Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

Michelle Smith

Off the Shelf: Girls & Monsters

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MJ: Well, hello again, my friend! Does it seem possible that we’ve been writing this column together for nearly a year?

MICHELLE: Because I’m so proud of what we’ve accomplished and all the series we’ve covered, I’d say it does, actually, but it’s certainly gone by swiftly!

MJ: Indeed it has! So to continue being swift about it, I’ll get right to business. What have you been reading this past week?

MICHELLE: Heaps and heaps of good stuff, actually! In particular, the latest volumes of two shoujo series that were originally published by Del Rey and which have emerged from a long, gloomy hiatus into the optimistic sunshine of Kodansha Comics!

First off, there’s volume two of Arisa by Natsumi Ando. I’d heard good things about Ando’s Kitchen Princess—I’ve yet to read it, though this will soon be rectified—so it didn’t actually come as a surprise that Arisa is a lot of creepy, suspenseful fun, but that doesn’t diminish my gladness at all. The gist of the story is simple: Tsubasa Uehara and her twin, Arisa Sonoda, were separated by their parents’ divorce and haven’t seen each other in three years. They’ve been writing letters, though, and Arisa’s always depicted her life as close to perfect, with lots of friends, a cute boyfriend, and a successful school career. Imagine Tsubasa’s surprise, then, when soon after meeting up again, Arisa attempts suicide.

Tsubasa is determined to get to the bottom of what’s bothering her sister, and so attends Arisa’s school in her guise. At first, all seems normal, but she soon learns about a bizarre weekly ritual in which the students submit wishes to “the King,” who will choose one to grant. No wish is beyond the King’s power, and Tsubasa witnesses him/her successfully “disappear” a pervy gym teacher in fulfillment of a student’s wish. Her investigation suggests that the King is the class bad boy, Manabe, and volume two picks up with a twist about the King’s actual identity and the revelation that someone knows who Tsubasa really is and wants her to back off, else they’ll do something to still-comatose Arisa.

I’m a big fan of sheer atmosphere, and Arisa has it in spades. No one is what they initially seemed to be, and Arisa’s supposed best friend, Mariko, is shaping up to be positively unhinged. Then there’s her mild-mannered boyfriend, who really can’t be that benign, can he? It’s twisty and turny and suspenseful in an extremely delightful way, and I am quite glad that Kodansha’s got it on a bimonthly schedule because I am honestly going to dive into volume three the moment I get the tape off the box.

MJ: Wow, you know, I’d read a little bit about this series, but your description is the first that’s made me want to run to the bookstore and grab it up for myself. I’m especially interested in all this atmosphere you rave about.

MICHELLE: Now I worry I’ve overstated its brilliance, but it really is both entertaining and unique. If I had to liken it to anything, it’d be After School Nightmare, which has a similar “who among my classmates is the one I seek” sort of thing going on, at least in the one volume I’ve read.

How about you? Read anything good?

MJ: I have! My week has had a distinctly different flavor than yours, but also publisher-specific. It’s been a Vertical week for me, beginning with the fourth and final volume of Nobuaki Tadano’s 7 Billion Needles, one of my favorite new series last year. Adapted from Hal Clement’s 1950 novel, Needle, this series follows a sullen teenager named Hikaru whose life has changed forever thanks to an alien parasite (later two of them) who takes up permanent residence in her body.

Though I complained here a few months ago that the series’ third volume had taken an unfortunate turn, leaving behind its striking tale about human connection in order to explore new, less-coherant themes, I’m pleased to report that this is far from fatal. Though the story’s new plotline involving a planetary macro-evolution persists in its final volume, the series’ real focus turns back to Hikaru, whose personal journey really is what makes the whole thing work.

Contrary to anything she might have believed just a few volumes ago, Hikaru’s got people worth saving in her life, and save them she does, without anything more than her own desire. Sure, she’s got superpowers of a sort, what with all those aliens rumbling around inside, but her real strength is her own, and it’s a strength that she’s discovered by simply being human.

With all the excitement and chaos of final battles and whatnot, Tadano’s horror-tinged artwork really shines in this volume, particularly in its most esoteric moments. I’d even go so far as to say that the “macro-evolution” business is actually saved by the artwork, which manages to express itself more clearly than the narrative in those sections. Another treat is “Hikhikomori Headphone Girl,” the short comic that provided the template for Tadano’s Hikaru, which is included at the back of the volume.

7 Billion Needles isn’t a perfect series, but at just four volumes, it’s one of the few short manga series I personally can see myself voluntarily rereading. Given my preferences for epic storytelling, that’s no small praise.

MICHELLE: I’ve always planned to read this series, but after two or three volumes of a four-volume series have come out, one begins to think, “Well, maybe I’ll just wait and read it all in one swell foop.” I’m glad to hear, though, that it comes to a satisfying conclusion!

MJ: It really does, and I think it probably reads even better all at once. I plan to try it that way myself.

So what else have you got for us this week?

MICHELLE: The latest volume in a series that I know you adore, Shugo Chara!. After having meant to do so for ages, I’ve finally caught up on this charming magical girl series, just in time for Kodansha to release volume ten. And what an important volume this is!

When the story left off, heroine Amu Hinamori and her friends were infiltrating the headquarters of a sinister corporation known as Easter, who had finally acquired the Embryo, the magical wish-granting egg (long story) for which they had recklessly been searching. Although I found the big reveal of Easter’s boss to be predictable, his/her reasons for acquiring the Embryo are not at all what I expected. Amu works her Shoujo Heroine Magic upon him/her as well as upon his/her chief minion, who happens to be the stepfather to her love interest, Ikuto.

This, in turn, leads to some resolution in Ikuto’s home life, as he is finally freed of his obligation to help Easter and gets the chance to fully explain himself to Tadase, Amu’s other love interest, who has hated him the past two years. This is the best part of the volume for me because, as I read earlier volumes, I started to question exactly what Ikuto’s Guardian Character, the cat-like Yoru, said about him. Guardian Characters are supposed to have some quality the child would like to possess, and what was there about sweet but kind of cartoony Yoru that a brooding high schooler like Ikuto would desire? And then it came to me… freedom. Yoru is free. He can sleep when he likes, eat when he likes… No one can make a cat do something it doesn’t want to do. Freedom is something Ikuto has never had, until now. And now that he does have it, he’s going to put it to good use.

And then Amu and her classmates, most of them sixth graders, prepare to graduate. Honestly, there is so much resolution here, I began to seriously wonder what kind of material Peach-Pit could find to fill in the final two volumes! I needn’t have been concerned, however, as the final handful of pages serve up a shocking development that will, I suspect, ultimately compel Amu to make real progress on discovering what kind of person she really wants to be.

MJ: I’m so pleased that you are enjoying this series! Yes, I do adore it, and I’ve spent pages and pages of webspace explaining exactly why, so I won’t go into a lecture now, but yes. You’re so much on the nose regarding Ikuto and Yoru. And, okay, I will go on slightly about one thing. What I especially love about Amu as a heroine is that unlike so many shoujo heroines these days, she’s not an “ordinary” girl with no particular special qualities other than just being the heroine of the manga. She’s confused and unsure of who she is and who she even wants to be, but she’s got a multitude of possibilities in front of her. And though she’s interested in boys, certainly, her real journey is about choosing her own path, not choosing who to walk with. If that makes sense.

MICHELLE: It makes perfect sense, and that’s a great point about Amu! As a result, it doesn’t present as false when several boys are interested in her, like it does when the heroine is sort of hopeless. The series is magical girl done right, and I’m a bit sad that Peach-Pit hasn’t written more in this genre, though I’m now interested in checking out Zombie-Loan, another of their series (released in English by Yen Press).

So, you said it was a Vertical night, eh? What else is on the menu?

MJ: My second Vertical read this week was Usamaru Furuya’s Lychee Light Club. Adapted from a theater piece of the same name, Lychee Light Club is the story of a group of middle school boys who have created their own secret society sort of dedicated to their general rejection of the adult world.

As the story begins, they’ve just completed construction of a lychee-fueled humanoid machine (much in the mold of Dr. Frankenstein’s monster) apparently for the purpose of kidnapping pretty, young girls. After some trial and error, as the machine learns what things like”pretty” and “young” actually mean, they manage to capture one in particular whom they intend to imprison indefinitely as their own personal idol.

There are a couple of parallel plots going on here. When the boys are out at night, the girl ends up befriending the monster, tapping into its desire to become more human. Meanwhile, the boys are fighting amongst themselves over the morality of what they’re doing, who’s in charge, who’s devoted to whom, and so on. The overall point of it seems to be that the boys become monsters while their monster becomes human, though some of the specifics along the way get a bit muddled.

Let me begin by saying that I found this manga really fascinating and incredibly striking, visually. The whole thing feels like a theater piece, more than any comic I’ve ever read, and it’s honestly stunning. I am thrilled to have read it for this element alone.

That said, I also think it’s kind of a mess. Though the boys’ inner society is decently fleshed out, what I’m really missing here is a sense of context. I get what they’re doing, but I don’t get why. They’re rebelling against a world we never really see, and as a result, we can’t understand who these boys are. Where do they come from? What’s sickened them so much about the grownup world? And what kind of society do they live in where they can carry on with heinous crimes like kidnapping, mutilation, and murder without anyone even noticing?

There’s a lot here I can take on faith as a reader. I don’t need to know how they built a monster that runs on lychee fruit, for instance. It’s incredible, but well within what I’m willing to accept as premise. But the lack of context for the boys’ self-made way of life keeps me from being able to embrace Furuya’s universe fully, and that’s enough to keep the story from becoming truly engaging.

There are a lot of things that could be said here, too, about the manga’s extreme violence and treatment of women–issues that have been covered quite beautifully already by Kate and David. Overall, though, my biggest personal obstacle with this story was its lack of context for the boys’ actions. Without that, I found it difficult to commit as a reader.

MICHELLE: Believe it or not, this actually reassures me that I will find something to like about it! I haven’t read it yet, and therefore haven’t read Kate and David’s piece, but just the premise alone made me a little wary. I can deal with a few flaws if I get something stunning out of the deal!

MJ: I hope that you will find something to like about it. I certainly did. And I’m quite interested now in reading more of Furuya’s work.

Well, wow, talk about swift, nine-thirty and we’re already done? Whatever will we do with ourselves?

MICHELLE: My sink is full of dirty dishes, so it seems my fate is predetermined.

MJ: Well, that’s depressing. Godspeed?

MICHELLE: Well, I have got a dishwasher, at least.

MJ: My pity has turned to sheer envy.

MICHELLE: You poor soul.

MJ: *snif*

Full House 1-4 by Sooyeon Won

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There’s certainly plenty of precedent for romantic comedies in which a feisty, average girl exchanges snarky banter with a rich and handsome fellow (to whom she is often secretly attracted even while deeming him odious). It may just be a licensing fluke, but it seems that a large portion of the sunjeong manhwa that I’ve read (Very! Very! Sweet, Sugarholic, Goong: The Royal Palace, There’s Something About Sunyool) also follows this formula. Now, I can add Sooyeon Won’s Full House to that list.

Ellie Ji is a Korean living alone in the UK after the deaths of her parents. Although her family relocated while Ellie was in primary school, she still doesn’t feel quite at home in England, so the lovely house her architect father built and left to her is an important refuge. One morning, she is unceremoniously ousted by emissaries of Ryder Baye, a famous actor, who claim that he is now the owner of the home, known as Full House. Hot-tempered Ellie vows to get the house back, no matter what it takes, and when Ryder hits her with his car, the perfect opportunity arises.

Ellie demands Ryder hand over Full House as compensation for her injuries, but he’s not having that, and thus they embark upon the first of what will be many, many, many arguments. Finally, Ellie declares, “I’ll even marry you, if that’ll do the trick!!” Ryder is far from enthused (“How could you say such a thing, when the very idea of wedding you is so horrific?! It’s beyond absurd, and even more disgusting than vomit and foot odor!”) but his manager, Miranda, likes the idea because it’ll help quash some nasty rumors that Ryder is gay. Eventually, everyone ends up agreeing to the arrangement.

So, once Ellie is discharged from the hospital, she and Ryder officially announce their engagement and move into Full House, with Ryder occupying the first floor and Ellie the second. Whereupon they proceed to have the rest of those many, many, many arguments I mentioned earlier. Ellie can be hyper-defensive and obnoxious, while Ryder is somewhat more sympathetic but yet unable to say what needs to be said to defuse a hostile situation. Sometimes they almost seem to get along, then something happens to derail that. Seriously, I can’t even list all the things they find to get up in arms about, because it’s kind of ridiculous and, more importantly, absolutely wearing upon the reader. Probably the worst moment is when Ryder offers to introduce Ellie, an aspiring screenwriter, to a director and she scathingly retorts, “I’m so grateful I’m about to break into tears! Should I bow down and kiss your feet to show my appreciation?”

The characters do and say things that make one want to shake them, like Ellie’s reluctance to just tell Ryder that her dad built that house and that she’d been living in it. They’d also rather let misunderstandings and misconceptions of their motives persist than deign to provide an exonerating explanation for their behavior. Sometimes this kind of dynamic can work for me in a couple—I actually like all those series I mentioned above—but here, I just really found it maddening. They’re bound and determined to be nasty to each other, even though they both surely realize there’s something good about their influence on each other. For Ryder, Ellie serves as a “stimulant,” when compared with all the other docile fangirls who throw themselves upon him. For Ellie, Ryder’s insistence upon public appearances awakens her potential as a stunning beauty and helps the once uncouth girl develop genuine poise.

Beyond its aggravating central relationship, Full House has some other odd quirks. As demonstrated by the quotes above, the dialogue is often over-the-top and laughable. (Felix, Ellie’s former beau, on learning of her engagement: “I couldn’t fall asleep from being so overwhelmed and busy sobbing.”) There are some grammatical errors, as well. On the plus side, some effort is made to make the speech sound British, with a scattering of “bloke”s and “bloody wanker”s peppering the script. Plotting is also similarly melodramatic. For example, volume four concludes with the sudden revelation that Ryder has a brain tumor and only three to five months to live. Dun dun dun!

Despite my gripes, I actually don’t hate Full House at all. I do marvel, though, that there are sixteen volumes in this series, plus a five-volume sequel. Are they all like this? I positively long for these two to have a civil conversation, and perhaps they will do, if the events of the first chapter of volume five (the only portion of that volume currently available on the NETCOMICS website) are any indication.

And now I’ve just realized that my opinion toward this series—it drives me crazy, but I can’t seem to leave it alone—is exactly what’s going on between its two leads. So, perhaps what I really ought to be saying is “Well done, Miss Won?”

Full House was originally published in English by the now-defunct CPM, but only the first four volumes—out of a total of sixteen—were released. The series is being released on the NETCOMICS website with a new translation, though the last update (the first chapter of volume five) was just over three months ago. No print editions have yet been produced.

Review copies provided by the publisher.

Breaking Down Banana Fish, Final

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Welcome again, and for the very last time, to our roundtable, Breaking Down Banana Fish!

We greet you this month with our final installment, covering volumes seventeen through nineteen of this epic series, as well as two side stories (“Angel Eyes” and “Garden of Light”) which are included in the final volume of the English-language edition of the manga. It’s hard to believe we’ve finally come to the end!

I’m joined again in this round by Michelle Smith (Soliloquy in Blue), Khursten Santos (Otaku Champloo), Connie C. (Slightly Biased Manga), Eva Volin (Good Comics For Kids), and Robin Brenner (No Flying, No Tights).

Just a note before we begin, this final edition of “Breaking Down Banana Fish” contains in-depth discussion of the series’ final chapters, including the outcome of the all series’ main conflicts and the fates of its characters. Obviously this means spoilers, so if you’re new to the series we recommend you begin reading along with the discussions listed below.

Read our roundtable on volumes one and two here, volumes three and four here, volumes five and six here, volumes seven and eight here, volumes nine and ten here, volumes eleven through thirteen here, and volumes fourteen through sixteen here. On to roundtable eight!

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Pick of the Week: A Bride’s Story & Others

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New manga from Kaoru Mori (unsurprisingly) steals the show at Midtown Comics this week, but check out our recommendations for additional picks as well!

KATE: A new Kaoru Mori manga is always cause for celebration, so I’m getting this week’s party started by recommending A Bride’s Story, which debuts on Wednesday. Like Emma and Shirley,A Bride’s Story is as much about the historical period — its customs, its social hierarchies, its clothing — as it about the characters. In this case, the setting is the Silk Road in the nineteenth century, and the characters are Amir, a twenty-year-oldwoman, and Karluk, her twelve-year-old husband. Their union is one of political expedience, but their growing respect for one another suggests that their marriage has the potential to evolve. Not a whole lot happens in the first volume, but the artwork is lovely, and the gently meandering storylines allow us to see just how capable and complex Amir really is. I’m already pining for volume two!

MICHELLE: I’m keen to read A Bride’s Story myself, but my pick this week goes to the second volume of Natsume Ando’s Arisa, back from a long hiatus as publishing rights shifted from Del Rey to Kodansha Comics. Volume one served up delicious shoujo creepiness as a tough girl named Tsubasa disguised herself as her more refined twin to figure out what in her school life caused her to attempt suicide, and ended just as she was on the verge of discovering the identity of “the King,” a mysterious person with the ability to grant any wish. Not only is the series back, it’s also on a bimonthly schedule from this point on.

DAVID: I’m going to have to second Kate’s pick of A Bride’s Story. I’m such a fan of Mori’s Emma that it would seem treasonous to do otherwise. (Though I’m also very much looking forward to Arisa.)

MJ: You can add me to the list of Manga Bookshelf-ers eagerly anticipating A Bride’s Story, but I’ll also take this opportunity to give a shout-out to one of my favorite shoujo series, Peach Pit’s Shugo Chara!. Kodansha Comics brings out volume 10 this week, following its long run with Del Rey Manga, and I can’t wait to pick it up! I’ve written a lot about this series (including a heartfelt plea for lowering its age rating) much of which can be accessed via my Shugo Chara! Evangelism post. After all that, can I pass up the chance to recommend it one more time? I think not!

Amazon.com Widgets

Readers, what looks good to you this week?

Bookshelf Briefs 5/22/11

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This week, MJ, Kate, David, & Michelle take a look at a slew of manga from Viz Media and one lonely manhwa from Yen Press.

13th Boy, Vol. 7 | By Sangeun Lee | Yen Press – There are few currently-running romance series I find as charming as Sangeun Lee’s 13th Boy, and exactly none can match it in sheer whimsy. Volume seven’s main drama revolves around sometimes-talking-cactus Beatrice who, in the midst of some serious heartache, reverts to his human form off-schedule without any sign of turning back, placing him smack in the middle of Hee-So’s newfound romance without a comfortable pot to retreat to. It’s an absurd situation, obviously, but though the series’ author doesn’t try to deny that fact, the emotional drama created for the story’s main characters is utterly serious. Lee’s sense of humor never sinks to self-concious eye-rolling, even in its most outrageous moments. It doesn’t hurt that I kinda ‘ship the story’s heroine with the cactus. What can I say? Still recommended. -MJ

Afterschool Charisma, Vol. 3 | By Kumiko Suekane | Viz Media – After two volumes of build-up and teasing, Kumiko Suekane finally offers readers a reward for their patience: not only does stuff blow up in volume three, but Suekane drops a nasty little surprise in one of her characters’ laps, forcing him to question his very identity as a clone. Good as volume three may be, pacing remains an issue; every time Suekane stages a bit of comic relief, the series’ creepy, unsettling vibe dissipates in a cloud of fanservice and lame historical jokes. Still, Afterschool Charisma gathers enough momentum in these chapters to overcome its narrative weaknesses, ending on a cliffhanger that’s sure to please fans. And really, what’s not to like about a manga that portrays Freud and Mozart as petulant bishies, or Rasputin as the class bad boy? -Katherine Dacey

Detroit Metal City, Vol. 9 | By Kiminori Wakasugi | Viz Media – As I struggle to come up with a summary for this volume that might distinguish it from those before, I think it may be time to admit that I’ve reached my limit with this series. I’ve been a fan since the beginning, but as is the case with so many gag manga, Detroit Metal City has worn out its gag. Yes, Negishi still wants to be a Swedish pop star, and yes, he still reverts to his death metal alter-ego whenever things (inevitably) do not go right in his sweet, cheese-tart-filled life. Though it was once interesting (and certainly hilarious) to ponder on Negishi’s real personality, the question has long outlived its potential for fascination, and even the best jokes are beginning to wear thin. Detroit Metal City, it was good to know you. But all things must pass. -MJ

Gente, Vol. 3 | By Natsume Ono | Viz Media – Is this the best Ono title available in English? Heavens, no. Did I enjoy it a great deal? Certainly. This volume is even more of a collection of casually related shorts than the previous two, but they’re good shorts with a gracious nature and a warm sense of humor. Ono takes closer looks at the lives of the distinguished staff of the Ristorante Casetta Dell’Orso. We see one man’s life before he took up the work of a waiter, and it’s an intriguing surprise. A married couple, regulars at the restaurant, brings their marital strife to the dining room, sparking a lot of gossip and some intriguing revelations. There’s family, friendship, romance, and food, and there are many worse ways to spend a sunny afternoon than in the company of Ono’s cast. Should you also be reading House of Five Leaves? Clearly. -David Welsh

Saturn Apartments, Vol. 3 | By Hisaw Iwaoka | Viz Media – The third volume of Saturn Apartments serves a hearty slice of sometimes disheartening, sometimes uplifting, and sometimes downright mysterious life. It seems that everyone besides the members of the window washers guild themselves think it’s a wretched occupation, and Mitsu refuses several job offers from wealth clients before ultimately being able to prove the importance of his job to a former classmate. Meanwhile, underemployed engineer Sohta begins work designing a craft with the capability to descend to Earth and thinks Mitsu might just be the perfect candidate to test it out someday. I’d say this volume is still about 90% episodic, but a 10% focus on an ongoing plot is a welcome change! -Michelle Smith

Vampire Knight, Vol. 12 | By Matsuri Hino | Viz Media – Volume twelve advances the narrative a full year ahead: Cross Academy is in shambles, Yuki’s uncle Rido is presumed dead, and Yuki is about to make her vampire society debut. The time jump is a wise decision, allowing Matsuri Hino to transition away from school-oriented plot lines while bringing different characters to the fore. As rewarding as it is to see villain Sara Shirabuki get a proper turn in the spotlight, however, Vampire Knight still suffers from a glaring problem: mediocre artwork. Hino lavishes so much attention on hairstyles and accessories that more basic design elements — background detail, panel flow, facial expressions — often feel like an afterthought. Though hardcore fans will be more focused on the relationships than on the art, readers with a more casual investment in the story may find the blandly undifferentiated character designs an impediment to following the story. -Katherine Dacey

Arisa 1 by Natsumi Ando

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From the back cover:
Tsubasa thinks that her pretty and popular twin sister, Arisa, has the perfect life. Everyone at school loves Arisa—unlike the hot-tempered Tsubasa, whose nickname is “the Demon Princess.” But when Arisa attempts suicide, Tsubasa learns that her seemingly perfect sister has been keeping some dark secrets. Now Tsubasa is going undercover at school—disguised as Arisa—in search of the truth. But will Arisa’s secrets shatter Tsubasa’s life, too?

Review:
So, you’ve read After School Nightmare and are casting about for more creepy and suspenseful school-based shoujo to consume. Have I got the manga for you!

Despite their different surnames, Tsubasa Uehara and Arisa Sonoda are twin sisters who, due to split custody arising from their parents’ divorce, have not seen each other in person for three years. They’ve kept in contact via letters, however, and tomboyish Tsubasa has envied her sister’s seemingly perfect life, as conveyed by her letters. When Arisa proposes they meet, Tsubasa is overjoyed, and she also goes along with her sister’s suggestion to pose as Arisa for the following day at school. Everything seems to go so well—Arisa is popular, respected by classmates and teachers, and has a cute boyfriend—until the end of the day when Tsubasa discovers a cryptic card in her sister’s shoe locker. “Arisa Sonoda is a traitor.”

Arisa is surprised to hear that Tsubasa had fun, and after cryptically remarking, “You don’t know their secrets… or mine,” leans backward out of the open apartment window. Trees break her fall enough that she survives, but the accident leaves her in a coma. Tsubasa, determined to find out what’s going on, returns to Arisa’s school and soon discovers a weekly ritual known as “King Time,” during which the students submit a wish to some mysterious person, who grants one per week. On this particular occasion, a pervy gym teacher is made to disappear quite effectively. When a fellow classmate questions his fate, she too receives the “traitor” notice and is thereafter bullied and ostracized. Did Arisa raise similar objections and receive the same treatment?

Mangaka Natsumi Ando handles Tsubasa’s confusion expertly, as students (particularly Arisa’s best friend, Mariko) go from chipper to menacing in the blink of an eye. Whom can she trust? Manabe, the bad boy who attacked her with a 2×4 but who also expressed a desire to destroy “the King”? Midori, Arisa’s mild-mannered and considerate boyfriend? At least she has an ally in her friend Takeru, who does some investigation on her behalf. I like how the initially friendly mood of the class breaks down into genuine creepiness, and am really looking forward to seeing how the mystery progresses from here.

The first volume of Arisa was published in English by Del Rey, but Kodansha Comics took over beginning with the second volume, which was released last Tuesday. (I’m saving that one for Wednesday’s Off the Shelf column.) The series is still ongoing in Japan, where it is currently up to seven volumes.

Review copy provided by the publisher.

Shugo Chara! 1-9 by Peach-Pit

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Shugo Chara! has all the basic requirements for a magical girl series: costume changes, loads of sparkles and hearts, and a focus on dreams, believing in one another, and protecting the people one cares about. And yet somehow, it doesn’t feel generic at all!

The main character is Amu Hinamori, a shy fourth grader who, because of her awkward communication skills, comes off as tough and cool. As a result, her classmates admire her but keep their distance. One day, Amu wishes for the courage to “be reborn as the person I want to be,” and the next morning, she wakes up with three brightly colored eggs in her bed. One by one, the eggs hatch into Guardian Characters. There’s perky Ran, who is good at sports; level-headed Miki, who is good at artistic endeavors; and sweet Su, who is good at domestic tasks, especially cooking. Each one represents something that Amu would like to be, and can lend these traits to her as needed.

Eventually, Amu is invited to join a group at her elementary school known as the Guardians. Each of the other students has a Guardian Character of their own, and soon they become involved in fending off the efforts of an evil corporation known as Easter, who is extracting heart’s eggs from children (these represent their dreams for the future) and casually destroying them in their search for a particular wish-granting egg known as the Embryo. This aspect of the story reminds me of Sailor Moon, specifically the S season, where the villains are targeting victims with pure hearts and extracting their “pure heart crystals,” which are then examined to see whether they happen to be a “talisman.”

So far, the action in Shugo Chara! has spanned nearly two years (it’s the winter break of Amu’s sixth-grade year in volume nine) and is paced very well. The Guardians go up against Easter time and time again, but actually make progress—usually by reforming its operatives by reminding them of their own dreams—instead of being stuck in a “monster of the week” loop. New characters come and go, characters harbor and hint at their secrets, and everyone powers up at a believable rate of speed. Of course, Amu is the awesomest, eventually hatching a fourth Guardian Egg, and has the most power and tranformation potential, but this is somehow never irritating, nor is the fact that several boys fall for her over the course of the series.

The interpersonal relationships between the kids are also important. Amu has long had a crush on Tadase, the “king” figure of the Guardians, and though he initially rejects her, then goes through a period where he’s infatuated by one of her transformations, he eventually comes to return her feelings. Complicating matters is Ikuto, the tortured high school senior who’s being manipulated by Easter into doing their bidding. Amu can’t help but be interested in him, and he’s certainly flirty enough in his own right, but this brings about conflict with Tadase, who hates Ikuto due to an incident that occurred before the beginning of the series.

Friendship is equally important. Amu quickly becomes close with Nadeshiko, the “queen” of the Guardians, but Nadeshiko has a secret that she still hasn’t shared with Amu, and which might damage their friendship. Rima, who replaces Nadeshiko as queen after the latter departs to study dance abroad, is rather obnoxious at first, but once Amu understands where she’s coming from, a friendship begins to develop between them that allows Rima to enjoy her life more. A similar thing occurs with Utau, Ikuto’s little sister, who worked with Easter for a time in an effort to save her brother.

Even while expertly managing a long-term plot and evolving character relationships, Shugo Chara! doesn’t forget that a magical girl series needs a lot of cute. As mentioned, sparkles and hearts abound, as do feathers and twinkly crystals, like the Humpty Lock Amu carries, which matches the Dumpty Key in Ikuto’s possession. Sometimes things are carried to a silly extreme, though, particularly in the realm of the Character Transformations, which occur when a child merges with one of their Guardian Characters. Yaya, the youngest and most immature of the Guardians, wishes to forever remain a pampered baby, so her character transformation is suitably ridiculous, with a bib and a mysteriously large posterior. Her attack moves involve rubber duckies and mobiles. Tadase, meanwhile, transforms into a frilly and ruffled princely personage known as Platinum Royale. Hands up if you think that sounds like a stripper name!

Ultimately, Shugo Chara! is a lot of fun to read. It’s the perfect shoujo blend of feelings and fighting, and emphasizes the importance of figuring out one’s own goals and desires. Though the series is rated for ages 13+ (presumably because of the slightly steamy interaction between Amu and Ikuto), it would probably be suitable for kids the same age as its protagonists.

Shugo Chara! was originally published in English by Del Rey, who put out the first nine volumes. Kodansha Comics then took over releasing the series, the tenth volume of which just came out on May 10th. (I’m saving that one for an Off the Shelf column on Wednesday.) The series is complete in Japan with twelve volumes, and will wrap up in the US in September. Kodansha has also licensed Shugo Chara Chan!, a spin-off four-panel manga, which will debut in November.

Review copies for volumes seven and nine provided by Del Rey.

License Request: Crazy for You

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I contributed a guest license request to David Welsh’s weekly feature at his blog, Manga Curmudgeon. My pick was Crazy for You, a six-volume shoujo series by Karuho Shiina, creator of Kimi ni Todoke: From Me to You, a series which I adore.

I don’t expect to love Crazy for You to the same extent, but it certainly sounds interesting! Check out the post for more details. In the meantime, I’ve got the German editions (published by TOKYOPOP!) on their way here, and will be getting my Google Translate on something fierce.

Your Story I’ve Known by Tsuta Suzuki

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While I’d stop short of calling myself an actual fan of A Strange and Mystifying Story, it was at least interesting and I found Tsuta Suzuki’s distinct art style very appealing. When the opportunity to read another work from her arose, therefore, I was eager to seize it.

You can find my review for Manga Bookshelf’s BL Bookrack column here.

Review copy provided by the publisher.

Pick of the Week: Signature Style

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MJ is on the road this week, so we’ve assembled a slightly smaller version of the Manga Bookshelf Battle Robot to take on Wednesday’s new arrivals. As always, we’re basing our recommendations on what will go on sale this week at Midtown Comics. And — not surprisingly, given the team’s reading habits — David, Michelle, and I are bullish about the new VIZ Signature offerings. Read on for our recommendations.

DAVID: It’s hard for me to pick among the three VIZ Signature titles that are arriving this week, as I like them all for their own reasons. Like an over-compensating parent, I’ll focus on the one I feel like I may be neglecting: the third volume of Shunji Aono’s I’ll Give it My All… Tomorrow. This shaggy, funny tale of a mope’s attempt to become a mangaka is the perfect tonic for Bakuman. Even more exciting is MJ’s promise that “in volume three stuff actually happens.” Slice-of-loser-life isn’t usually my genre of choice, but I love this book for its combination of biting humor and surprising sympathy. As Johanna Draper Carlson puts it, “I can relate, as can most adults who’ve grown up and made trade-offs.”

KATE: My vote goes to Gente: The People of Ristorante Paradiso, a series I initially found too drowsy to engage me. The latest installment, however, reminded me of a good Italian film: it has some comic moments, but the prevailing mood is wistful, as adults contemplate failed relationships, flirt with attractive strangers, and struggle to confess deeply buried feelings. At the risk of sounding like a grouchy old bat, one of the things I like best about Gente is that Natsume Ono makes age and experience look sexy; for someone who’s read a few too many stories about shy fifteen-year-olds who pine in secret for hot jerks, it’s refreshing to read a manga about real adult relationships. If only Marcello Mastrioanni had lived long enough to star in an adaptation… now *that* would have been hot.

MICHELLE: I’ll cast my vote for the other VIZ Signature offering, volume three of Saturn Apartments.  I described the first volume as a “low-key dystopia,” but the tone warmed up to “homey” levels in the second volume. After setting up the world and fleshing out its characters, I’m wondering where Hisae Iwaoka will take the story next, since volume two alluded to some mysterious action upon Earth’s surface. Even if it remains mellow, I’ll be happy, but should Saturn Apartments actually develop some intrigue, I can only assume that will be even better!

 

So, readers, what looks good to you this week? Inquiring minds want to know!

Bookshelf Briefs 5/16/11

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This week, David, Kate, Michelle, & MJtake a look at several titles from Yen Press and Viz Media, including a special dual-view of Usamaru Furuya’s Genkaku Picasso.

Arata: The Legend, Vol. 4 | By Yuu Watase | Viz Media – Shôjo superstar Watase’s first foray into shônen has a number of appealing qualities, many of which are reminiscent of the work of Rumiko Takahashi. There’s a durable quest plot that suggests that Watase is in this for the long haul. There’s the concurrent fish-out-of-water narrative, with an average, contemporary kid swapping places with a roguish boy from a fantasy kingdom in turmoil. And there’s a burgeoning supporting cast of cranky but amusing jerks who can’t resisting throwing their lot in with the heroes. It’s not all Takahashi pastiche, though. Careers could certainly be (and probably have been) built on that, but Watase has her own sensibility that’s very much in evidence here: recognizable emotions writ large, and ordinary people thrown into extraordinary circumstances. It’s a very endearing, sturdy series that may not be particularly surprising, but it’s always nice to see Watase in good form. -David Welsh

Case Closed, Vol. 38 | By Gosho Aoyama | Viz Media – One of the unfortunate side effects of long-running shônen is a build-up of excessive familiarity, especially if there isn’t much forward plot motion. Case Closed is certainly guilty of that, but this high-concept mystery is lively fun if you don’t read too much of it at once. This volume is business as usual. Teen-turned-tyke super-sleuth Conan Edogawa looks for a way to restore himself to his proper age, helps his elementary-school friends solve a theft, figures out who murdered a professional wrestler in spite of adult dismissal and incompetence, and helps a rival teen super-sleuth out of a sticky situation. Aoyama certainly knows how to keep his episodes moving briskly, and it’s entertaining to try and solve the cases along with Conan and company. My favorite bits feature Conan and his classmates, and there’s at least one laugh-out-loud moment in their amiable investigation. -David Welsh

Genkaku Picasso, Vol. 3 | By Usamaru Furuya | Viz Media – The third and final volume of Genkaku Picasso follows the same basic template as the previous installments: Hikari, a.k.a. “Picasso,” draws pictures of what’s inside his classmates’ hearts, then plunges into the images to decode their meaning. This time around, however, Hikari finds himself trapped inside one of his own visions, and must interpret what he’s seeing in order to heal his own emotional wounds. Although the series ends on a happy note, the prevailing tone is decidedly cheeky; Furuya can’t seem to decide if he’s writing a Shonen Jump title or mocking one. That ambiguity isn’t a bad thing, however, as it injects even the most mawkish or predictable scenes with a jolt of subversive energy. -Katherine Dacey

Genkaku Picasso, Vol. 3 | By Usamaru Furuya | Viz Media – I was a bit critical of Genkaku Picasso‘s first two volumes, generally finding Usamaru Furuya’s art to be the main draw instead of the too-easy efforts of antisocial artist Hikari (and ghostly pal, Chiaki) to solve the secret problems plaguing his classmates. Imagine my surprise, then, when the final volume of this weird little series actually evoked a sniffle or two! True, some elements of the final chapter, in which Hikari dives into his own heart and must learn to accept the truth of Chiaki’s death, are kind of hokey, but I liked it anyway. – Michelle Smith

Higurashi When They Cry: Demon Exposing Arc | Story by Ryukishi07, Art by En Kito | Yen Press – The family that slays together stays together — or so we’re led to believe through most of the Demon Exposing Arc. The story focuses on the Kimiyoshis, recent transplants from the Hinamizawa region. In the days following a terrible explosion in Hinamizawa, Grandma Kimiyoshi becomes convinced that Oyashiro-sama, guardian spirit of Hinamizawa, was punishing the villagers for their lack of faith, and sets out to prove her devotion to this ancient and wrathful god. Grandma’s resolve alone would make for a spooky story, but as her family is drawn into her paranoid fantasies, the plot takes a grislier and more compelling turn. As with other installments of the Higurashi franchise, the story sometimes bogs down in dense, info-dump dialogue, but the story remains suspenseful from beginning to end, rewarding readers with a deliciously nasty surprise in the final pages. -Katherine Dacey

My Girlfriend’s a Geek, Vol. 3 | By Rize Shinba, story by Pentabu | Yen Press – Taiga gets a shock as this volume opens, when his girlfriend informs him that she’s found a girlfriend. Later on, he gets roped into some romantic Christmas cosplay, and nearly roped into attending winter Comiket. This series may not be deep, but it sure is fun, enhanced nicely by Rize Shinba’s skillful visual storytelling and fujoshi-tinged sense of humor. As a bonus, volume three also includes a chapter from Sepatte Takuro, Yuiko’s favorite slashable shounen manga-within-the-manga, drawn by mangaka Hiromi Namiki, which is frankly delightful. This is one of those series I feel I probably shouldn’t like, but I just really do, more so with each new volume. Recommended for a light weekend read. -MJ

Take My Word for It by John Marsden

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From the back cover:
Lisa Morris could be the girl next door. She could be your cousin. She could be sitting behind you in class.

She could be you.

But Lisa, cool and beautiful Lisa, remote and private Lisa, has more going on in her life than anyone imagines.

Only her journal knows the truth about her life. Only her journal—and you.

Review:
This short little book functions as both companion piece and epilogue to Marsden’s So Much to Tell You, a (slightly better) book written as the journal of Marina, a silent, traumatized girl attending an Australian boarding school called Warrington. Take My Word for It presents the journal of Marina’s classmate, Lisa, who appears tough and cool in the eyes of others but has her own share of problems.

While I did enjoy reading Take My Word for It, I suspect it was never published in the US (I imported my copy from Australia) because it just doesn’t stand on its own very well. Lisa is a realistic character, and I have some sympathy for her struggle to accept the fact that her parents have divorced (which she believes is her fault) and that, as time goes on, the family is proceeding separately down paths that take them further and further away from the childhood home for which Lisa pines.

But the most interesting parts of this novel for me were the times we got insight into the other novel. Why, for example, did Lisa break down and cry at one point, sending Marina into a tizzy of worry and indecision? What does Marina actually look like? And, best, what happens after Marina finally speaks to her father? I guess I had expected the stories to end at the same point, but upon reflection, why would they conveniently do that? So, Marina comes back to school after seeing her dad over a break, and very gradually begins to talk to her dormmates. It’s nice, though I could’ve done without the dangled thread that Marina might leave Warrington, which Marsden never follows up on.

Like Marsden’s other protagonists, Lisa has a secret that she obliquely references while writing. In Marina’s case, we knew something had happened to her, but not what. Specifics were doled out sparingly and it was at least moderately suspenseful. In Lisa’s case, her secret is pretty obvious early on, so further attempts at cryptic hinting are just kind of annoying. On the plus side, she uses loads of interesting Australian slang, so I’ve learned several cool new words, like “dob” and “bludge.”

I sincerely doubt there’s any such thing as a lousy book by John Marsden, but this one, alas, is not my favorite.

Off the Shelf: Home again

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MICHELLE: Man, is it just me or does it feel like forever since we’ve done one of these? It always feels so… restful to return to our normal format!

MJ: It *does* feel like forever. It’s like coming home after an awesome but exhausting vacation.

MICHELLE: Let’s never stray again! Please put me further at ease by proceeding to describe what you’ve read this week!

MJ: Okay! First of all, I took a look at volume three of Shunju Aono’s I’ll Give It My All… Tomorrow from Viz’s SigIKKI imprint. I’ve reviewed both of the first two volumes of this series, the first for Examiner.com, and the second here on Off the Shelf, and my concern all along has been that not enough changes from volume to volume for the premise to sustain itself. I feared that I’d eventually tire of it, the way I have other ongoing comedy manga like Detroit Metal City. It’s the type of story that typically relies on the protagonist never actually getting anywhere, for if he does, the premise falls completely apart.

Imagine my surprise, when in volume three stuff actually happens. Seriously. Stuff happens. And not just any stuff, mind you, but exactly the stuff you think the author will never allow, by which I mean to say that the series’ hopeless schlub, Shizuo, actually gets ahead a little. It’s very well done, still funny, and actually kind of inspiring, which is not something I’d expected of a melancholy comedy like this one.

Some of the volume’s strongest scenes depict Shizuo’s dreaming dialogue with himself as he struggles with whether or not he should give up on his quest to be a published mangaka or resign himself to resuming his old, miserable life as a salaryman. These scenes are stark and rather touching, though there’s a real poignance to this entire volume that feels warmer towards its protagonist than it ever has before. A scene in which Shizuo determinedly takes on a temporary gig as another artist’s assistant especially springs to mind. It’s as though the author is leading us along the same path as Shizuo, and just as he’s beginning to believe that he can do something real, suddenly we can too. It’s really so well done.

Not that Shizuo’s troubles are over by any means, and his luck takes a less fortunate turn near the end. Still, it’s wonderful to see some actual forward motion in a series of this kind.

This is a terrific volume, and it’s finally got me really hooked on the series.

MICHELLE: I have never really been tempted to read this series before now, because I was sure it would be unrelentingly depressing and that I just wouldn’t find any of it funny. But stories in which a slacker and/or delinquent finds something to excel at and be passionate about are among my very favorites, so to hear that Shizuo actually gets a break piques my interest a little. I’m still not sure about it, but I’m at least more open to the idea of reading it than I was before

MJ: I thought this might get you at least a bit interested. I don’t know where the story’s ultimately going, but this really was a satisfying installment.

MICHELLE: I might wait until volume four, but if it continues to actually let Shizuo have some success, then I just might have to check it out.

MJ: So, what have you brought for our first night home? :)

MICHELLE: Both of my choices tonight are from VIZ, one each from the Shonen Jump and Shojo Beat imprints. From the former, I read the first two volumes of Nura: Rise of the Yokai Clan by Hiroshi Shiibashi. It’s the story of Rikuo Nura, who is 3/4 human and 1/4 yokai and is set to inherit leadership of the yokai clan his grandfather rules. Rikuo’s not thrilled by this, but neither are the yokai, who regard him as a weak human unfit to lead them.

The series gets off to an inauspicious start. Rikuo is targeted by another yokai who thinks he should’ve been the heir, and as a result, some of Rikuo’s classmates are in danger. This spurs Rikuo to transform into a far more competent yokai version of himself, who commands respect, rescues his classmates, and proclaims that he will claim the leadership role. The problem is that the story resets in chapter two and Rikuo, reverted to human form, has no memory of any of this. Random episodic chapters ensue in which Rikuo and some friends—who have, led by one particularly fervent kid, formed a paranormal research society—investigate things like abandoned buildings on campus and creepy dolls. Their activities cause them to fall prey to another scheming yokai, however, who lures them to a yokai-infested mountain. As volume two ends, Rikuo has transformed again and is about to deal with his enemy.

I’m honestly not sure yet what to think about Nura. It definitely has some things going for it. I’m pretty fond of the cast of supporting characters, especially the quirky servants who are closest to Rikuo. While some of these characters look like attractive humans, there’s quite a bit of diversity in character design among them. The idea that, under Rikuo’s leadership, the yokai clan might be rehabilitated into actually helping humans also has merit. The problem, though, is that Rikuo is completely overshadowed. Pretty much, he’s just a dull little kid whom readers endure for the promise of his cooler self showing up. Also, while Shiibashi does introduce a reasonably strong female character in the form of Yura, an onmyoji exorcist who has a family legacy of her own to live up to, within a few chapters she’s rendered helpless and in need of rescue.

Ultimately, Nura has enough potential that I’ll keep reading it, but it hasn’t quite won me over yet.

MJ: Bland protagonists can be the kiss of death for me, especially when it comes to shounen manga, but I do like the sound of the supporting cast. There are quite a few yokai-themed series out there these days, though. Do you think this holds up against the competition?

MICHELLE: It’s certainly not going to be as poignant as something like Natsume’s Book of Friends or anything, but the yokai in Nura are more developed than your average supernatural creature that exists only as hero-fodder. More than anything, these yokai remind me of the dokebi in the lovely manhwa Dokebi Bride, in which the supernatural creatures function as sympathetic helpers to our protagonist. Some of the yokai in this series aren’t so nice, but those who reside in the main house seem to have genuine affection for Rikuo and also get some of the best comedic lines.

MJ: That does sound a bit promising.

MICHELLE: Hai hai! So, what else have you got this balmy eve? (Is it balmy there? It’s balmy here.)

MJ: New England is rarely balmy in May, though the weather has been good for hiking. My heart is plenty balmy, though, after checking in with a long-running favorite, Park SoHee’s Goong. This is the eleventh of Yen Press’ volumes, though with the new omnibus format, I’ve lost track of where we’d be in the Korean releases.

This series is a soap-opera in all the best ways, and there is some pretty gratifying romantic action in this volume at long last. It’s been painful to watch the series’ main couple get in their own way, time and time again, and it’s nice to finally see them both grow up a bit, especially emotionally-impaired Shin. Things fall apart nearly as quickly as they come together, of course, but there’s a sense that real progress has finally been made.

Releasing these in double-length volumes is the best thing Yen Press could have done for this series, in my view. With so much more story included in each new volume, it’s easier to remember what’s happened from one volume to the next, since they each leave a much stronger impression. As a result, these volumes are smooth, smooth reading–a big plus in any romantic story, and especially with a romance as slowly-developed as Goong‘s. Though I’m still anxious for the next volume to come my way, there is enough here to keep me satisfied regardless of the wait.

Park’s artwork really shines here, keeping the relationships nuanced despite the sudsy plot, and her costuming just gets prettier and prettier with each passing volume. She obviously loves all of these characters, even the ones she’s written as semi-villians, and this is most apparent in her very expressive artwork.

Now if she’d only ax Eunuch Kong. *sigh*

MICHELLE: It might say somewhere in the fine print, but I am pretty sure that volume eleven of the Yen Press editions corresponds to volumes thirteen and fourteen of the original.

I am really eager to plunge back into Goong. Somehow, I still haven’t read past volume six! On the plus side, this means I have the ingredients for an awesome binge before me. I really must wholeheartedly endorse these omnibus releases.

I am, however, sorry to hear Eunuch Kong still exists. It seems like he’s the negative refrain anytime anyone mentions this series. Perhaps he’s funny if you’re Korean?

MJ: Maybe? Park seems to think he’s hilarious. Sadly, my thoughts of him are invariably violent.

You really do need to start a Goong binge. It’s just so enjoyable, even at its most painful.

MICHELLE: I think every time Eunuch Kong irritates me, I’ll just imagine you slapping him upside the head. That ought to help.

MJ: So tell me about that Shojo Beat title you mentioned!

MICHELLE: My second read was the third volume of the ever-charming The Story of Saiunkoku. Technically, this would probably be classified under the genre of historical fantasy, but really, it reads somewhat like a slice-of-life tale. Shurei Hong, once consort and tutor to the emperor, Ryuki, has returned home after successfully inspiring him to govern properly. Most of the money she earned for doing so has already been spent, however, and the upcoming summer storms will necessitate more repairs to the family home. The family’s financial situation inspires their servant, Seiran, to accept a job dealing with bandits and when Shurei is herself offered the chance to help out in the understaffed Ministry of the Treasury, she accepts.

The catch is that women aren’t allowed to hold government posts, so Shurei must disguise herself as a boy. Other shoujo series would focus on the act of disguise itself, and the plot would revolve around the heroine’s attempts to keep her gender under wraps. Not so with Saiunkoku! Instead, the emphasis is on what the experience means to Shurei—though it’s certainly rewarding to prove herself capable of handling the demanding work, it’s painful that it’s a job she’d never be permitted to perform under her own name, since girls are prohibited from taking the civil servant exam.

I must add that it’s refreshing to have a genuinely brilliant heroine. Not only does Shurei perform her work admirably and continue her studies in the evening, but she also demonstrates good basic common sense. Perhaps to some this would suggest that she’s dull, but she’s really anything but. I appreciated too that Seiran, heretofore a mostly quiet and handsome fixture, shows a more snarky and manipulative side.

There’s may no real plot here yet, but with a story like this, it’s all about living with the characters in their world, and that is a very enjoyable prospect indeed.

MJ: This: “Instead, the emphasis is on what the experience means to Shurei…” THIS. THIS. THIS. I love this about The Story of Saiunkoku. I love Shurei’s smarts and her dedication to civil service, despite the fact that she’s held back by the gender norms of her time. I haven’t read volume three yet, but now I’m so anxious to pull it off the shelf!

MICHELLE: There’s a really beautiful scene where she says, “What was once just a whimsical daydream brushed so close to my reality that I began to hope my hands might just reach it.” Up until now, she’s been able to set reality aside and pursue learning for its own sake, but the disparity between the life she might have had and the expectations for her as a girl—even a kindly woman’s remark about finding a good man is a harsh reminder of what she can hope for—has really been brought home. This is truly a special series.

MJ: Oh, wow. I’m feeling a little teary and I haven’t even read it!

MICHELLE: Go read it now!

MJ: Well, okay!

Um. Bye.

MICHELLE: Bye! Everyone else, learn from her example!

Pick of the Week: Viz Media Edition

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New arrivals are few this week at Midtown Comics, so at Kate’s suggestion, we’re taking a bit of a detour. Inspired by David’s recent Viz 25 post, each of us will pick out a favorite Viz title we view as underrated. See our choices below!

MJ: I’m going to start us off looking ridiculous by naming Hiromu Arakawa’s Fullmetal Alchemist for my pick this week. It may seem crazy to call such a popular series “underrated,” but I actually think its popularity keeps many critics from recognizing its true quality. I blame this at least partly on the anime series, which, though fun and very compelling, barely scrapes the surface of its source material. And no wonder, when you consider how early on that series was made and how deep Arakawa has gone with her storyline since. When I first started reading manga, Arakawa was one of its storytellers I admired most, and that hasn’t changed at all over the past few years. She tells a complex, epic story with humor and a level of clarity I’ve seldom seen in any genre. Fullmetal Alchemist is just damn good.

DAVID: I can’t tell you how glad I am that Kate suggested this theme, because I was feeling horribly guilty about some of my (entirely defensible and necessary) omissions. I’ll begin the redressing by mentioning the prolific Yuu Watase. Now, for my money, the cream of her crop isn’t one of her fantasy-tinged epics. It’s the down-to-earth romantic comedy Imadoki! Nowadays. When a country girl (accompanied by her pet fox) travels to the big city to attend an elite school, she really wants to make friends, though the icy snobs make that a challenge. Tanpopo is a relentless optimist, though, and like the dandelion for which she’s named, she can blossom in the most inhospitable environments. I always enjoy comics about friendship, though there’s plenty of romance on offer as well. Sweet, funny, surprisingly moving, and only five volumes.

KATE: At the risk of sounding like a broken record, my suggestion is Kaze Hikaru, Taeko Watanabe’s gender-bending samurai drama about a young woman who joins the Shinsengumi to avenge her father and brother’s deaths. I’d be the first to admit that the pacing can be stately — think Hara Kiri, not Hana to Yume — and the romantic elements muted, but Kaze Hikaru features one of the smartest, fiercest heroines in shojo manga, a girl so principled she’d rather be respected as a warrior than adored as a woman. (Now that’s bad-ass.) Writing about the series last year, I argued that Watanabe has “created an action-filled drama in the vein of The Rose of Versailles or They Were Eleven but transplanted the setting from the relatively safe, romanticized worlds of the French Revolution and outer space to a period in Japanese history in which the male-identified virtues of courage, discipline, and patriotism dominated public discourse,” in effect giving girls “the freedom to project themselves into Japan’s past without gender constraints.” VIZ has published eighteen of the twenty-nine ongoing volumes, with volume nineteen scheduled for an August 2011 release. Easily my favorite shojo manga.

MICHELLE: I probably should be writing about Basara here. I always write about Basara in response to this sort of question. This time, though, I am going to cast my vote for Akimi Yoshida’s Banana Fish—stay tuned for a roundtable on the final three volumes coming to Manga Bookshelf later this month!—the suspenseful and action-packed story of a beautiful, brilliant badass named Ash Lynx and the warm-hearted Japanese boy with whom he can allow his weaknesses to show. As he works to learn the truth behind the drug that claimed his brother’s sanity, gangleader Ash finds himself up against rival gangs, the mafia, and the U.S. government. This is the series to give anyone who sneeringly derides shoujo manga—it’s exciting and gritty and, okay, the awesomeness of its hero is a little over-the-top, but overall it’s a tremendously fun read.

So, readers, what are your favorite underrated Viz titles?