting as her mysterious guardian and best friend via cell phone Daisy. As the fourth volume opens, she’s struggling with the fact that she knows Kurosaki’s secret but isn’t sure if she should admit it to him. She’s afraid of how their relationship might change if everything is out in the open. Teru is acting uncharacteristically awkward around Kurosaki and struggles to keep her usual tone when texting Daisy. Eventually they work through their issues, helped out by the memory of Teru’s brother and the revelation of the violent reason behind Daisy’s nickname. The comedic relief in this volume comes in the introduction of the school director. Ando was also linked to Teru’s brother, and he seems to spend most of his time skulking in odd corners, so the students start thinking that the school is haunted. It is interesting that at least three positions at the school are populated by people with a connection to Teru’s brother. Someone starts posing as Daisy in a cell phone hacking attempt, and Teru’s school life grows even more complicated.

Dengeki Daisy Volume 5

The shadowy menace gets emphasized in this volume as Kurosaki gets injured protecting Teru. Her other protectors kick into high gear. It is clear that Kurosaki knows that Teru knows that he’s Daisy, but she doesn’t know that he knows that she knows. So complicated! Kurosaki’s guilt may prevent him from ever having a relationship with Teru, and she seems to want things to remain as they are so she can just enjoy spending whatever time she can with him. Events from previous volumes are brought up again as Arai, the former student council advisor is investigated for possibly being the source of the fake Daisy scheme and the attacks on Teru. Teru struggles with what to do to help solve the situation and Kurosaki has one of his scary but cool moments when he targets the manipulative Miss Mori. Kurosaki’s glares and evil demeanor brought some extra energy to this volume, I always enjoy it when he starts acting as menacing as he was in the initial volumes.

I’m still enjoying this series very much. The slightly unconventional relationship, the mystery of Teru’s brother, and the slow revelations about Kurosaki’s past are all very satisfying. I realize that popular series like this will probably get spun out over several volumes but I’m still enjoying the slowly developing relationship in Dengeki Daisy.

Volume 5 provided by the publisher

Ah, the last volumes of series published by Tokyopop. I can’t help but feel wistful when I think about not being able to read the end of these series. And since a decent number of volumes for both of these were published, I can’t imagine another company would pick up the licenses. Fortunately after feeling mournful about Demon Sacred and Shinobi Life, I was able to read the concluding volume of the ever delightful Karakuri Odette.

Demon Sacred #4

After the first few volumes of non-stop insanity with all the demons manifesting on earth as pop idol duplicates and reverse aging syndrome, the fourth volume is a little bit more settled. It felt to me like Itsuki was digging in a bit with her typical slow world building. One revelation I found interesting was that the immortal demons are attracted to humans due to their mortality. If a human ever truely loves a demon, the demon may finally receive the gift of a revered type of death. Shinobu’s evil sister Zophie manages to coax her way into his apartment by bribing K2 with pastries, and as soon as she gets a glimpse of the demon she decides to use her cougar wiles on him. Mona is less than thrilled about her demon running off with an older woman. Rina is dealing with the emotional effects of her reverse aging. Shinobu’s family and the government are introducing an anti-demon military and propaganda campaign and they’ve decided to approach Keito to act as their celebrity spokesperson. I love the way Itsuki manages to construct a story out of the most improbably elements but still manage to make everything happening seem believable and natural. With so many volumes left in this series, I’m really curious about where the story would have gone.

Shinobi Life #7

It seems like with every volume of this series there’s a surprising character revelation. Beni is trapped in the past with a younger version of Kegetora, while Kagetora travels to a time in Beni’s past when she is a little girl and her mother is alive. Beni is navigating through all the treachery and suspicion that surrounds Kagetora’s ninja clan, struggling with her feelings for a teenage Kagetora who hasn’t turned into the man she loves yet. Kagetora gets to observe a young Beni’s interactions with her mother, and he makes the discovery that Beni’s father is a time traveler as well. Beni’s mother describes what happens when travelers meet themselves, and Kagetora is determined to keep jumping through time until he finds her again. This was another great volume of Shinobi Life, and I’m sorry that I won’t be able to read the rest of the series.

Karakuri Odette #6

The final volume of this series has one of those open-ended conclusions that I sometimes find annoying, but Karakuri Odette has always been so episodic it didn’t bother me that no big plots were wrapped up at the end. Odette’s robot girl uniqueness is explored further when the sibling robots of rival creator Dr Owen cause further complications in her life. Travis has decided that Odette should be his robot bride. Even though Grace has a lower level of artificial intelligence, she’s jealous of Odette. Owen sees that Odette is superior to his own creations and is determined to grab her so he can find out how she became so advanced. Owen’s strategies to capture Odette result in horrible failure. He underestimates the capabilities of his own robots to decide on their own actions. He approaches Odette himself with a “Hey little girl” type line that she immediately sees through. Finally, he tries to get Odette’s human best friend Asao to deliver Odette to him, with disastrous results. Odette is working through the idea that she might not have a companion for life. Asao is moving on and graduating, and as much has he professes not to care for the robot girl, he still appears to help her whenever she’s in trouble. Chris just lurks in the background being silently supportive and Travis isn’t suitable for a number of reasons. Odette’s final lesson in her journey to becoming human is understanding the nature of change. As the school year ends, all the characters seem to be capable of moving on in their own ways.

I’m always happy to read a new volume of Afterschool Charisma. This series about teenage clones of historic figures, their vaguely menacing high school, and the seemingly normal boy trapped with them just has a certain kind of pulpy appeal that I find enjoyable. The cover model for this volume is the uncharacteristically tall teenage Napoleon Bonaparte. At the end of the previous volume non-clone Shiro got a nasty shock when an older version of himself showed up with a pint-sized resurrected Marie Curie, nicknamed Pandora. Mozart yells “Welcome to the clone world, Shiro!” Freud points out that other than the fact that there’s someone that looks a lot like Shiro, they don’t have any confirmation that Shiro actually is a clone. Shiro wants to find his dad so he can ask him about what’s going on. Mozart goes around acting unhinged, and Joan of Arc is preparing to reenact her predecessor’s fiery death.

School director Rockwell reveals a maniacal side underneath his seemingly breezy personality. The shadowy group of people orchestrating the Dolly the Sheep religion finally make themselves known as the school festival draws a variety of visitors who wish to observe the clone’s special talents. One disappointing thing about this volume for me was that we didn’t see much of Clone Freud being awesome. He’s mostly just taking in everything about Shiro, wondering who he actually is, and observing the reactions of those around him. I’m expecting something dramatic from Clone Freud in the future. The pacing for this manga is very good if sometimes a little frustrating. There’s always a dramatic cliffhanger at the end of each volume which leaves me wondering what will happen next.

Review copy provided by the publisher.

When I start to read this I realized that I was going to sample the first two volumes of this series on two different platforms. I bought the first volume on the Viz iPad app when it was on sale, then I was sent a print review copy for the second volume. I expect as I transition more to reading things on my iPad that my physical and virtual bookshelves will fragment even more, with volumes of the same series scattered between them.

Blue Exorcist Volume 1 by Kato Kazue

I tend to skim rather than read closely reviews of series that I might later end up reviewing myself, but my general impression of the response to this first volume is that most manga bloggers thought it started out sort of rocky and then stabilized a bit in the final chapters. This was pretty much my response to the first volume as well. The intriguing elements of this manga for me initially were the character designs and art. The story seemed poorly paced, with too many elements and twists introduced in so few pages it was hard to keep track of what was going on. Rin is a troubled young man who lives in a monastery with his guardian/priest and his seemingly timid younger twin brother Yukio. In the first few chapters it is revealed that Rin’s guardian is a powerful exorcist, Rin is the son of Satan and thus demonic, and evil demons walk the earth that must be battled. Rin gets a magic key and a special sword, Rin’s guardian is possessed by Satan, there’s a terrible fight, a headmaster who enjoys wearing knickers and a top hat tells Rin he has to enroll in a special school for exorcist, Rin goes to boarding school and finds out that his younger brother has been hiding his identity as a gifted student of exorcism all along. All of this happens in roughly the first chapter. That is a lot of plot to wade through in order to set up what is essentially a Harry Potter like situation of a young, not very gifted boy suddenly enrolling in exorcism boarding school.

Once Rin is at school, things settled down a bit and I was able to enjoy the manga a bit more. The visual design of Blue Exorcist is appealing. The characters are all wearing gothy punked out clothes that would serve as good inspiration for a cosplayer. I was really interested in the few glimpses of Blue Exorcist’s setting. True Cross Academy is shown as a mini city full of buildings with different architectural styles stacked up in a hill, with multi-level roads running through it. There seems to be a system of different keys acting as dimensional portals, and Rin soon finds out that school is going to be challenging, as he has to hide his identity as Satan’s son while attempting to study for the first time in his life. Rin’s slight fangs and sloppiness contrast with Yukio’s buttoned up personality and glasses. Rin finds out that the little brother he always thought he had to protect is more competent at demon fighting than him.

Blue Exorcist Volume 2 by Kato Kazue

Like most shonen manga, after the inital set-up, Rin starts gathering a team of allies around him. The first is a gentle girl named Shiemi, who is devoted to gardening and traditional clothing. When Rin helps save her, she promptly decides to enroll in exorcism school too. The second volume focuses on the rocky relationships between the characters. Rin keeps falling asleep in class and is shunned by the other students. Shiemi is bullied by her female classmates. Rin’s classmate Suguro hates Rin because it seems like he’s not taking school very seriously. The confrontation between Suguro and Rin soon becomes physical as they take risks during their demon fighting lessons. The students begin to explore their powers. Shiemi’s affinity for plants allows her to summon a familiar that can produce healing herbs on command.

Kazue’s character designs are very distinct, so it was easy to keep track of Rin’s classmates. The second volume mixed classroom action with the students getting to know each other. It seemed a lot more consistent, and even though “students train to develop super powers” isn’t a particularly innovative concept to build a manga around, so far I’m enjoying the way it is executed in Blue Exorcist. If the third volume continues the upswing in story quality, I’ll likely be hooked on this series. Blue Exorcist is certainly one of the more stylish shonen manga to come out recently, and it seems like the author is improving. I’d recommend reading the first two volumes at once, because the first volume isn’t really enough to give a reader a full picture of what the series is going to be like.

Review copy of volume 2 provided by the publisher

Ridge: The Avenger by Leanne Banks and Keiko Kishimoto

I tend to like Harlequin manga the most when the art is ridiculously old fashioned. If the adaptation has art that looks a little bit like a throwback to the 80s, I tend to enjoy the goofy storylines of these books even more. Kishimoto has a lush style, featuring bee-stung lips. In some scenes I was reminded a tiny bit of Yumi Tamura’s Basara, especially with the angular proportions of the hero’s face. The hero in question is bodyguard Ridge, assigned to protect the goddaughter of a presidential candidate. He thinks Dara is spoiled and silly. Ridge has an ulterior motive in being assigned as Dara’s protector. What could it be? He is out for REVENGE! Ridge’s tortured past (this must be why he seems to be pouting so much) has led him to want to destroy Dara’s godfather and his political future.

Ridge and Dara bond with each other over assassination attempts and their horrible fashion choices when rollerblading. While they fall in love, Ridge is still out for REVENGE and he might destroy Dara’s life! But he loves her! The art in this title is really much better done than most Harlequin manga. There were interesting panel layouts, perspective shifts, and the character designs were attractive in an old fashioned way. This was a fun read.

Codename: Prince by Megumi Toda and Carla Cassidy

Codename Prince is the third book in the Stanbury Crown series. Royal cousin and military man Ben is posing as his cousin Prince Nicholas in order to get himself kidnapped and collect intelligence on the group who has kidnapped the King of Edinburg. His captor is the attractive woman Megan who has been blackmailed into helping her brother with his nefarious schemes. Megan has a young daughter who the kidnappers threaten to hurt if she doesn’t help them. The story opens with Ben tied up on a bed with a teddybear placed next to him, slowly developing a hopeless crush on Megan. Codename Prince is very short, and doesn’t really contain the type of spying shenanigans I was hoping for based on the title. The art is simple and fluid, without some of the stiffness that seems to plague many of these quick romance novel adaptations.

An Officer and a Princess by Megumi Toda and Carla Cassidy
This series wraps up with the final volume, where the princess of the family decides to go undercover with her crush to unravel the mystery behind her father the king’s disappearance. Isabel had to give up her dream of serving in the military for her princessy duties, and her good friend and fellow officer Adam tends to view her only as a princess and not as a woman. When they pose as man and wife, will their love finally blossom?

By the end of the series, I think I liked the concept of linked books with overlapping characters a little more than the actual execution of it. The King certainly managed to stay kidnapped for a long time, as four royal couples managed to get married off while he was missing. A certain level of sameness started to settle in with the plots of this series, so while these manga weren’t the worst Harlequin manga ever, they ended up not being all that great either. These were still perfectly serviceable for someone wanting a quick summer read.

Access to electronic copies provided by the publisher.

Some series I find immediately appealing and others grow on me over time. In the case of Kaze Hikaru, I liked it well enough when I read the first volume but it wasn’t until I was able to check out a bunch of volumes from the library at once that I was completely won over and decided to slowly collect the entire series. I worry a bit about this series, because I get the impression that it isn’t a very strong seller and it is 29+ volumes in Japan. Kaze Hikaru is a meticulously researched romantic adventure about a girl named Tominaga Sei who decides to disguise herself as a boy with the alias Kamiya Seizaburo and enter the ranks of the Shinsengumi (shogunate special police) to avenge the deaths of her family. She quickly falls in love with her mentor Okita Soji who knows her true identity but remains willfully oblivious to his own feelings for her.

In the 15th volume Kamiya struggles with the idea of undergoing the male coming of age ceremony called Genpuku. She’d have to shave off her bangs, and then she’d lose the ability to occasionally dress as a woman by rearranging her hair. Everything gets thrown into even more confusion when a visiting doctor shows up who used to train with Kamiya’s father. Soji and Kamiya struggle to protect her identity, sending her into town when the doctor announces that he’s going to give everybody at the compound a physical in order to improve the health of all the men. Kamiya accidentally blurts out “Uncle Droopy Eyes” when she sees the doctor, and wonders if he’s recognized her from when he saw her before as a little girl.

Doctor Matsumoto ends up finding out Kamiya’s secret through some trickery by suggesting to Soji that she’s sick. Soji runs off to find her and rushes her to the doctor, not realizing that his extreme anxiety is due to the fact that he loves her. The doctor promptly starts trying to arrange her marriage to Soji. She says that she’s content to stay by his side to support him as a colleague. Matsumoto quickly diagnoses with the terrible disease of “feminitus,” which causes regular men to grow feminine characteristics, and her colleagues are instructed to support her manly efforts and avoid mentioning her girlish looks. This has the fortunate effect of throwing off the suspicions of some of Kamiya’s colleagues, at least for a little while.

Matsumoto appears again in the next volume, this time to give Kamiya perspective on her lost family. When she was a little girl she almost never saw her father because he spent so much time away pursuing his medical training. Kamiya still feels betrayed and resentful, and her closeness to her older brother was largely due to her father’s absense. Matsumoto points out that Kamiya’s father and Soji share similar characteristics. Both have entirely dedicated themselves to their studies, leaving little time for personal attachments even though they both feel deeply. Other romantic entanglements are highlighted, as Sanosuke wishes to make a merchant’s daughter his bride and a woman is coming to Soji with a marriage proposal. Kamiya is filled with anxiety. Soji’s attitude towards meeting a woman is that he’ll do it if it is a direct order from his superiors. In keeping with his continued obliviousness, he speculates to Kamiya that it might be better for him to marry a woman that he doesn’t love, because it won’t get in the way of his duties.

It was nice seeing Kamiya’s relationship with Matsumoto continue. She doesn’t really have any confidants so it was good to see that she finally had someone she could go to to talk with, even though his general reaction to her situation and decisions is disbelief that such a stubborn girl could exist.

The next two volumes move away from romantic angst towards political issues with the Shinsengumi. In Kyoto a troop captain is managing to alienate the locals with his policies, and his extremely suspicious nature is damaging towards morale. When Kamiya goes to visit him along with Soji and Kondo, Sanjuro promptly fixates on Kamiya as a possible spy since she seems so friendly to men in different troops. Sanjuro tasks his younger brother to spy on her, and Kamiya yet again faces her secret being revealed. Soji comes to the rescue, but Kamiya decides she has to figure out what on earth is wrong with Sanjuro to cause him to act in such an extreme way.

It seems like factions among the Shinsengumi are being set up as an even bigger problem, as the sneaky Ito has decided to set himself up to subvert the leadership of the troop by recruiting the men to his side. We see Kamiya training on firing a gun, and the philosophical differences between those who prefer the way of the sword to gunpowder and bullets are explored. Soji tries to help the woman he has a long-term relationship with. Kohana served as a cover for his vow of celibacy, he visited her and used his time to take naps. He explores the possibility of setting her up in a house with her daughter, but she’s come to have feelings for him and refuses. Kohana doesn’t want to be with Soji due to his sense of duty, if he doesn’t actually see her as a woman. Kamiya finds out what’s going on, but as usual the unarticulated feelings between her and Soji mean that their relationship will continue to function mainly as mentor and mentee. While Soji is trying to look out for Kohana, he also commissions a special lightweight sword for Kamiya. The next problem everybody will face is the love of the Captain for a mysterious woman. Kamiya is tasked by the Vice Captain with finding out about her true nature, as the Captain suffers in silence.

I think Kaze Hikaru is best read in multiple volumes like this. The story unfolds at a measured pace, and even though plenty of things happen, it doesn’t usually have any real end of volume cliffhangers to incite anxiety in the reader. I always enjoy Watanabe’s notes at the end, where she’ll clarify some of the historical information and point out where she took artistic license with known people and historic practices. Except for a few stray volumes, I’m all caught up with the English release for this series! Kaze Hikaru might not be the flashiest series out there, but the rich historical detail and slow building romance reward the patient reader.

Sakura Hime: The Legend of Princess Sakura Volume 2

I found it very amusing that in one of the author notes for this volume, Tanemura wrote that she’d been holding herself back from using very much screentone in this volume and thus was worried that it looked unfinished. To my eyes it doesn’t look like Tanemura’s trademark excess of screentone has been curbed very much, but I should probably dig up some of her other series and compare. This volume continues with the antagonistic relationship between Sakura and Aoba, her fiance who sometimes likes her and sometimes wants to kill her. Now there are a couple of additional men vying for Sakura’s attention, as Aoba’s older brother Fujimurasaki seems more than willing to step in to help her out. There’s also the handsome Lord Enju who seems determined to send assassins to kill Aoba because he doesn’t want Sakura to be touched by “dirty humans”. Sakura decides to save Aoba despite his professed hatred of her in a gesture of senseless self-sacrifice that is fairly typical of Tanemura’s heroines, and the reader sees that Aoba’s feelings are wavering. The plotting is a tad incoherent, and I’m having trouble keeping some of the supporting cast straight. I still enjoy Tanemura’s illustrations and I’m looking forward to seeing Sakura grow stronger and confront her fate.

Sand Chronicles Volume 10

Sand Chronicles is one of my favorite dramatic shoujo series, and this volume provides a nice coda for the series. I really wish the concluding volumes had contained more Fuji. There’s just a couple glimpses of him here, and I would have liked a chapter or two just devoted to him. This volume is extremely Daigo-centric, as it shows him all grown up, married to Ann, and fully engaged in teaching Elementary school. Daigo’s relationship with an influential teacher from his past is explored, as his class gathers together to dig up a time capsule they buried 20 years ago. Ann and Daigo face a difficult issue with strength, and it is nice to see their marriage functioning so well as a support system for them both. Daigo is wrestling with becoming the type of teacher he wants for his students, and the idea that he may have an indelible effect on such young minds. He deals with the personalities in his class with compassion, spending extra time with the students of his that need more attention. After spending so much of the series seeing things from Ann’s point of view, it was nice to read a volume focused on Daigo. I felt like at last the characters were all going to be ok, and after so many turbulent twists and turns earlier on it was nice to see them fully engaged in daily life without much drama.

Review copy of Sakura Hime provided by the publisher.

I was so happy that Cross Game was selected to be featured in the May Moveable Feast. It is very rare to come across anything that is so well executed that it immediately wins me over, but that was my reaction to the first and second omnibus volumes. In broad strokes, a battle for the soul of baseball has been set up over the first few volumes, and the third volume (which contains the Japanese volumes 6 and 7) shows the ultimate confrontation between the corrupt new coach’s handpicked team of elites vs Ko’s natural talent and the enthusiasm of the second tier Portable team. I love the cover for this volume, which shoes Ko and Aoba standing shoulder to shoulder and snarling at each other. It serves as an excellent illustration for the way their relationship is simultaneously close and antagonistic.

The portable team’s game against the main team also becomes a battle for the main coaching position. The Seishu coach Daimon continues to be blind in his pursuit of success. He and the interim principal don’t realize that the scruffy old man hanging out at the baseball field is actually the chairman of the board. Daimon assumes that the portable team’s losing streak means that they’ll be easy to beat. Seishu team start Azuma has been observing his teammates leave and Daimon’s complete unconcern for the health of his players. He announces that he isn’t going to be playing in the game, slamming his hand into the wall and saying that he’s too injured to play. Azuma only wants to play baseball with the best team, and if the Seishu team can only win with him, he knows where he really be should be.

Aoba is recruited to play with Ko’s team and objects to being assigned to play center because she wants to pitch. Akaishi comments that she hasn’t faced off against Ko in a long time. Ko pitches to her, and Akaishi confirms that center is now ok with her. The match starts, and the score remains tied at 0-0 for a long time. Azuma keeps making pointed comments at Daimon, wondering if he even knows the names of the teams the portable team lost to. It turns out that they were practicing against elite teams, and Ko was deliberately allowing hits for most of the game in order to give everybody fielding practice. The game progresses and the look of dawning horror on Daimon’s face is quite enjoyable.

One thing I liked about this volume is it gave increased insights into Azuma’s personality and motivations. He’s always seemed a bit like a grim warrior of baseball, but now I can finally understand why he’s so driven. Azuma’s older brother Junpei appears and starts trying to chat up the oldest Wakaba sister, Ichiyo. On the surface Junpei seems goofy and laid back, but when he comes across his brother training Junpei picks up a baseball with a practiced grip. Azuma tells his brother that he promises that he’ll get to Koshien. Junpei just replies that Azuma should have more fun with baseball and walks away, leaving the ball on a chair. Junpei was an athletic star, but his dream was derailed when he was injured.

After the long buildup to the confrontation between the coaches and baseball teams, it was a relief to see that the rest of the volume was focused on shorter slice of life stories. It felt to me like the characters finally had a bit of breathing room. Azuma moves in with Ko’s family when the dorms are shut down. Aoba is getting hit on all the time. Memories of Wakaba continue to cascade through Aoba and Ko’s lives. This volume felt like the conclusion of the first major story arc of the series. I’m still loving the combination of action, romance, humor, and drama. It is rare to find a series that functions well on so many levels. I’m eager to see the next chapters that show Ko working to get to the ultimate baseball tournament at Koshien.

I think it is nice that Kaoru Mori’s manga inspires special treatment. The editions of Emma from CMX featured matte paper stock that gave the volumes an old timey feel. A Bride’s Story gets the deluxe treatment from Yen Press, with the first volume arriving as an over sized hardback with a lovely wraparound illustration on the dust jacket. The painstaking research, sympathetic characters, and lovely detailed illustrations that readers enjoyed in Emma are in full effect in A Bride’s Story, with the bonus of a heroine who enjoys hunting rabbits from horseback with a bow.

The story takes place along the Silk Road in the 19th century. Amir is twenty years old, and she’s sent to marry a twelve year old boy named Karluk. Amir comes from a more nomadic tribe than Karluk’s family, with the result that she brings with her some skills that her new family hasn’t possessed in awhile. Amir seems anxious to fit into her new place, trying to be helpful whenever possible and she seems to be waiting for her new husband to grow up. Evidently twenty years is an unforgivably old age for a bride, and the backstory behind the marriage isn’t shown. Karluk is an uncommonly calm twelve year old, who seems to take his responsibilities very seriously. He jumps at the chance to try to locate his uncle’s clan of shepherds, wanting to be reintroduced to his relatives as a married man.

I’d always thought that Mori’s slice of life stories are particularly good at portraying children and how they negotiate the world. Rostam, the youngest member of the household, becomes fascinated with the local woodcarver and he neglects his chores to observe him. This gives Mori the excuse to showcase some dazzling panels of woodcarving patters, as well as showing the reactions of Rostam’s family. His mother sends him to bed without dinner, then tasks Amir with sneaking him food later. When it is clear that this is a general pattern of Rostam getting punishments that his mother immediately regrets, Amir declines to participate. She’s nervous and wants to please her new family, but when they start discussing rabbit stew she seizes the opportunity to grab her bow (part of her dowry) and race off on her horse to hunt.

A Bride’s Story would be plenty entertaining if it just showcased Mori’s research and charming illustrations, but she decides to introduce a note of suspense when it seems like Amir’s family has started to regret sending her off to marry Karluck. Amir gets an unexpected ally when the matriarch of the family (an enjoyable example of the kick-ass grandma character that often appears in manga) decides to defend the new bride. Karluck’s grandmother received a bow with her dowry too! With publishers going out of business and series going out of print or left unfinished, I’ve been feeling a little less enthused about manga lately. Reading A Bride’s Story has reminded me about the possibilities for storytelling unique to manga, and I’m happy to find a great new series to read.

Genkaku Picasso Volumes 1-3 by Usamaru Furuya

Genkaku Picasso is an interesting series, because the author Usumaru Furuya came out of the alternative manga scene in Japan with his earlier work featured in Garo. Genkaku Picasso is a series about a misanthropic young artist who gains the power to change the people around him when he is possessed by the artistic inspiration to draw their inner souls. This series had incredibly interesting and surreal art, but it felt to me like it wasn’t ambitious enough. I’m probably being overly critical because Furuya is so clearly talented, but I thought the story aspects of Genkaku Picasso let down the art a little bit. The series is still very much worth reading for the visual elements alone.

The first volume shows the lonely life of Hikari Hamura, nicknamed “Picasso” by his classmates at school due to his relentless drawing habit. He doesn’t really have any friends, but a girl in his class named Chiaki who finds him interesting and makes an effort to hang out with him. As they sit by a riverbank while Hikari is sketching, a horrible helicopter crash takes place. Chiaki is killed, but Hikari survives. Chiaki is transformed into a mini-angel who lives in Hikari’s pocket and his talent at sketching takes on a mystical turn. Chiaki informs him that his arm is starting to rot and the only way that he can save himself is to start helping other people. Hikari can now sense when a classmate is troubled. A dark aura manifests itself around Hikari’s next subject and he becomes possessed by a strange muse, compulsively drawing a depiction of his classmate’s inner heart. Hikari then can leap into his own drawing and experience the surreal scene he created, and his actions inside the drawing can cause the tormented soul to change for the better.

Hikari’s first subject is Sugiura, whose inner landscape is dominated by a crumbling cliff, amusement park, and an angry giant clutching a bag of money. While Sugiura is outwardly popular, his family life is less than ideal. As Hikari learns more about his classmate, the surreal pictures shift and change until Hikari is able to arrive at the truth of what is tormenting Sugiura. One of the things I liked very much about this manga was the way the illustration style would change depending on the world Hikari inhabits. The real world has all the polish and screentone of a standard manga, but when Hikari is transported into one of his illustrations it becomes more unfinished, with crosshatching used for shading and a slightly grainy quality that evokes the idea of a pencil or charcoal sketch.

Hikari continues to help his classmates, but his erratic behavior (he looks like he’s talking to himself when he’s talking to Chiaki) and his habit of abruptly passing out (which happens when he disappears into a drawing) still causes most of his classmates to shun him. He does manage to inspire feelings of affection in the people he helps, and he’s soon surrounded by a circle of acquaintances who are now taking more of an active interest in him.

One of the things that bothered me about this manga throughout the first couple volumes was the fact that Chiaki doesn’t seem to mind at all her transformation into Hikari’s nagging Tinkerbell. Even though while she was alive she inexplicably supported Hikari, I thought it was odd that she didn’t have more of a reaction to her fate. Genkaku Picasso is fairly episodic, but I did like some of the stories where there would be a shift towards Hikari exploring the inner life of a character that appeared briefly before. Hikari helps a boy in his class named Mamba finally work through his feelings towards a girl named Ogura. Mamba’s images evoke a sinister tree binding the girl he likes. Later Hikari visits Ogura’s subconsciousness and sees that her inner life is filled with mecha and yaoi imagery.

Some of Hikari’s solutions sometimes seem a bit simplistic, and this was particularly the case when Hikari helped one of his classmates who happened to have gender identity issues. The story ends very happily, which is nicely affirming if unfortunately not very realistic. One of the rewarding things about Genkaku Picasso is seeing the differences in the inner lives of Hikari’s targets. Joan of Arc, a Disney take-off, pop idols, childhood toys, and surreal gardens form the mind landscapes of Hikari’s classmates.

The third volume moves away from the more episodic storytelling of the first two volumes, finally providing some answers to questions readers may be forming about Hikari’s strange behavior, and if he’s ever going to turn his powers of artistic observation on himself. In his final journey, Hikari delves into his own psyche but he finds himself absolutely alone, without Chiaki. Hikari’s classmates begin to get worried about where he might be and they decide to go on their own rescue mission. We finally see some of the back story of the accident where Chiaki was killed, and there are some incredibly arresting images of Hikari trying to peer out of his own eyeball as though he were separating out the slats of a window shade that are going to stay in my memory for a long time.

The ending is heartwarming, with a dash of fake-out. While the story was concluded in an emotionally affecting manner, it seemed a bit too easy for me somehow. This goes along with my earlier reaction of the basic premise of the book. I think that there are some problems that just can’t be solved nicely with some surreal sketching and psychological intervention from a socially maladjusted teenager. I’m glad I read Genkaku Picasso, because it is so visually innovative and serves as a great contrast to the usual type of shonen series that get translated here. My frustration with the series remains because I think Furuya’s artistic talent is so great that he’s clearly capable of producing a classic work, but Genkaku Picasso isn’t it. Maybe I’d be better off reading some of his manga where he’s adapting another writer’s work. I still enjoyed Genkaku Picasso and would recommend it to anyone wanting to read visually striking manga.

Review copies of volumes 2 and 3 provided by the publisher.

I’ve continued on with watching Hanasakeru Seishonen, and as one would expect from an anime adaptation of a Natsumi Itsuki series, it grows more more complex as the series progresses. The first four episodes seemed like an engaging and slightly quirky reverse harem scenario, with all the wealthy industrialists and leopard reincarnation talk going on, but after watching a good chunk of the series I can now see why someone would describe Hanasakeru Seishonen as being mostly about politics.

The political aspects of the series are introduced along with Prince Rumaty, who is second in line to the throne for Raginei, a vaguely Asian/Middle Eastern country with a penchant for sun worship. Rumaty is as arrogant as you might expect a prince to be, but he soon finds himself charmed by Kajika despite himself. Their friendship is cemented when they have to go on the run together after a failed assassination attempt on the prince’s life. They end up spending some quality time playing cards with the local mafia before returning to the Burnsworth compound. It soon becomes clear that Kajika’s family has ties to the country of Raginei that go beyond her father’s business interests. There’s an extended flashback that details the adventures of Rumaty’s grandfather on his first visit to America, where he meets Kajika’s grandparents. Just when the series might be getting a little bogged down by all of the cross general angst and political machinations, there’s a break when Kajika returns to Japan and visits her friend Yui. Everyone that Kajika knows abruptly converges on Yui’s house, and the family’s reaction to Eugene and Li-Ren adds a welcome element of humor.

While Hanasakeru Seishonen might not have the almost operatic levels of craziness of the manga series by Itsuki that I’ve sampled, there’s still something enjoyable about the way the story slowly unfolds, with the different characters, flashbacks, and world building all combining to create a series that’s much more intelligent than you’d expect from a reverse harem series. Itsuki always seems to make some of the cliches and story conventions of manga much more interesting than they have a right to be and it is nice to see that this pattern continues in the Hanasakeru Seishonen anime.