Sean Gaffney

By Kazumi Kamachi and Kiyotaka Haimura. Released in Japan as “To Aru Majutsu no Index” by ASCII Mediaworks. Released in North America by Yen On.

There is a certain amount of religion in Index, more and more as the series goes on, in fact. The whole point of the Magic side of Index is that it’s made up of various religious factions who are at odds with each other and themselves, and even an Angel has gotten in on the act. That said, I’m not really sure Kanachi has anything deep to say about religion in particular. I think he’s just using the basics as fodder for what he wants to do, which is tell stories where cool things happen. Which is fine, and there’s lots of cool things going on in this volume of Index. I quite enjoyed it. But I also grew up Roman Catholic, and the group of nuns that are introduced here adhere far more to the “Spanish Inquisition” type than the more modern Catholic Church. In fact, the text goes out of its way to say “Roman Orthodox”, and casually says the word Catholic doesn’t really apply to them anymore. Which is true, because what we have here is not a convent, it’s a paramilitary unit.

Introduced in this volume: Laura Stuart, Orsola Aquinas, Agnes Sanctis, Lucia, Angeline, Saiji Tatemiya. Yes, Yen’s translation spells it Agnes, not Agnese. I think that’s fine. For anime and manga readers expecting Itsuwa, she was added to the adaptations but isn’t in the light novel. No worries, she’ll turn up later. This takes place a whole week after Book 6, which is huge in Index terms. for Railgun readers, Misaka’s not in this one, probably as she’s still in California dealing with events in the Railgun SS novel. For Accelerator fans, the Accelerator manga’s start takes place around this time.

Laura Stuart is the most important of the names mentioned above. For all of the amusing “Your Japanese sounds stupid” jokes and occasional dojikko moments she gets, she’s clearly meant to be to the Magic Side what Crowley is to the Science side, i.e. a chessmaster who’s always thinking 10 moves ahead of everyone else. As Stiyl notes, she’s the one who told all those lies about Index that kicked off the series in the first place (a popular fan theory is that she’s Index’s mother, possibly as that makes it much worse), and certainly nothing that happens in these pages seems to surprise her – everything turned out as planned. That said, simply due to her nature and the way she’s written the reader tends to find her more sympathetic than Crowley (who, as we learn here, is likely also a magician in any case).

Much of the volume deals with a grimoire called The Book of the Law, written by Crowley, which is supposed to be undecodable, except Orsola thinks she knows how to decode it. Orsola is basically the one Roman Orthodox nun we meet here who isn’t a villain, and her tendency to underplay horrific injuries and forgive those who have attempted to kill her must surely strike a familiar chord with Touma. As for Agnes and the others, they’re zealots, thinking nothing of lying to Touma and the others about absolutely everything as, well, they’re non-Catholic heathens, so who cares? That said, Touma, who possible has been spoiled for the 11th novel, says he can totally see him being on Agnes’ side later. Touma tends to be on the side of whatever he thinks is right at the time.

There’s more I could discuss, including Index (who once again gets a lot to do) using a whole lot of magic given that she’s someone who supposedly is unable to use magic (I suspect that Laura may be responsible for that as well), but I think this is getting a bit long. Suffice to say this is a strong volume of the Magical Index series that will please its fans, unless they’re hardcore Catholics, in which case please note that Index is to actual religious theory of today what Goofy is to an actual dog.

By Yui Sakuma. Released in Japan by Kodansha, serialized in the magazine Morning. Released in North America by Kodansha Comics.

The genres that make up the Japanese manga industry have been becoming more fluid over the last few years, and there are titles and even entire magazines that don’t quite fit the label. That said, I still try to always put where the manga first came out in my reviews, both as a helpful reference and because it can be useful to see if you’re going to like something. Jump shonen titles are very different from Magazine shonen titles, and both of those are equally different from a Sunday title. A title that runs in Betsucomi is probably never going to fly in Hana to Yume. With seinen and josei it’s a bit less regimented, but you still see it. All of which is a fairly long preface to explain that I was rather surprised to see that Complex Age ran in Weekly Morning, a seinen magazine, rather than the josei magazine Be Love, where I would have expected it.

Complex Age stars Nagisa, a mid-twenties OL who also has a hobby of cosplay that takes up most of her time and money. She creates the costumes herself, and goes to show them off at the latest Comiket and other such events, along with her friend Kimiko. Her obsession is a long-running magical girl series that isn’t quite PreCure, but it’s close enough for jazz. She is, however, running into several problems. She still is trying to keep her cosplay a secret from her office life, particularly as some of her coworkers seem like the sort who would use it against her; another, younger girl comes along and looks absolutely perfect for the role that Nagisa is cosplaying herself; and Nagisa is getting to the age where it’s harder and harder to realistically play a 14-year-old magical girl. She’s also really tall, which also doesn’t help. This culminates in someone at the even calling her a “giant old lady”, causing her to snap and have a bit of an emotional breakdown.

I’m trying to think of a better way to say it, but I can’t: this is a very good series. The characters all have a depth and nuance that takes them beyond a level where I would normally expect them to stay. Nagisa’s friend Kimiko in particular amazed me. At first I thought that she might be setting up Nagisa for a horrible fall, and couldn’t imagine why, given they’re best friends, but it turned out to be – pardon the term – far more complex than that. As for Nagisa herself, after the beginning emotional turmoil, she actually proves to be far more mature than you’d expect, helping her new protege even as she inwardly writhes. And while new protege may look the part, there’s a lot more to cosplay than just looking right. The manga shows that cosplay can be a money-sucking hobby, but it never belittles it. And there’s a nasty cliffhanger that immediately makes me want to get the next book.

There’s a one-shot at the end of this volume that was the basis of the ongoing series, and it won an award. It’s quite different, showing a married woman as opposed to Nagisa’s OL, and seems a lot starker, ending in a literal bonfire where she cuts off her old cosplay life and moves on. It was well-told, but I preferred the ongoing tale, and I hope that Nagisa can find an ending that allows her to not be completely cut off from what she loves.

By Kazuma Kamachi and Motoi Fuyukawa. Released in Japan as “Toaru Kagaku no Railgun” by ASCII Media Works, serialization ongoing in the magazine Dengeki Daioh. Released in North America by Seven Seas.

I usually decide which series get full reviews and which ones get a review of the first volume and then shuffled off to the Briefs section fairly quickly, but Railgun muscled its way up over the last several volumes with a combination of dramatic plot, action, and excellent characterization. Sadly, that’s not all the series is. As part of the Dengeki line, there’s a certain amount of otaku pandering in its chapters (the same is true of its parent series, Index, and in fact many of the things I’m going to be complaining about originated there). And Railgun just wrapped up a big plot, and clearly wants to fool around a bit before it gets to the next big one. And so we get a volume like this.

I’m still attempting to save my complaints about Kuroko for the review of the 8th Index book in August, which stars her, so I will simply note that Kamachi and Fuyukawa seem to think “lesbian” and “sexual predator” amount to the same thing, and they are oh-so-hilarious. We also see a macguffin introduced here, Indian Poker, which lets you see the dreams of someone else – supposedly with their permission, but of course, horny Academy City teens are already using it to dream-screw the hottie of their choice – including Mikoto and Misaki (who at least get a reasonable amount of revenge here). Much of the last third of the book is devoted to Mikoto and Saiai (from ITEM about 6-7 volumes earlier, in case you’d forgotten) attempting to get a special Indian Poker card that increases your breast size, and many, many bust jokes follow, with the final punchline being that the card DID work but on some bystander. Oh, and to top it off, there’s an entire CHAPTER devoted to Awaki Musujime and her shotacon fetish, which if you haven’t read Index must baffle you (and honestly, even if you have read Index it’s baffling.)

Speaking of Awaki, while one can still read Railgun without being cognizant of what’s going on in Index, it’s becoming more and more difficult, due to both sly continuity cameos and callbacks/callforwards. Some time seems to have passed since the last volume of Railgun, which took place during the athletic festival. The astute Index reader can tell this because ITEM now has a lackey, Shiage Hamazura, who will grow very important as the Index series goes on, but not yet. We’re likely sometime between Index books 13 and 15 (we can’t be after 15, for reasons I won’t spoil). Moreover, the entire volume is filled with Index characters – the guy selling the cards that allow you to dream-screw Misaki and Mikoto is “the blue-haired piercings” friend of Touma’s; Frenda mentions her little sister; Mikoto’s dream of a girl wanting huge breasts is clearly Aisa, the vampire killer girl; and yay, we get more hints of the incestuous relationship between the Motoharu siblings. It’s continuity porn, even if you may not want it.

Amongst all this, there is a serious story in the middle, as Kuroko and Uiharu help a young boy with precognition try to save people from various accidents that he has seen. That said, its placement in between the two Indian Poker storylines reads like it was put in to fill out the page count as the author hadn’t quite decided which direction to go yet, and while it shows off how much of an excellent Judgment member Kuroko is that just makes it all the more frustrating that we get the “pervert” talk as a punchline. Railgun can be excellent when it ditches the cameos and fanservice and is about women kicking ass. This is mostly not that volume.

By Natsuki Takaya. Released in Japan by Hakusensha, serialized in the magazine Hana to Yume. Released in North America by Yen Press.

If ever there was a series that cried out for a license rescue and re-release, it was Fruits Basket, one of the biggest gateway manga of the 21st century. First released in North America between 2004 and 2009, the story of a young girl and her encounter with a “cursed” family is one of the most beloved shoujo manga of all time over here. It was also big in Japan, and the re-release we’re seeing is based off of the Japanese re-release. I say that because I know some people will be annoyed that the original author’s sidebars are missing – this is very common with re-released manga, simply as the sidebars tend to be very dated – as Takaya herself says in her afterword. We do see new cute SD-art to replace them, but sadly it repeats itself, so we see the same bookmark-ish art over and over. There’s also a new translation, which reads fine, though of course those who have the old one memorized may find it jarring. It feels a bit freer than the Tokyopop one. Worry not, though, we do have honorifics here.

As for the content, what is there to say? If you haven’t read this series, do so right away. I will try not to spoil it, though it’s honestly very difficult not to do so, as the fun of re-reading is going back and seeing all the little hints that I never picked up the first time I was reading the series. I’ve made little secret that my favorite character is Shigure, for example, and I recalled his character getting darker and more manipulative as the series went on. But no, there it is as I reread it. He was like that from the very beginning, it’s just we were distracted by the whole “high school girls!” and flirting with Ayame going on. Likewise, Tohru’s relationship with her late mother, which I think the reader is first meant to see as sweet and touching, already shows some of the dark undercurrents to come.

These two volumes show us the first four of the original release, and you can tell right away that no one was quite sure if it would be a hit yet. Takaya’s previous big hit for Hakusensha, Tsubasa: Those With Wings, was only 6 volumes long. And you can see here that Takaya wants to get a lot of the zodiac introduced and show us their deep traumas and tragedies as quickly as possible, just in case it goes the same amount of time. It is almost startling how fast Hatori’s backstory is breezed though, to give an example, or Momiji’s. The exceptions are Yuki and Kyo – as the two male leads, they get the most focus, and we see the development of their characters over the course of both omnibuses – each wants what the other has, and wishes things could be different.

It’s not all sad boys in snow, though. Fruits Basket could be hilarious much of the time, and the humor works very well. Tohru’s friends Hanajima and Uotani contribute the bulk of it, being the sort of girls you;d normally imagine would never hang out with a bright shining object like Tohru but brought together through circumstances we don’t know about yet to form a deep bond. We see how much the two girls care about Tohru, and worry she might be taken advantage of by the Sohma family, even if they seem nice enough. But Tohru needs a place to stay. And, as becomes clear, Yuki and Kyo need Tohru – as does Shigure, who clearly has some scene that requires her to be there and make the others break out of their shells. We see what might be driving that when we get a few glimpses of Akito, the leader of the family, who manages to terrify Yuki in just a few seconds, leading Tohru to physically push him away – something startlingly unlike her.

If you already have Fruits Basket and are wondering whether to get it again, well, it’s a larger trim with new covers and interstitials, and a new translation. Make up your mind from that. If you haven’t, do so at once. The series only gets better as it goes along, and rewards readers who pay attention. A well-deserved classic.

By Mizuki Mizushiro and Namanie. Released in Japan by Enterbrain. Released in North America by Yen On.

Achieving the balance between supposedly new and exciting things and using the popular cliches that everyone knows will sell well can be quite difficult. Once you get the basic premise out of the way, you can feel free to roll out the typical gags and characters. The teacher who’s in her mid-20s but looks about 10 years old; the clumsy crying girl; the classic tsundere (combine with the cool beauty for extra points!), and the eccentric ditz. Throw in a hero who manages to rise above the typical harem lead sightly, but still let him crash into large breasts on a regular basis and have a sister with an unhealthy obsession with him. All this can be added, and is fine – but only if you get the premise that draws people in. With Psycome, the author seems to have found their premise, as all this takes place in a school/prison devoted to “rehabilitating” murderers. Which most of the above ‘types’ actually are.

Psycome is short for “Psycho Love Comedy”, and they ain’t kidding. Our hero is Kyousuke, who grew to be strong to protect his little sister from being bullied. A bit too strong, in fact, as one day said bullies are all found dead in a warehouse, leading him to be the obvious suspect. He’s sent to the aforementioned prison, where he meets his classmates, also composed of murderers and psychopaths, and their teacher with a hair-trigger temper and no school rules to hold her back. Much of the beginning of the book is devoted to comedy revolving around the premise, with “typical” high school romantic comedy situations made ridiculous by the setting and people doing it. The violence is over the top, but mostly seems to be inflicted on only one person, and you suspect that the majority of the plot of this 6-volume series will be devoted to our hero finding out why he’s been falsely imprisoned and what kind of place this is anyway.

So imagine my surprise when all that’s revealed by the end of the first book. The second half is still amusing, but gets far more serious. The teacher takes her eyes off her usual abuse target to send Eiri (the aforementioned tsundere who tries to be cool) to the infirmary, and we learn that Kyousuke may not be the only one who’s only here on a technicality. Through a series of fights, we also see that Kyousuke has an endurance that’s truly inhuman, which is of course what got him noticed in the first place. And then there’s Renko, the girl in the gas mask on the cover, whose bizarre, over the top genki personality takes a far darker turn when the mask comes off. The fight between her and Kyousuke at the climax is brutal, and the highlight of the book, particularly the resolution being the opposite of what you’d typically expect in this situation.

So yes, another book I expected not to enjoy but did. It’s not perfect – I am very weary with the loli teacher/parent concept, and the fact that Kurumiya appears to be a straight ripoff of Komoe-sensei from Index only evil did not help matters. I’m also not happy we appear to have more brother/sister incest shoehorned in, though at least it’s seemingly one-sided. And then there’s Maina, whose baby-talk way of speaking is grating and irritating, but I’m pretty sure that was deliberate and meant to be the same in Japanese, so I’ll give it a pass. In the meantime, it’s a fairly typical light novel recommendation: if you can deal with the typical romantic comedy cliches, and don’t mind lots of big chested vs flat chested talk, Psycome is an intriguing series, and I look forward to seeing where it goes next.

By Hazuki Takeoka and Tiv. Released in Japan by Ichijinsha, serialization ongoing in the magazine Comic Rex. Released in North America by Seven Seas.

The arrogant, haughty girl who owns the campus and can destroy your entire life with just a well-placed word. It’s a common sight in fiction for young adults, both here and in Japan, and it’s no surprise that Masamune-kun’s Revenge uses it as a starting point. Makabe Masamune was deeply wounded in elementary school by his crush, Adagaki Aki. Now starting high school, he’s lost the weight she mocked him for, cultivated a ‘handsome male lead’ personality, and is ready to win her heart only to crush it once and for all. Then he will finally have his… well, revenge, as the title implies. This premise sounds almost like one of the fanfics you read by 19-year-old men writing when they dislike the tsundere harem girl, but if handled well could be interesting. In the first volume, the authors handle it pretty well.

First of all, the narrative seems to be fairly self-aware at how ridiculous and petty Masamune is for carrying his grudge on an 8-year-old for so long. Every smooth move he makes is balanced out by his inner stress about how he looked and how he handled it, just to make it clear that no, he’s really just like you, the reader, honest. Secondly, as the second half of the book shows, he’s hardly the only one who’s devoted his life to messing with Aki. Yoshino is probably the best character in the book, a supposedly meek and put upon followers of Aki’s who in reality is happily manipulating her behind the scenes (and may come from a family of said manipulators). And, of course, he’s beginning to genuinely fall for Aki – if this were JUST about the revenge, there would be no point in reading it. It’s a romance.

As for Aki, I like her. More than I expect I’m supposed to. It’s fairly clear as the volume goes on that much of her arrogance is just as much of an affectation as Masamune’s cool persona. The annoying nicknames are completely lame, but I have to admit, the scavenger hunt she led him on to reject him made me laugh out loud at the payoff. That was well-played. Really, most of the things people hate about her seem to be simple social ineptitude, as she’s shown to have no idea how real life works, being very much a coddled rich girl. I expect in the next few volumes Masamune is going to want to dial back his revenge, and likely external forces will try to stop him. Because honestly, these two would make a pretty good couple if they both stopped putting on an act.

I’m not certain if this is a plain old revenge fantasy or a subversion of same yet, but I hope it’s the latter, as I would find a simple ‘break the haughty’ plot to be far too tedious. But based on the first volume, I think that the authors could pull off something nice. There was also less fanservice than I’d expect from a title like this, that foot fetish cover aside. Fans of guy-oriented romantic comedy might give this a try.

By Izumi Miyazono. Released in Japan as “Totsuzen Desu Ga, Ashita Kekkon Shimasu” by Shogakukan, serialization ongoing in the magazine Petit Comic. Released in North America by Viz.

The ruke of thumb, be it in a shoujo comic set in school or a josei comic set in the workplace or really in any other piece of fiction ever, is that happy people are boring. Conflict is what drives a story, and anybody who insists that they know exactly what they’re going to get out of life is likely due for cruel disappointment. Of course, the goal after this is to make sure that the main characters read like real people and that you aren’t constantly slapping your forehead. We’ve seen quite a few Petit Comic titles over in North America over the last few years, and while I’ve enjoyed them to a greater or lesser degree, there has been quite a bit of forehead slapping. Everyone’s Getting Married, though, seems to be made of sterner stuff.

Our heroine, Asuka, is a highly successful businesswoman, but what she really longs to do is settle down, get married, and be a housewife. The narrative points out several times that this is because of her own home upbringing and a definite choice she wants to make, rather than anything like “women shouldn’t be working” or other tropes you’d expect to see at this point. The guy who breaks up with her at the start of the book says she’s looking for “anyone who’d put a ring on her finger”, but we see over the course of the volume that’s not true – she has standards, and most guys fail to live up to them. The trouble is, this is modern Japan, and most guys she meets aren’t looking for a wife to stay at home and keep house.

Enter our hero, Ryu. He’s a highly successful newscaster with a reputation as a playboy, but he’s actually just the sort of man that Asuka is looking for. There’s just one problem, of course – he is absolutely not looking for marriage, for both professional reasons (as a handsome face who gets female viewers, ratings would drop if he was “unavailable”) and personal reasons (a hinted bad relationship with a married woman before the book begins). However, aside from that, he’s basically exactly what Asuka is loking for. And it’s mutual, as he’s quite attracted to Asuka as well, but both of them are holding themselves back due to their insistence on marriage/no marriage respectively.

The characters in this book are what makes it. We see Asuka’s friend begin to date Ryu’s roommate in here as well, and there relationship proceeds far smoother, even though Asuka’s friend has said, much like Ryu, she’s not looking for anything permanent. But, because she’s also open to compromise and not locked into stubbornness, things can move forward in surprising ways. This is a title you read to see how the hero and heroine can compromise their principles in order to gain the happiness that’s right in front of their nose – after which, no doubt, the story will end, because the conflict is over. Definitely awaiting the next volume.