Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

Katherine Dacey

Soulless: The Manga, Vol. 1

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Soulless is saucy in the best possible sense of the word: it’s bold and smart, with a heroine so irrepressible you can see why author Gail Carriger couldn’t tell Alexia Tarabotti’s story in just one book.

As fans of Carriger’s Parasol Protectorate novels know, Alexia is a sharp-tongued woman living in Victorian London — or rather, a steampunk version of Victorian London in which vampires and werewolves co-exist with the “daylight” (read: “human”) world. As she would in the real nineteenth-century England, Alexia faces pressure to marry, a prospect complicated by her age — she’s twenty-six — her ethnicity — her father was Italian — and her prodigious intellect. Alexia has one additional strike against her, albeit one that doesn’t affect her marriageability: she’s soulless, a “preternatural” being who can neutralize the vampires and werewolves’ power, temporarily reducing them to mortal form.

Plot-wise, Soulless is an agreeable mishmash of Young Sherlock Holmes, Underworld, and Mansfield Park, with a dash of Jules Verne for good measure. The basic storyline is a whodunnit: Alexia becomes the prime suspect in a string of supernatural disappearances around London, and must collaborate with Lord Collan Maccon, a belligerent werewolf detective, to clear her name. What they discover in the course of their investigation is a grand conspiracy worthy of an Indiana Jones movie, complete with evil scientists, vampire “hives,” sinister-looking laboratories, and a golem; all that’s missing is the Ark of the Covenant and a few Nazi generals.

At the same time, Soulless is a romance. Alexia would make a swell Austen heroine, as she faces the kind of obstacles to marriage that would elicit sympathy from the Dashwood girls and Fanny Price. The greatest of these hurdles isn’t her name or her age, however; it’s Alexia’s firm conviction that marriage should not be a socially or financially expedient union, but a true partnership. Paging Elizabeth Bennett!

Given how many genres are present in the text — it’s a crime procedural, a thriller, an urban fantasy, a comedy of manners, and a bodice ripper — it’s astonishing how well all the tropes mesh. Some of that success can be attributed to the dialogue. The characters’ peppery exchanges are an affectionate parody of British costume dramas; substitute “soulless” for “penniless,” and Alexia could easily be a character in Sense and Sensibility. A few passages strain too hard for effect — would anyone have really chosen “comestibles” over “food” when complaining about a party? — but for the most part, Carriger finds a convincing tone that’s neither faux-archaic nor casually contemporary.

Soulless’ other great strength is its appealing cast of characters. Alexia and Maccon are clearly the stars of this imaginary universe; anyone who’s read Middlemarch or Emma will immediately recognize that Alexia and Maccon are The Main Couple, as they spend most of volume one denying their mutual attraction and trading zingers. (“I may be a werewolf and Scottish, but despite what you may have read about both, we are not cads!” Maccon declares in a fit of Darcy-esque pique.) In the spirit of the best nineteenth-century novels, however, Carriger situates her lovebirds inside a vibrant community, albeit one inhabited by grumpy werewolves and flamboyant vampires in lieu of parsons, baronets, and virtuous maidens. Though these supporting characters don’t always get the screen time they deserve, Lord Akeldama, Professor Lyall, and Ivy Hisselpenny enliven the narrative with sharp observations and sound advice for Alexia and Maccon.

Manga artist Rem, best-known for her work on Vampire Kisses, does a fine job of translating Carriger’s prose into pictures. Though Rem’s attention to period detail is evident in the characters’ sumptuous costumes and lavishly furnished parlors, her meticulousness extends to the action sequences as well. An early fight between Alexia and a vampire is expertly staged, making effective use of dramatic camera angles and overturned furniture to capture the intensity of their struggle. Rem also manages to fold many of Carriger’s steampunk flourishes — zeppelins, steam-powered carriages, “glassicals” — into the story without overwhelming the eye; if anything, I found the subtlety of the steampunk elements an improvement on the novel, where the object descriptions sometimes felt like tangents.

The only drawback to the artwork is Alexia herself. In the novels, Carriger describes her as plain and full-figured; in the manga, however, Rem depicts Alexia as a buxom, wasp-waisted babe with a pouty mouth and a pretty face. That transformation is certainly in keeping with manga aesthetics — even the plainest young characters are usually pleasing to the eye — but not with the source material; as a reader, one of the real pleasures of Soulless is watching the heroine triumph on the strength of her character and brains, not the size of her bust.

On the whole, however, Rem has succeeded in taking a justifiably popular novel and making it work in a different medium on its own terms; readers new to Carriger’s work will be as enchanted with this cheeky, fun adaptation as her hardcore fans. Recommended.

Review copy provided by Yen Press. Volume one of Soulless: The Manga will be released in March 2012.

SOULLESS: THE MANGA, VOL. 1 • STORY BY GAIL CARRIGER, ART AND ADAPTATION BY REM • YEN PRESS •  208 pp. • RATING: OLDER TEEN (VIOLENCE, SEXUAL SITUATIONS, NUDITY)

Show Us Your Stuff: Safetygirl’s Otaku Room

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Apologies for the late posting this week! Today’s featured collector is Safetygirl, a self-described Shinsengumi fan and avid manga collector who owns over 2,000 volumes. As you’ll see from her drool-worthy photos, her tastes run the gamut from Kaze Hikaru to Golgo 13 to Arata: The Legend. She’s so dedicated to anime and manga, in fact, that she custom designed a room in her house just to hold all her swag — and what a space it is! If anyone from Bravo or TLC is watching, I think Safetygirl’s organizational and decorating skills would make a swell basis for a reality show.

One quick programming note: since I will be hosting the Osamu Tezuka Manga Movable Feast next week, Show Us Your Stuff will be on hiatus until Thursday, March 1st. –Katherine Dacey

Hi, I’m Safetygirl! Welcome to my office, or, as a friend dubbed it, “the otaku room.” When I bought this house, I wanted a room for my computer and small manga collection, and it’s really expanded since then! Besides manga, this room is for my anime, cels, character goods, and doujinshi collections. I also LOVE the Shinsengumi, and collect anything with any version of the guys in baby blue.

Behold the Great Wall of Manga!

How long have you been collecting manga?
I was briefly into manga in the mid-’90s, mostly the stuff available in the old floppies, like Ranma ½, Maison Ikokku and Oh! My Goddess, but at that time I was all Marvel/DC/American superheros. Then I went to college and gave up on comics entirely, due to finances and being annoyed by the frequent rebootings and retconning of American comics.

That changed in 2003. That was when a friend let me borrow the first volumes of Kare Kano and Kindaichi Case Files, and I avoided reading them for a while. Then I finally read them… and I was hooked. I had just gotten a promotion at work and had extra disposable income, so a new hobby came just at the right time.

What was the first manga you bought?
I can’t remember what it was back in the ’90s—that was a long time ago! In more recent times, it was Kare Kano volume two. I was annoyed that the manga cows had been handling it and the spine was dinged, but I bought it anyway—I had to know what happened! It’s still in my collection now, even though my feelings towards the series has cooled appreciably since that time.

Close-ups of Safetygirl’s enormous (and drool-worthy) manga collection.

How big is your collection?
Over 2,100 volumes. Even though I cull and sell pretty aggressively, I’m running out of room! When I bought my house in 2004, I designed the custom-built shelves in my office to fit 1,300-1,400 books, which seemed like a lot—I had maybe 500 at the time, plus some character goods I wanted to display. As you can see, I’ve had to be pretty creative; I’ve found that manga can serve as great cord-hiders on the entertainment center. I bought a shelf at a Borders fixture sale, and it holds my Shinsengumi manga on one side while the other has my Yuu Watase titles (and a great place to display my Watase pin collection!). Recently I had to add another shelving unit; this one has my CLAMP collection (with a little room for expansion!) and Yumi Tamura. In the past couple of years, I’ve started stacking things vertically—I don’t like doing that, but the shelves aren’t deep enough for double rows.

What is the rarest item in your collection?
I wish I could say those super-expensive middle volumes of Basara, but I don’t have those yet. The French copies were an affordable placeholder, and it’ll be a good test of my French when I get there.

Beyond my manga, I also collect cels, and being one-of-a-kind, those are rare. The focus of that collection is Millennium Actress.

Safetygirl’s anime shrine. Bow before it and be humbled!

What is the weirdest item in your collection?
The original run of Golgo 13, as published by LEED here in the US in the mid ’80s. It’s flipped! Featuring strange coloring on the first chapters, where flesh tones are rendered in an Oompa-Loompa-ish orange! I’m not sure if it’s really weird, but it’s certainly early in the history of manga in the US.

How has your taste in manga evolved since you started your collection?
I think I was like a lot of people: I went on what my friends were reading, and things related to the anime I was watching on TV. I didn’t find the manga blogging/tweeting community until much later, and they’ve been an influence. But these days, I don’t do Jump titles like I used to—I’ve not liked one enough in a while to justify the investment of dozens and dozens of volumes. I’d like to say that I’m pickier now, and I use the manga community to help guide me towards things I might have either overlooked or dismissed. But what attracted me to manga was shojo, and that’s still what I love the most. I’ve also discovered that the rest of the world has manga, too, so I’ve been able to improve my rusty high school French AND finish Walkin’ Butterfly at the same time!

Kaze Hikaru artwork.

Who are your favorite comic artists?
Taeko Watanabe (Kaze Hikaru), Shigeru Takao (Teru Teru x Shonen), Yuu Watase, Miyuki Yamaguchi, Kaoru Mori, and my newest favorite is Yumi Tamura. I really wish I knew how to bribe the folks at Viz—brownies, maybe?—so they’d license 7SEEDS. For American comics, the only titles I still have left from my once-extensive collection are the trade paperbacks of Sandman and Astro City.

What series are you actively collecting right now?
I try to keep up to date—I fell behind a bit 2007-2008, which sent me scrambling during the CMX/GoComi shutdown era. Currently: Kaze Hikaru, Twin Spica, Black Bird, Dengeki Daisy, Kimi no Todoke, Oresama Teacher, xxxHolic, Arata, House of Five Leaves, Sayonara Zetsubo-Sensei, Bakuman, Kamisama Kiss, Natsume’s Book of Friends, Vampire Knight, Chi’s Sweet Home, Afterschool Charisma, Kingyo Used Books, Story of Saiunkoku, Ouran, Goong, Bunny Drop, Bride’s Story, Yotsuba, Black Butler, Arisa, Otomen, The Betrayal Knows my Name, Drops of God, Sailor Moon, Dawn of Arcana, A Devil and Her Love Song. There’s a lot of other series I would be buying, if they still were being printed. Looking forward to: The Earl and the Fairy, Sakuran.

I buy stuff from France and Germany, but since I tend to order in bunches on a quarterly basis, I wouldn’t say that I’m following anything. From Japan I buy Kaze Hikaru, and whatever Yamaguchi Miyuki and Shigeru Takao are putting out, and other things as needed. I have a weakness for anything from Hakusensha with a pretty cover. If I lived near a Book-Off, I would need another room. I subscribe to Flowers and Melody.

Manga, anime, and Hello Kitty! swag.

Do you have any tips for fellow collectors (e.g. how to organize a collection, where to find rare books, where to score the best deals on new manga)?
Catalog it, somewhere. I used to use Collectorz, but it no longer met my needs. Now I’m fairly happy on LibraryThing, though I still use Collectorz as my back-up. I once was a big fan of ListerX, but it suddenly closed and ALL of my work was lost. So no matter how much I trust LibraryThing, I *have* to have an offline record of my collection. However, one advantage to an online catalogue—it’s easy to access if you’re out book shopping! I also keep spreadsheets on my pre-orders and things I will pre-order, once RightStuf has a sale!

Manga about the Shinsengumi.

Organize it in a way that makes sense to you. I do alphabetical, but I do keep series together (sometimes there’s a name change, like how GoComi’s Ultimate Venus is Big Bang Venus in French), or file by common name. (Both Codename: Sailor V and Pretty Guardian Sailor Moon are under “Sailor.”)

Deals and rarities—I scour comic book stores. Some bought into manga heavily during the boom, and have a lot of stock from that era. Good if you’re looking for Emma, not so much for something more recent. For new things, I wait for RightStuf studio sales, and I’m a member of their GotAnime? discount club. I buy a lot of manga; getting it 40% off helps a lot!

To see more of Safetygirl’s awesome otaku room, click here.

Show Us Your Stuff is a regular column in which readers share pictures of their manga collections and discuss their favorite series. If you’d like to see your manga library featured here, please follow the directions on this page.

How to Draw Shojo Manga

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This slim how-to manual caters to the manga fan who wants to become an artist, but finds the technical aspects of comic creation daunting. “If you’ve ever flipped through a How to Draw Manga book in a bookstore, looked at the pages that explain character design and perspective and thought, ‘I have to learn all this hard stuff to be a manga artist?’ then you are exactly the person who we want to read this book,” the authors cheerfully assert.

The introduction is a little disingenuous, however, as the book assumes a level of artistic fluency on the part of the reader that isn’t reflected in that warmly inviting statement. No novice could use the passages on anatomy or perspective to learn either of these essential drafting skills; the authors don’t break down the process of sketching a body or a three-dimensional space into enough discrete steps for a newcomer to recreate the examples in the book. The same is true for their advice on tools; though the authors provide a detailed catalog of pens, nibs, erasers, templates, blades, and brushes favored by professional artists, the information about how to use these tools presumes that the reader has worked with similar implements.

What How to Draw Shojo Manga does well, however, is introduce novices to the concepts associated with creating sequential art. The authors review the basics, explaining the various types of camera angles and shots, and when they’re most effective; discussing the underlying philosophy behind character designs; and showing how an artist takes a script from words to storyboards to finished product. The book also includes an appendix with practical information about submitting work to contests — obviously less applicable to American readers — as well as strategies for handling criticism; in a thoughtful touch, the authors critique a short story (included in full in the book) so that readers can better appreciate the substance of the editorial comments. Whenever possible, the authors use examples from actual manga to underscore points about character design and layouts; sharp-eyed fans will recognize works from such Hakusensha magazines as Lala, Melody, and Hana to Yume.

The bottom line: How to Draw Shojo Manga won’t turn a greenhorn into Arina Tanemura, but it will help her identify areas of weakness (e.g. poor drafting skills) and provide her with the vocabulary to discuss — and learn more about — the creative process.

Editor’s note: This review was originally included in a Short Takes column from November 2010. When I reorganized my site in January 2012, I created a category for instruction manuals (How to Draw Manga) and decided that this review would be better suited as a stand-alone piece. Look for more how-to reviews in the coming months!

HOW TO DRAW SHOJO MANGA • WRITTEN BY THE EDITORIAL STAFF OF HANA TO YUME, BESSATSU HANE TO YUME, LALA, AND MELODY MAGAZINES • TOKYOPOP • 176 pp. • RATING: TEEN (13+)

How to Draw Shojo Manga

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This slim how-to manual caters to the manga fan who wants to become an artist, but finds the technical aspects of comic creation daunting. “If you’ve ever flipped through a How to Draw Manga book in a bookstore, looked at the pages that explain character design and perspective and thought, ‘I have to learn all this hard stuff to be a manga artist?’ then you are exactly the person who we want to read this book,” the authors cheerfully assert.

The introduction is a little disingenuous, however, as the book assumes a level of artistic fluency on the part of the reader that isn’t reflected in that warmly inviting statement. No novice could use the passages on anatomy or perspective to learn either of these essential drafting skills; the authors don’t break down the process of sketching a body or a three-dimensional space into enough discrete steps for a newcomer to recreate the examples in the book. The same is true for their advice on tools; though the authors provide a detailed catalog of pens, nibs, erasers, templates, blades, and brushes favored by professional artists, the information about how to use these tools presumes that the reader has worked with similar implements.

What How to Draw Shojo Manga does well, however, is introduce novices to the concepts associated with creating sequential art. The authors review the basics, explaining the various types of camera angles and shots, and when they’re most effective; discussing the underlying philosophy behind character designs; and showing how an artist takes a script from words to storyboards to finished product. The book also includes an appendix with practical information about submitting work to contests — obviously less applicable to American readers — as well as strategies for handling criticism; in a thoughtful touch, the authors critique a short story (included in full in the book) so that readers can better appreciate the substance of the editorial comments. Whenever possible, the authors use examples from actual manga to underscore points about character design and layouts; sharp-eyed fans will recognize works from such Hakusensha magazines as Lala, Melody, and Hana to Yume.

The bottom line: How to Draw Shojo Manga won’t turn a greenhorn into Arina Tanemura, but it will help her identify areas of weakness (e.g. poor drafting skills) and provide her with the vocabulary to discuss — and learn more about — the creative process.

Editor’s note: This review was originally included in a Short Takes column from November 2010. When I reorganized my site in January 2012, I created a category for instruction manuals (How to Draw Manga) and decided that this review would be better suited as a stand-alone piece. Look for more how-to reviews in the coming months!

HOW TO DRAW SHOJO MANGA • WRITTEN BY THE EDITORIAL STAFF OF HANA TO YUME, BESSATSU HANE TO YUME, LALA, AND MELODY MAGAZINES • TOKYOPOP • 176 pp. • RATING: TEEN (13+)

Drifters, Vol. 1

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Back in the 1980s — the heyday of Dolph Lundgren, Arnold Schwarzenegger, and Sylvester Stallone — Hollywood cranked out a stream of mediocre but massively entertaining B-movies in which a man with a freakishly muscular physique and a granite jaw battled the Forces of Evil, dispatching villains with a catch-phrase and a lethal weapon. I don’t know if Kohta Hirano ever watched Predator or Red Scorpion, but Drifters reads like the first draft of a truly awesome eighties movie, complete with a trademark phrase — “Say farewell to your head!” — and a simple but effective premise that promises lots of silly, over-the-top fight scenes.

The Dolph Lundgren character — if I might be allowed to call him that — is Shimazu Toyohisa, a Satsuma warrior facing long odds at the Battle of Sekigahara (1600). Just as Shimazu’s death seems imminent, he finds himself transported to an alternate dimension, one in which mankind’s greatest warriors — Hannibal, Nobunaga Oda, Joan of Arc — have been assembled for an elaborate game. The purpose and rules of the game remain elusive, but the primary objective seems to be mass destruction: the game’s organizer unleashes hordes of ghouls and dragons on Shimazu and his allies, in the process laying waste to cities, forts, and crops.

Like all good Schwarzenegger or Stallone vehicles, Drifters makes a few token gestures towards subplot and world-building. Shimazu helps a group of elves resist their oppressors, for example, teaching them the manly art of standing up for themselves. Hirano provides so little explanation for the elves’ marginalized status, however, that the entire episode registers as a stalling tactic for the climatic battle at volume one’s end, a half-hearted effort to show us that however unhinged or deadly Shimazu may be, he knows injustice when he sees it.

Drifters’ other shortcoming is the artwork. Hirano’s clumsy character designs make the entire cast look like Picasso’s Les Demoiselles d’Avignon, with huge, sunken eyes, large, triangular noses, and blocky torsos. Though one might reasonably argue that Picasso’s bodily distortions were a deliberate aesthetic choice, it’s harder to make the same case for Hirano’s work; his characters’ mitt-like hands and poorly executed profiles suggest a poor command of perspective, rather than an artistic challenge to it.

Hirano’s action scenes suffer from an entirely different problem: they’re riotously busy, bursting at the seams with too many figures, monsters, and weapons, overwhelming the eye with visual information. One could be forgiven for thinking that Hirano was trying to out-do Peter Jackson; not since Sauron flattened the forces of Middle Earth have so many warriors and monsters been assembled in one scene to less effect. Looking at the opening chapter, however, it’s clear than Hirano can stage a credible battle scene when he wants to: he depicts the Battle of Sekigahara as a churning mass of horses, samurai, and swords, effectively capturing the confusion and claustrophobia of medieval combat. Once dragons and orcs enter the picture, however, the action scenes begin to lose their urgency and coherence, substituting the terrible immediacy of hand-to-hand fighting for larger, noisier air battles where the stakes are less clearly defined.

It’s a pity that Drifters is so relentless, as the story certainly has the potential to be a guilty pleasure; what’s not to like about a manga in which Japan’s greatest feudal warriors fight alongside Hannibal, Joan of Arc, and elves? What Hirano needs is a little restraint: when the story is cranked up to eleven from the very beginning, the cumulative effective is deafening, making it difficult for the reader to hear the endearingly cheesy dialogue above the clank of swords and explosions. And if there’s anything I learned from watching old chestnuts like Commando, it’s that even the most testosterone-fueled script needs to pause long enough for the hero to utter his catch phrase.

DRIFTERS, VOL. 1 • BY KOHTA HIRANO • DARK HORSE • 208 pp.  RATING: OLDER TEEN

Drifters, Vol. 1

by

Back in the 1980s — the heyday of Dolph Lundgren, Arnold Schwarzenegger, and Sylvester Stallone — Hollywood cranked out a stream of mediocre but massively entertaining B-movies in which a man with a freakishly muscular physique and a granite jaw battled the Forces of Evil, dispatching villains with a catch-phrase and a lethal weapon. I don’t know if Kohta Hirano ever watched Predator or Red Scorpion, but Drifters reads like the first draft of a truly awesome eighties movie, complete with a trademark phrase — “Say farewell to your head!” — and a simple but effective premise that promises lots of silly, over-the-top fight scenes.

The Dolph Lundgren character — if I might be allowed to call him that — is Shimazu Toyohisa, a Satsuma warrior facing long odds at the Battle of Sekigahara (1600). Just as Shimazu’s death seems imminent, he finds himself transported to an alternate dimension, one in which mankind’s greatest warriors — Hannibal, Nobunaga Oda, Joan of Arc — have been assembled for an elaborate game. The purpose and rules of the game remain elusive, but the primary objective seems to be mass destruction: the game’s organizer unleashes hordes of ghouls and dragons on Shimazu and his allies, in the process laying waste to cities, forts, and crops.

Like all good Schwarzenegger or Stallone vehicles, Drifters makes a few token gestures towards subplot and world-building. Shimazu helps a group of elves resist their oppressors, for example, teaching them the manly art of standing up for themselves. Hirano provides so little explanation for the elves’ marginalized status, however, that the entire episode registers as a stalling tactic for the climatic battle at volume one’s end, a half-hearted effort to show us that however unhinged or deadly Shimazu may be, he knows injustice when he sees it.

Drifters’ other shortcoming is the artwork. Hirano’s clumsy character designs make the entire cast look like Picasso’s Les Demoiselles d’Avignon, with huge, sunken eyes, large, triangular noses, and blocky torsos. Though one might reasonably argue that Picasso’s bodily distortions were a deliberate aesthetic choice, it’s harder to make the same case for Hirano’s work; his characters’ mitt-like hands and poorly executed profiles suggest a poor command of perspective, rather than an artistic challenge to it.

Hirano’s action scenes suffer from an entirely different problem: they’re riotously busy, bursting at the seams with too many figures, monsters, and weapons, overwhelming the eye with visual information. One could be forgiven for thinking that Hirano was trying to out-do Peter Jackson; not since Sauron flattened the forces of Middle Earth have so many warriors and monsters been assembled in one scene to less effect. Looking at the opening chapter, however, it’s clear than Hirano can stage a credible battle scene when he wants to: he depicts the Battle of Sekigahara as a churning mass of horses, samurai, and swords, effectively capturing the confusion and claustrophobia of medieval combat. Once dragons and orcs enter the picture, however, the action scenes begin to lose their urgency and coherence, substituting the terrible immediacy of hand-to-hand fighting for larger, noisier air battles where the stakes are less clearly defined.

It’s a pity that Drifters is so relentless, as the story certainly has the potential to be a guilty pleasure; what’s not to like about a manga in which Japan’s greatest feudal warriors fight alongside Hannibal, Joan of Arc, and elves? What Hirano needs is a little restraint: when the story is cranked up to eleven from the very beginning, the cumulative effective is deafening, making it difficult for the reader to hear the endearingly cheesy dialogue above the clank of swords and explosions. And if there’s anything I learned from watching old chestnuts like Commando, it’s that even the most testosterone-fueled script needs to pause long enough for the hero to utter his catch phrase.

DRIFTERS, VOL. 1 • BY KOHTA HIRANO • DARK HORSE • 208 pp.  RATING: OLDER TEEN

Pick of the Week: Longshots

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Shipping slows down a bit this week at Midtown Comics, but the Battle Robot finds ways to spend their money, as always.

KATE: Though two of my all-time favorite shonen series appear on this week’s shipping list — those would be InuYasha and Kekkaishi, by the way — I’ll let another Battle Robot blogger sing their praises. My vote goes to The Art of The Secret World of Arrietty, a lovely coffee-table book featuring concept sketches, movie stills, and interviews with the creative team behind the Studio Ghibli film. Though the text is not as informative as it could be, the images are flat-out gorgeous; anyone who read Mary Norton’s The Borrowers, the book that inspired Arrietty, will be pleased at the way Studio Ghibli has brought her tiny characters to life. You’ll never look at a button or a thimble the same way again!

SEAN: This week seems to contain a lot of series that I’ve either never read or am so far behind on that a recommendation would be ridiculous. However, my own comic shop is getting a title that Midtown isn’t, the 3rd volume of A Certain Scientific Railgun. The second volume took a turn for the serious, which was greatly to its benefit, and I’m hoping that it will continue to keep up the pace. I’m also hoping for fewer tedious groping gags with the “lesbian” in the cast, but I’m fairly certain that I’ll be out of luck there. Still, give this Seven Seas series a try.

MICHELLE: I’m in a similar position to Sean this week: while I’ve been collecting Kekkaishi and 20th Century Boys, I am dreadfully far behind, and there’s no power on this earth that could induce me to read Haruka: Beyond the Stream of Time. But there is one title on the list that I’ve read and loved, and that’s InuYasha. I can’t really comment on the VIZBIG editions themselves, having bought each volume of the series singly, but I love the warm, ensemble sitcom feeling of the series overall, and envy those who get to experience it through these editions for the first time, since the art is printed in its original orientation, which didn’t happen with the single-volume releases until some time in the late thirties. Notorious for meandering reptition, sure, but for me, InuYasha is manga comfort food at its finest.

MJ: I’m going to go off-list and into the digital only realm this week, to recommend volume one of Keiko Kinoshita’s You and Tonight, due out soon at eManga from the Digital Manga Guild. I was a big fan of Kiss Blue, a two-volume series from the same creator that was released on DMP’s Juné imprint, and I’m actually working on editing another of her short series for my reporter’s stint at the DMG. I’m consistently impressed by Kinoshita’s subtle humor and delicate touch (she’s even won me over to the dreaded BL Anthology), so when I saw that another group was working on You and Tonight, it immediately jumped to the top of my list of must-buy BL. I’ve always been a fan of the best-friends-turned-lovers trope, and given that this was also the premise for Kiss Blue, I’m gathering that it’s a favorite of Kinoshita’s as well. The first volume is already available for the Nook and Kindle, so I expect it’ll go live on eManga in just a day or two. Now the question is, will I be able to hold off until it appears for sale on the iPad? Only time will tell.

Readers, what looks good to you this week?

Bookshelf Briefs 2/13/12

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This week, Kate, MJ, Sean, & Michelle take a look at recent releases from Kodansha Comics, Vertical, Inc., VIZ Media, Yen Press, Digital Manga Publishing, and JManga.

Bloody Monday, Vol. 3 | Story by Ryou Ryumon, Art by Kouji Megumi | Kodansha Comics – I can see why Bloody Monday appeals to teenage boys: not only do its adolescent heroes get to kick ass and match wits with evil adults, they also get to ogle beautiful villains and work alongside cute classmates. For an adult reader, however, the plot mechanics are too creaky to overlook the obvious wish-fulfillment angle. Too many scenes bog down in obvious explanation, as characters repeatedly tell each other things that one would hope world-class crime solvers would know — even if they’re only sixteen. The action scenes remain the series’ strength, as they’re the only time the exposition-dense chatter and obvious voice-overs are silenced in favor of good old-fashioned chases and shoot-outs. It’s a shame that Bloody Monday is such a mixed bag, as its paranoid, the Russians-are-out-to-get-us plot could be the basis of a terrific, globe-trotting thriller. – Katherine Dacey

Chi’s Sweet Home, Vols. 7-8 | By Konata Konami | Vertical, Inc. – Now that I own a cat, I’ve developed an even deeper appreciation for the genius of Konata Konami. So many of the details in Chi are beautifully observed, whether Chi is stalking new “prey” (a goldfish, a feather duster) or calculating the distance between two high perches. Konami also depicts new pet ownership with accuracy and warmth: like the Yamadas, I’ve spent a lot of time reading cat books in an effort to decode Francesca’s behavior, feed her the right food, and interpret symptoms of illness. I can’t speak to Chi’s relationship with Cocchi — my cat’s only animal companion is a frustrated herding dog — but even that feels right to me. A must for cat fanciers. – Katherine Dacey

Dengeki Daisy, Vol. 8 | By Kyousuke Motomi | VIZ Media – Make no mistake, this is easily the best volume of Dengeki Daisy yet. Okay, yes, part of the cliffhanger from last volume just sort of fizzles out, but it leads to Teru finally getting the full story (through flashbacks) about Kurosaki’s past as a dangerous hacker and his relationship with Soichiro and the various former coworkers with whom he still associates. Although mangaka Kyousuke Motomi can’t quite manage to write a compelling mystery plot—any attempts to hint at some vast conspiracy are generally vague and uninteresting, though we do get a little direction on who’s orchestrating the attacks on Teru—there’s still some good stuff here for fans of these characters, especially in the way Soichiro draws a young, heartbroken Kurosaki out of his shell. I do have to wonder, though, whether returning to the present day will feel like a let down after this. – Michelle Smith

Fairy Tail, Vol. 17 | By Hiro Mashima | Kodansha Comics – I have to admit, Mashima is starting to lose me here. There’s a lot going on in this volume provided you like fights – but if you’re not a big shonen fight fan, the only thing to grab a hold of is the big plot revelation, which brings back someone who I’m not really sure we all wanted to see back. Yeah, I know ‘no one dies in shonen comics’ has become somewhat of a cliche, but this just felt very underwhelming. It doesn’t help that I still have trouble holding the new characters in my head, be they heroes or villains. On the plus side, Erza being out of the action for most of the volume gives Gray a chance to shine. And the cliffhanger, involving Loke, makes me really want to know what happens next. Unfortunately, that’s not enough to save a substandard volume of this series.-Sean Gaffney

I Love You, Chief Clerk! | By Keiko Kinoshita | JManga – BL anthologies are probably my least favorite type of manga to review. With a handful of exceptions (est em, for example), BL mangaka, at least those currently published in English, seem to be especially inept at the admittedly difficult art of telling a satisfying, well-developed story in just one or two chapters. Happily, Keiko Kinoshita proves herself to be one of the exceptions. Despite its simplistic title, I Love You, Chief Clerk! is a charming collection of short romance manga that manage to get right to the heart of their stories without feeling rushed or skimpy. Kinoshita deftly introduces her characters and defines their relationships, past and present, with just a few sure strokes. She’s not concerned so much with resolution as she is with creating a few truly genuine moments, and that’s all it takes to bring her adorable short stories to life. Gratefully recommended. – MJ

Library Wars: Love & War, Vol. 7 | By Kiiro Yumi and Hiro Arikawa | VIZ Media – While readers have been reading about the not-quite-romance between Kasahara and Dojo, the plot has been slowly building up, and this is the volume where a lot of the plot cannons are fired. Following up on last volume, Tezuka gets a lot of development here, and I was also pleased to see Shibazaki’s lunch dates continue. But the real meat of this is the plot with our heroine, as a conspiracy tries to frame her and she has to lay low while her friends figure out who’s behind it. Seeing the social and normally upbeat Kasahara being so beaten down and downtrodden is quite heartbreaking, and more so when we know she’s “trying to be strong” – exactly what Dojo *doesn’t* want. For those who wanted more library wars in this manga, this is the volume to get.-Sean Gaffney

The Melancholy of Haruhi Suzumiya, Vol. 11 | Art by Haku Tsugano, Story by Nagaru Tanigawa, Characters by Noizi Ito | Yen Press – The eleventh volume of Haruhi Suzumiya irresistibly reminded me of a classic Star Trek plot line, in which a rift in time, a strange illness, or an amnesia-inducing event causes the crew to act out of character. For Harhui and her friends, the sudden rash of odd behavior begins when they’re banished to an alternate dimension; only by solving a math puzzle can they return to their normal lives. Newcomers will find this volume a difficult place to begin exploring this unique series, as the story relies too heavily on the reader’s prior knowledge of the characters. Die-hards, however, will find more of what they like: humorous interplay between characters, off-beat mysteries, and occasional bits of fanservice. -Katherine Dacey

Natsume’s Book of Friends, Vol. 11 | By Yuki Midorikawa | Viz Media – I know this is a monthly manga, but at times the author really seems to plot her arcs out to the individual volumes. The first half shows Natsume bonding even more with Tanuma and Taki (OT3!!!… sorry), and finding that he can rely on them to be there for him no matter what. Then in the 2nd half, we see that as much as he may want to open up, it’s simply not that easy given what he goes through every day… and what he went through as a child. We are our upbringing, after all. There’s also some nice yokai examination here – even the “nice” ones are still distrustful and uncomprehending about humanity. This even applies to Nyanko-sensei, who’s still saying he’s only hanging around to get the Book of Friends after all this time. Rather than admitting the deep bond he and Natsume have forged. Terrific stuff.-Sean Gaffney

No Longer Human, Vol. 3 | By Usamaru Furuya, Based on the novel by Osamu Dazai | Vertical, Inc. – In the afterword to volume three, Usamaru Furuya admits that as a teenager, he “found beauty” in the hero’s “ruinous lifestyle.” That admission is key to understanding the strengths and weaknesses of Furuya’s adaptation of No Longer Human. On the one hand, it’s immediate and visceral, depicting a young man’s fall from grace in symbolically rich imagery; Furuya has succeeded in translating an ambiguous text into a feverish nightmare of father-hate and drunken debauchery. On the other, many of the nuances of Dazai’s text have been filed away, making Yozo’s transformation seem more pedestrian than it did in the novel; it’s a Lifetime movie about addiction, minus a third-act redemption. Still, for readers new to Dazai’s work, Furuya’s adaptation provides a sturdy bridge between the original novel and the present day, showing readers that No Longer Human is as relevant now as it was in 1948. – Katherine Dacey

Only Serious About You, Vol. 2 | By Kai Asou | Digital Manga Publishing – Though I know of a few gay men who read and enjoy BL manga, the fact remains that it’s a genre written by women for women. Reading this second volume of Only Serious About You, however, made me think that here is a series I would recommend to any gay man, pre-existing manga fan or not. The evolution of the relationship between single dad Oosawa and his former customer, Yoshioka, is handled with sensitivity and realism, and the bond they share caring for Oosawa’s daughter, Chizu, is seriously touching. Yoshioka had a tough childhood, and helping to raise Chizu is like a healing experience for him, and when reserved Oosawa finally decides to accept all that Yoshioka’s willing to give, it’s sniffle time. The sense of family among these three is palpable, and a great example of the loving home two men can provide a child. A lovely, lovely story. More by Kai Asou, please! – Michelle Smith

Show Us Your Stuff: The Loch Ness Manga

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Welcome to another installment of Show Us Your Stuff, a weekly column in which manga lovers share pictures of their libraries. This week’s featured collector is Ellie, who hails from across the pond. When she isn’t baking or drawing, Ellie documents her efforts to learn Japanese at the site 5kanjiaday.wordpress.com. Her taste in manga cants more heavily towards shojo than other demographics, though as you’ll see, her collection is pleasingly eclectic, encompassing everything from Keiko Nishi to Hiromu Arakawa to Katsuhiro Otomo. So without further ado, here’s Ellie in her own words! – Katherine Dacey

I’m another international contributor, as I live in Scotland. I became interested in manga through some friends I made when I started high school. As well as manga and anime, I’m also interested in music, cooking, baking, drawing, and trying to learn Japanese. I’m working at the moment, but I’m hoping to go to university next year to study music.

How long have you been collecting manga?
Since shortly after I started high school, so about 7-8 years now.

What was the first manga you bought?
Volume one of Chobits. It was one of about four manga volumes in the only bookshop in the small town I grew up in, and I bought it on a school friend’s recommendation. I still have it and I’ve never looked back since…

How big is your collection?
As at January 17th, 688 English volumes, including some artbooks, novels and guide books, and omnibuses (which I count as one volume, regardless of how many original volumes they contain). I have three Japanese volumes. I swear it doesn’t look like that much on the shelves, but when I sat down and counted one day, I gave myself a shock!

What is the rarest item in your collection?
Probably a Japanese Okane ga Nai doujinshi that a friend got me from a con. (Not pictured, as it’s still at my parents’ house.) There are several other things I own which seem to be rare — judging by new and used prices on Amazon — including some older BL published by June and BLU; Love Song, which is an early anthology of one-shots by Keiko Nishi and released by Viz in the 1990’s; and a first edition of Legal Drug, Vol. 1, which has the lovely acetates and colour pages.

I also have the complete run of After School Nightmare and Tenshi ja Nai!!, published by Go! Comi. This isn’t manga per se, but I have all but one of the Gothic and Lolita Bibles that Tokyopop published. I also have the first two Strawberry Panic light novel volumes that Seven Seas published before ditching the series years ago. I was so annoyed when the omnibus came out!

What is the weirdest item in your collection?
In terms of pure weird story content, probably Guru Guru Pon-chan and everything I own by Mitsukazu Mihara and Kaori Yuki . I’d say the series that deviate most from the rest of the collection in terms of story content are probably Tegami Bachi, Black Butler and Blue Exorcist, as the vast majority of my collection is shojo and romance, whereas those three are decidedly not…

How has your taste in manga evolved since you started your collection?
When I first got into manga, I would buy literally everything I saw that even vaguely caught my eye, even if I ended up not really liking it that much. I’ve sold quite a lot of stuff because of that. My tastes have matured somewhat now, and I’m a lot more picky about what I buy, and I buy more stuff online (partly due to moving out and having to pay rent and bills!), and I’ll tend to check out reviews before I buy if I’m unsure about something.

I’ve also come to appreciate more mature works as I’ve gotten older, like Honey and Clover and Akira (which would have bored me a few years ago). Recently, I also seem to have got back into shounen series. I gave up on Bleach a few years ago (as you can see, the vast majority of my collection is shoujo) but within the last year I started buying Tegami Bachi, Blue Exorcist, Bakuman, Fullmetal Alchemist and Black Butler. When I’m caught up with a few more things, I want to buy the Rurouni Kenshin and Inuyasha VIZBIG editions, and possibly Nura: Rise of the Yokai Clan. I tend to prefer shojo because it (most of the time) doesn’t drag on as long as shonen series. I’ll give anything a chance though.

Who are your favorite comic artists?
My favorite manga artists, in no particular order, are: CLAMP, Yuu Watase, Kaori Yuki, Arina Tanemura, Natsumi Ando, Mitsukazu Mihara, Ai Yazawa, Hiromu Arakawa and Masami Tsuda.This list is purely based on entertainment value, rather than me trying to be objective about quality… I don’t really read Western comics so I don’t have any favorite comic artists.

What series are you actively collecting right now?
Again, in no particular order, Bunny Drop (although I’m not sure whether I will keep buying any more volumes, given what I know of the ending), the Haruhi Suzumiya novels, Sakura Hime Kaden, Kamisama Kiss, Tegami Bachi, Fushigi Yuugi Genbu Kaiden (as actively as anyone can collect that), The Story of Saiunkoku, Blue Exorcist, Arisa, Black Butler, Library Wars, Bakuman, Otomen, Haruka: Beyond the Stream of Time, Dawn of the Arcana, Honey and Clover, Loveless, Bad Teacher’s Equation, Border, Kare Kano, Ouran High School Host Club, the Love Hina and Tokyo Mew Mew omnibus rereleases, Sailor Moon, Kobato, Full Metal Alchemist, My Girlfriend’s A Geek, Dengeki Daisy, Black Bird, Lovephobia, Vampire Knight, Nana, Kimi ni Todoke, Natsume Yuujinchou, Sensual Phrase, Ai Ore!, and We Were There. If they ever get picked up in English again: Nodame Cantabile, Maid-sama, the Zaregoto novels, and the Secret Notes of Lady Kanoko. I’d say the ones I’m giving the highest priority to are Kamisama Kiss, Story of Saiunkoku, Bakuman, Arisa, Otomen, Black Butler, Sailor Moon, Blue Exorcist, Black Bird, Library Wars, Sakura Hime, Kimi ni Todoke, Vampire Knight, Black Bird, Dengeki Daisy, Ai Ore, Dawn of the Arcana and Natsume Yuujinchou. I also have quite a lot of series which I want to buy but just don’t have the money for at the moment!

Do you have any tips for fellow collectors (e.g. how to organize a collection, where to find rare books, where to score the best deals on new manga)?
Ikea is your friend when it comes to cheap shelves, and a well-organized collection takes up far less space than a messy one. Your books will stay in better condition that way as well. I organize my collection by complete and incomplete series, but if I know how many volumes are left in a series, I create space for it on the “complete” shelves. Once your collection gets above about 100 volumes, keeping a spreadsheet is definitely a good way of keeping track of it. I use it to make sure I don’t end up buying the same things twice etc.

Check the bargain bin of your local comic shop for rare gems; I found two copies of Basara volume 20 for significantly less than RRP each, which I then sold on for a reasonable price to people on the internet who were missing them. I couldn’t bear to see them disposed of when so many people on the Internet were clamouring for them. I ended up sending them both to the US from the UK. If they’d had volume 19 as well, I would’ve started collecting it myself…

Chain bookshops can occasionally unearth gems as well, just keep checking, but I’ve found most of my gems in comic shops all around the country when I’ve been visiting friends, so go and visit friends in other places and see what you can find! Second hand bookshops can occasionally unearth gems; I found two flopped volumes of Sailor Moon in one local to me for 3 pounds each (just before Kodansha announced it) so give your local second hand bookseller a visit sometimes.

As for buying new series, my local comic shop has a perpetual three-for-the-price-of-two deal on all manga, regardless of the publisher or price, so I’m quite lucky in that regard. Being in the UK, I don’t know anything about US based online stores like Right Stuf, but Amazon and eBay can be your friends as well, particularly for earlier volumes in a series. With eBay especially, watch out for the shipping charges though!

Also, don’t be afraid to have a prune once in a while. If you’ve not read something more than once or twice, and you don’t think you’ll miss it, let it go. That gives you more space, and more money to go and buy stuff you’re more interested in. Free listing weekends on eBay are wonderful for listing multiple volumes as a set. If you’re unsure about a series, see if your local library/a friend/ a local anime and manga club has it or see if the publisher has a preview online, so you can check it out before you buy. Read some reviews as well; see if you can find a reviewer who shares similar tastes to you and see what they thought of a series. If it has an anime, see if the anime is available on Crunchyroll or Netflix etc, then you’ll at least be able to see if you like the overall idea of the series. Plus the manga is (almost) always better than the anime (in my opinion) so if you like the anime, you’ll like the manga more!

Show Us Your Stuff is a regular column in which readers share pictures of their manga collections and discuss their favorite series. If you’d like to see your manga library featured here, please send me an email.

Pick of the Week: GTO & more

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It’s a strong week for manga at Midtown Comics. See the Battle Robot’s picks below!

SEAN:God, I’ve missed Onizuka. My pick this week is the first volume of the ‘interquel’ GTO: 14 Days in Shonan, a 9-volume series that is supposed to fit in towards the end of GTO proper. The cast of the main series get a brief cameo, but the meat here is Onizuka arriving in a new neighborhood and having to deal with a new bunch of delinquent kids. And he is up to the job – for all his perving about getting laid (which he never does), or constantly getting into fights and winning despite severe injuries (I wince at every head blow he takes here, for reasons obvious to a seasoned GTO reader), the series in the end is about Onizuka caring about kids – the ones who used to be just like him – and showing them that the world isn’t as bad as they think it is. Whatever his motivations may be, he’s a wonderful teacher of the human spirit. Great to have him back.

KATE: With so many awesome titles arriving in stores this week — Bride of the Water God, Dawn of the Arcana, GTO: 14 Days in Shonan, Natsume’s Book of Friends, The Story of Saiunkoku — it’s difficult to limit myself to one. But if I *had* to pick one, my choice would be volume 20 of Slam Dunk. Takehiko Inoue’s deep affection for basketball is evident on every page; he immerses us in the game play to such a degree that the reader feels like she’s on the court, too, searching for an opening to the basket. Inoue’s affection for his characters is also evident on every page; even when they’re the butt of jokes, we still root for the Shohoku team to resolve their personal differences so that they can best their opponents. Slam Dunk places more emphasis on gameplay than Inoue’s other basketball manga, REAL, but is worth seeking out, even if you’re can’t cite Paul Pierce’s free-throw statistics for the 2009-10 season.

MICHELLE: I really, really love Slam Dunk, so I second Kate’s recommendation even while casting my own vote for volume one of A Devil and Her Love Song. This debut, about the attempts of an honest-to-a-fault girl to make friends in her new high school, surprised me by being far more than its comedic-seeming premise—and a couple of stereotypical-looking male characters—initially suggested. Maria is trying so hard, in her stoic way, and I found he way that she keeps desperately believing that things will work out to be very endearing. The supporting cast has some depth, as well, and I’ve heard good things about what’s to come. Definitely a very strong start to a promising series!

MJ: This week’s haul is pretty impressive (I really did love A Devil and Her Love Song), but I’m going to cast my vote for the sixth volume of The Story of Saiunkoku. Even if it wasn’t a smart, funny series with lovely period dressing and a truly awesome heroine, it would still be the series that inspired one of my favorite reviews ever. (Thank you, David!) Seriously, it’s just a charming, charming manga. And I’m a whole volume behind, so I’ve got extra shopping to do!

BRIGID: I could have gone for any one of the above, but since you all got there first, I’ll give some love to vol. 7 of Kamisama Kiss. I like Julietta Suzuki’s simple style and her sense of humor, and even if this is a story that has been told before, she puts a few new twists on it.

Readers, what looks good to you this week?

Bookshelf Briefs 2/6/12

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This week, Michelle, Kate, and Sean take a look at recent releases from Kodansha Comics and Viz Media.

Arisa, Vol. 6 | By Natsumi Ando | Published by Kodansha Comics – Someone ought to invent an Arisa drinking game that involves taking a sip any time the characters are out in the woods and someone falls off a cliff. Seriously, I think that just happened a couple of volumes ago and here it is again. Despite the fact that Tsubasa stumbles (har har) upon a significant lead in the volume’s final pages, ensuring that I’ll be back for volume seven, I spent most of the volume annoyed. The good guys sure are making it easy for “the King” to undermine their efforts to learn his/her identity, to the point where it’s hard to summon any sympathy for them. It’s never a good sign when someone getting hit by a car actually makes me snicker. This series started off seeming really cool, but now it’s just kind of ridiculous. And that’s a shame. – Michelle Smith

Cage of Eden, Vol. 3 | By Yoshinobu Yamada | Kodansha Comics – You have to hand it to the author – he knows his audience. This is a story that really wouldn’t fly in Jump or Sunday, but in service-happy Magazine, it’s managed to be a success. And really, I can see why. Despite the egregious boob and panty shots, and the token loli that has been added towards the end, it’s the plot and characters that drive you onward. The teamwork/rivalry of Akira and Yarai plays out nicely, and Kohei’s breakdown is horrible yet compelling. This is very much classic boys’ literature – lots of fights with giant animals, buxom teenage girls, some small amount of romance, and plot twist after plot twist. It’d be a great manga to bring along to the beach. Just be aware that you’d finish the volumes to date very quickly, and might have trouble explaining the fanservice to anyone reading over your shoulder. – Sean Gaffney

Cross Game, Vol. 6 | By Mitsuru Adachi | Published by Viz Media – Comprising volumes twelve and thirteen of the original Japanese release, the feel of this sixth VIZ omnibus could be summed up as, “The final summer is just around the corner.” Seishu has missed their chance at the Spring Koshien, but as Ko and his friends enter their third and final year of high school, they’ve got just one more shot. Baseball is on everyone’s mind all the time, and we catch glimpses of some intense practice sessions, but just as much attention is devoted to the characters’ relationships. Much of the story revolves around Ko getting to know Akane, Wakaba’s look-alike, while Azuma and Aoba grow a little closer. It’s bittersweet, slice-of-life storytelling at its finest, and though I am really looking forward to the tournament ramping up, I’m sure the resolutions on the romantic front will be equally satisfying. Perenially recommended. – Michelle Smith

Shugo Chara-Chan!, Vol. 2 | Created by Peach-Pit, Manga by Napthalene Mizushima et al. | Kodansha Comics – If your primary complaint about Shugo Chara was that Amu’s guardians didn’t get enough time in the spotlight, this 4-koma spin-off title is for you. The stories — if they can be called that — focus on Ran, Miki, and Su as they bumble their way through a variety of stock manga situations: decorating a Christmas tree, getting dressed for a festival, baking cakes, playing with cute animals. The gags are too generic to make much of an impression, though the strips spoofing Arisa, Fairy Navigator Runa, and Hell Girl add a welcome jolt of visual and comic energy to an otherwise tepid volume. Strictly for hardcore Shugo Chara fans; newcomers won’t find enough here to sustain their interest. – Katherine Dacey

GTO: 14 Days in Shonan, Vol. 1

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GTO: 14 Days in Shonan is loud and silly, the kind of manga in which the slightest misunderstanding between characters escalates into shouting matches, bone-crunching violence, or incarceration (or all three). It’s the kind of manga in which the hero is over-confident to the point of being dumb. And it’s the kind of manga in which the author trots out the same gags two or three times per volume, repeating them with the insistence of a ten-year-old who thinks no one heard him the first time he said, “Orange you glad I didn’t say banana?”

I loved it.

14 Days in Shonan — a sequel to the wildly popular GTO: Great Teacher Onizuka — follows the same basic template as the original stories, pitting the hellraiser-cum-homeroom teacher against a posse of troubled teens. This time, however, the action unfolds in Onizuka’s hometown, where he takes up residence at a group foster home after disgracing himself on national television. (“I just tried to tell a fun little story, and see what happened,” he fumes.) Hijinks and beatdowns ensue when one of the residents wages a vicious campaign to send Onizuka back to Tokyo — a campaign that repeatedly backfires, thanks to Onizuka’s cheerful determination and  strong constitution. (No one takes a baseball bat to the head quite like Onizuka.)

Though the hijinks are amusing, what makes 14 Days in Shonan work is its sincerity. In many stories told from the teacher’s point of view, the teacher is a sardonic observer of student behavior, bemoaning his charges’ lack of knowledge, manners, or interest in the subject. 14 Days in Shonan, however, offers a rosier picture of teaching, one in which a good educator plays a decisive role in improving his students’ lives, whether they be victims of bullying or survivors of parental abuse. At the same time, however, author Toru Fujisawa pokes fun at the conventions of the To Sir With Love genre, gleefully mocking Eikichi Onizuka’s unorthodox methodology, gullibility, and exaggerated sense of importance; Onizuka may get results, but they almost always come at the expense of his dignity.

And oh! those affronts to his dignity are hilarious. Onizuka is teased by teenagers and cops alike: they insult him, remind him that he’s a virgin, and Photoshop his image, placing him in suggestive situations. Though he tries to maintain a suave facade, Onizuka can barely contain his embarrassment at the way he’s treated; not since Mr. Bean has a character been able to contort his face into so many distinctive states of disgust, arousal, or surprise.

But the most surprising thing about 14 Days in Shonan is its ability to address serious social problems without devolving into an Afterschool Special. The hand-to-hand combat and barrage of condom jokes helps mitigate against didacticism, to be sure, but Fujisawa is skillful enough to make the students’ personal troubles a meaningful — and sometimes moving — part of the story, inspiring Onizuka to new heights of creativity (and silliness) in his efforts to reach them. It’s never entirely clear when Onizuka is deliberately playing the fool, and when he’s genuinely out of his depth, but Fujisawa is always generous in giving his brash hero credit for helping students, even when Onizuka looks ridiculous.

Highly recommended.

Review copy provided by Vertical, Inc.

GTO: 14 DAYS IN SHONAN, VOL. 1 • BY TORU FUJISAWA • VERTICAL, INC. • 200 pp. • NO RATING (SUGGESTIVE SITUATIONS, LANGUAGE, VIOLENCE)

GTO: 14 Days in Shonan, Vol. 1

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GTO: 14 Days in Shonan is loud and silly, the kind of manga in which the slightest misunderstanding between characters escalates into shouting matches, bone-crunching violence, or incarceration (or all three). It’s the kind of manga in which the hero is over-confident to the point of being dumb. And it’s the kind of manga in which the author trots out the same gags two or three times per volume, repeating them with the insistence of a ten-year-old who thinks no one heard him the first time he said, “Orange you glad I didn’t say banana?”

I loved it.

14 Days in Shonan — a sequel to the wildly popular GTO: Great Teacher Onizuka — follows the same basic template as the original stories, pitting the hellraiser-cum-homeroom teacher against a posse of troubled teens. This time, however, the action unfolds in Onizuka’s hometown, where he takes up residence at a group foster home after disgracing himself on national television. (“I just tried to tell a fun little story, and see what happened,” he fumes.) Hijinks and beatdowns ensue when one of the residents wages a vicious campaign to send Onizuka back to Tokyo — a campaign that repeatedly backfires, thanks to Onizuka’s cheerful determination and  strong constitution. (No one takes a baseball bat to the head quite like Onizuka.)

Though the hijinks are amusing, what makes 14 Days in Shonan work is its sincerity. In many stories told from the teacher’s point of view, the teacher is a sardonic observer of student behavior, bemoaning his charges’ lack of knowledge, manners, or interest in the subject. 14 Days in Shonan, however, offers a rosier picture of teaching, one in which a good educator plays a decisive role in improving his students’ lives, whether they be victims of bullying or survivors of parental abuse. At the same time, however, author Toru Fujisawa pokes fun at the conventions of the To Sir With Love genre, gleefully mocking Eikichi Onizuka’s unorthodox methodology, gullibility, and exaggerated sense of importance; Onizuka may get results, but they almost always come at the expense of his dignity.

And oh! those affronts to his dignity are hilarious. Onizuka is teased by teenagers and cops alike: they insult him, remind him that he’s a virgin, and Photoshop his image, placing him in suggestive situations. Though he tries to maintain a suave facade, Onizuka can barely contain his embarrassment at the way he’s treated; not since Mr. Bean has a character been able to contort his face into so many distinctive states of disgust, arousal, or surprise.

But the most surprising thing about 14 Days in Shonan is its ability to address serious social problems without devolving into an Afterschool Special. The hand-to-hand combat and barrage of condom jokes helps mitigate against didacticism, to be sure, but Fujisawa is skillful enough to make the students’ personal troubles a meaningful — and sometimes moving — part of the story, inspiring Onizuka to new heights of creativity (and silliness) in his efforts to reach them. It’s never entirely clear when Onizuka is deliberately playing the fool, and when he’s genuinely out of his depth, but Fujisawa is always generous in giving his brash hero credit for helping students, even when Onizuka looks ridiculous.

Highly recommended.

Review copy provided by Vertical, Inc.

GTO: 14 DAYS IN SHONAN, VOL. 1 • BY TORU FUJISAWA • VERTICAL, INC. • 200 pp. • NO RATING (SUGGESTIVE SITUATIONS, LANGUAGE, VIOLENCE)

Yakuza Cafe

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Yakuza Cafe is a pleasant surprise, a cheerful, smutty send-up of gangster manga that playfully mocks maid cafes, foodie manga, and yakuza culture.

The titular gangsters are the Fujimaki Clan, a once-feared crime syndicate who’ve launched a legitimate business: a yakuza-themed cafe, staffed by the clan’s former foot soldiers. Though the food is tasty, and the waitstaff comely, the cafe is all but deserted — that is, until Shinri, the clan leader’s only son, discovers the root of the problem: no one can brew a decent cup of tea! Not to worry: Shinri just happens to be an expert on the subject, thanks to his grandmother, a tea connoisseur so dedicated that she grew her own leaves.

Of course, Yakuza Cafe is yaoi, so there’s also a romantic subplot running in tandem with the shop’s rehabilitation. That storyline involves Shinri and a brooding, muscle-bound thug named Mikado, who’s famous for his fiery temper. Though others warn Shinri not to become emotionally or physically involved with Mikado, Shinri finds himself irresistibly drawn to Mikado and his elaborate dragon tattoo. (The tattoo, it should be noted, is almost a character in its own right.)

Yakuza Cafe has three things working in its favor: a cast of handsome men, a clever premise, and a deep affection for the genres it parodies. Shinano Oumi draws elegant, if generic, characters in a variety of pleasing shapes and sizes: broad-shouldered types for readers who prefer rugged men and slender, snappy dressers for those who favor metrosexuals. Oumi doesn’t just populate her story with attractive characters, she inserts them into a situation that’s ripe with comic potential: what could possibly go wrong when former hit men serve tea and pastries to teenage girls? Of course, none of these scenarios would be funny if Oumi overplayed them, but she uses a light touch throughout the story, whether she’s borrowing ideas from The Drops of God — grandma’s tea expertise could easily spawn a manga of its own — or putting a BL spin on a gangster manga cliche. (Mikado tries to slice off his own pinky in order to atone for his relationship with Shinri.)

The main drawback to Yakuza Cafe is the romance. Shinri and Mikado’s attraction is explained by means of a very tired shojo trope — The Handsome Senpai From My Childhood — and never properly developed. That’s a pity, because the other lengthy story in Yakuza Cafe, “The Crimson Seal,” achieves a much better balance between the main story and the budding relationship between a college grifter and a Fujimaki foot soldier. “Seal” also offers the manga’s only really emotional moment, culminating in a Tragic Death as sincere and silly as anything in Crying Freeman. (I say this with love.)

Whether you’ll enjoy Yakuza Cafe boils down to a simple test: do you read yaoi for the stories or the pictures? If the former, you’ll find it entertaining, with passably exciting bedroom scenes; if the latter, you may not find enough visual stimulation to hold your interest through all the maid cafe and yakuza jokes.

Digital review copy provided by Digital Manga Publishing.

YAKUZA CAFE • BY SHINANO OUMI • DMP • 168 pp. • RATING: MATURE (18+)

Yakuza Cafe

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Yakuza Cafe is a pleasant surprise, a cheerful, smutty send-up of gangster manga that playfully mocks maid cafes, foodie manga, and yakuza culture.

The titular gangsters are the Fujimaki Clan, a once-feared crime syndicate who’ve launched a legitimate business: a yakuza-themed cafe, staffed by the clan’s former foot soldiers. Though the food is tasty, and the waitstaff comely, the cafe is all but deserted — that is, until Shinri, the clan leader’s only son, discovers the root of the problem: no one can brew a decent cup of tea! Not to worry: Shinri just happens to be an expert on the subject, thanks to his grandmother, a tea connoisseur so dedicated that she grew her own leaves.

Of course, Yakuza Cafe is yaoi, so there’s also a romantic subplot running in tandem with the shop’s rehabilitation. That storyline involves Shinri and a brooding, muscle-bound thug named Mikado, who’s famous for his fiery temper. Though others warn Shinri not to become emotionally or physically involved with Mikado, Shinri finds himself irresistibly drawn to Mikado and his elaborate dragon tattoo. (The tattoo, it should be noted, is almost a character in its own right.)

Yakuza Cafe has three things working in its favor: a cast of handsome men, a clever premise, and a deep affection for the genres it parodies. Shinano Oumi draws elegant, if generic, characters in a variety of pleasing shapes and sizes: broad-shouldered types for readers who prefer rugged men and slender, snappy dressers for those who favor metrosexuals. Oumi doesn’t just populate her story with attractive characters, she inserts them into a situation that’s ripe with comic potential: what could possibly go wrong when former hit men serve tea and pastries to teenage girls? Of course, none of these scenarios would be funny if Oumi overplayed them, but she uses a light touch throughout the story, whether she’s borrowing ideas from The Drops of God — grandma’s tea expertise could easily spawn a manga of its own — or putting a BL spin on a gangster manga cliche. (Mikado tries to slice off his own pinky in order to atone for his relationship with Shinri.)

The main drawback to Yakuza Cafe is the romance. Shinri and Mikado’s attraction is explained by means of a very tired shojo trope — The Handsome Senpai From My Childhood — and never properly developed. That’s a pity, because the other lengthy story in Yakuza Cafe, “The Crimson Seal,” achieves a much better balance between the main story and the budding relationship between a college grifter and a Fujimaki foot soldier. “Seal” also offers the manga’s only really emotional moment, culminating in a Tragic Death as sincere and silly as anything in Crying Freeman. (I say this with love.)

Whether you’ll enjoy Yakuza Cafe boils down to a simple test: do you read yaoi for the stories or the pictures? If the former, you’ll find it entertaining, with passably exciting bedroom scenes; if the latter, you may not find enough visual stimulation to hold your interest through all the maid cafe and yakuza jokes.

Digital review copy provided by Digital Manga Publishing.

YAKUZA CAFE • BY SHINANO OUMI • DMP • 168 pp. • RATING: MATURE (18+)