Sean Gaffney

By Mamoru Hosoda. Released in Japan as “Bakemono no Ko” by Kadokawa Sneaker Bunko. Released in North America by Yen On.

this was one of those titles that I picked up but knew absolutely nothing about except the bare minimum. This is a rarity for me, as regular readers know. I was aware it was from the author of Summer Wars and Wolf Children, so expecting a heartwarming coming of age story was pretty much it, and that’s what I got. The main thrust of this new work is fairly predictable, and it’s also quite short, so you can zoom through it. That said, there are individual moments in the work that quite surprised me, and the characters are fun and easy to like, even the Beast in the title, who is the focus of the one bad word in the whole child-friendly novel (he’s called a prick, because, well, he is).

Our hero is a young boy who gets the benefit of both a dead mother AND a disappeared father, who escapes his snooty mother’s attempts to take him into their family and heads for the streets. There, he accidentally runs into two men with faces like beasts, and (evading police looking for runaways), ends up in a completely different world, one where beast people are the norm and being a human is strange and untrustworthy. Turns out that one of the guys he followed is in competition to be the village “grandmaster”, with the slight problem that he’s an angry hothead with no social skills. Since our hero is an angry hothead with no fighting skills, the two are made for each other. An apprenticeship begins.

It is fairly impressive that Kumatetsu, the Beast of the title, is as much of a jerk for as long as he is in this book. There are flashes of goodwill, but the way he was raised and self-trained makes him simply bad with people, including Kyuta, his own disciple. The long journey where you’d expect them to bond and become close is instead an exercise in Kyuta learning from the other masters while Kumatetsu stands around bored. He’s a difficult man to like. That said, once Kyuta returns to Shibuya on a regular basis, his anger gradually reveals itself to be the desperate loneliness we knew was there all along, and his actions towards the end of the book develop well from his character.

Speaking of Shibuya, there are several odd narrative choices in this work, some of which are clearly there to make sure we can get through this in 190 pages or so. Eight years pass by in a few paragraphs, and suddenly Kyuta is one of the best fighters there is. I’d wished for a bit more there, perhaps a montage of various scenes through the years. The Shibuya stuff also surprised me – I was not expecting to return to our world until the end of the book, frankly. Kaede is nice and a good match with Kyuta (or is it Ren)?, and I loved her stubborn refusal to let him fight alone. Indeed, the entire climax of the book takes place in the middle of the city, as the two of them battle a giant magical Moby-Dick, something which must look amazing in the movie that this also is (it came out in Japan in July).

Some sources call this an illustrated novel, be warned. The one illustration is on the cover. But it doesn’t matter, as this is a decent story, well-told. It’s a good comfort book to read on rainy days, or get for your tween kids.

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.

I’ve talked before about the way that Japanese manga and light novel series have to be planned out from the start with multiple ways to end, depending on popularity. If the series bombs, there’s the fast “wrap it up in 1 volume” ending. If it plays out as a minor hit, you get a medium-sized ending which develops the plot and characters more. and if it’s a big, big hit – as Index was – then you get to start to take out all your chess pieces and shuffle them around the board, confident that you have the time and audience to stretch and let things simmer for a few volumes till you can fire off all your plot guns. With this volume of A Certain Magical Index, we see Kamachi hitting that point. There’s a whole lot here that is relevant to later volumes down the road.

Introduced in this volume: Hyouka Kazakiri, Aiho Yomikawa, Sherry Cromwell. This takes place literally one day after Book 5 (in fact, we see Touma returning to Academy City at the start of this book), so the timelines for the spinoffs are still the same as the previous book.

While I said that this volume has a lot of setup for future plots down the road, a casual reader wouldn’t necessarily know that, as this is Kamachi’s smoothest work to date, with a minimum of bolded words and encyclopedic dissertations on the nature of superpowers. That isn’t to say that they’re absent, of course, but they blend together better with the story proper, as Komoe lectures Touma on diffusion fields while also reminding him of what’s truly important – saving anyone that’s in front of him. (This also leads to the funniest moment in the book, where Mikoto and Index finally meet each other and realize that they’re both “I didn’t ask to be saved but he saved me anyway” girls in Touma’s nonharem.) The absence of Last Order and Misaka Imouto also means there are less weird speech quirks for the translator to deal with.

This is also, for once, an excellent volume for fans of Index herself. She’s used very well here, showing off her childish side but also demonstrating that childish does not mean stupid, as she manages to go head to head with a giant golem for several minutes. She’s also exactly the sort of all-loving friend that someone like Kazakiri needs. Kazakiri herself is an extremely clever idea, but she’s also a sweet kid, and you feel for her when her sense of self is blown out of the water by Sherry Cromwell and her desire to start a war. As for Sherry herself, it strikes me that this is the first Index villain whose main motivation has simply been revenge. It’s also a misplaced revenge – as Touma hints, Sherry really wants to be stopped, but has to let it be known just how insanely dangerous letting the Magic and Science sides intermingle is.

We also see Aleister Crowley again, and he gets to show off his “mwahaha, just as planned” side to a disbelieving Tsuchimikado. As the mastermind behind most of what has gone on in the past several volumes, he’s clearly the Science Side’s final boss. I wonder if he has an equivalent on the magic side? (Foreshadowing: your key to quality literature.) In the end, there’s simply lots for the Index fan to enjoy here. Good fights, Kuroko being cool briefly (and lecherous, but I’m putting off that rant for a bit), Touma managing to stay out of the hospital for once, and, in perhaps the best moment of the book, Touma, turning his catchphrase he uses against antagonists – “I’ll smash that illusion of yours!” – and motivating Kazakiri by showing her that her own illusion “isn’t something that can be broken so easily!”.

It also breaks the even-numbered curse at last. Definitely recommended for Index fans, and those who like superhero books with 87 million characters.

By Izumi Tsubaki. Released in Japan as “Gekkan Shoujo Nozaki-kun” by Square Enix, serialization ongoing in the online magazine Gangan Online. Released in North America by Yen Press.

There are certain benefits to doing a series that is entirely devoted to gags. The expectations that you have as an artist are significantly different from, say, a shoujo title like the one Nozaki himself draws. What’s most important is the punchline. As a result, though, you can be free to use other standard manga tropes without worrying too much about what the fan or editorial reaction will be. Thus Nozaki-kun has any number of ‘pairings’ within its pages, which are used and abused for gag purposes and don’t need pesky things like development or depth. That’s for fans to write in their fanworks (and believe me, they do.)

Sakura’s crush on Nozaki is an excellent example of this. Its intensity never wavers, but the focus on it can change. In the first chapter of the volume, when Nozaki takes her out to examine clothing he can work into his series, and asks her bluntly to wear a sailor uniform so he can see how it looks on her, you wonder what she sees in this somewhat dense lunk. But then we get scenes such as the art class, where all the girls draw Mikoshiba in ridiculous fantasy poses they want their boyfriend to be in but Sakura has him posing as Nozaki drawing. Or when Miyako draws Nozaki in a giant tanuki costume in a vain effort to stop her insane editor’s demands, and Sakura is entranced by it, that you realize that no, she is not the sensible one here either.

If there is a sensible one in this manga, it may just be Hori, who also gets a chapter devoted to his bizarre relationship with his drama underclassman Kashima. Even though Nozaki is not particularly keeping his manga a secret, it has become one for most of the characters working on it. As a result, when Kashima catches Hori walking around with Nozaki’s manga, she thinks it’s because he really likes shoujo manga. This, bizarrely, leads to several pages with Kashima as the tsukkomi – as I said before, any of the main characters can be the setup or punchline depending on the joke. There’s also slightly less violence here, as we focus instead on Kashima’s adoration or her sempai contrasted with Hori’s complete inability to deal with her ‘prince’ antics.

And then there’s Wakamatsu and Seo, as the last of our main cast is introduced in this volume. While I love all the main ‘ships’ in Nozaki-kun, I will admit this one is my particular favorite, and it also revolves around secrets. Wakamatsu is a first-year basketball player who gets abused on the court by Seo, still being brought in to show the teams what not to do. Off the court, he’s become entranced by the singing of the school “Lorelei”, which helps him when he has trouble sleeping. The gag is twofold; 1) he doesn’t realize that Seo *is* Lorelei, and 2) he has no idea how to communicate his frustration to her, so resorts – as Kashima does – to reading shoujo manga for advice, which results in the funniest scene of the entire book, his rooftop “confession”, complete with oven mitts.

So misunderstandings galore are the fuel for this comedy. Nozaki doesn’t know Sakura loves him, Wakamatsu doesn’t know that Seo is his rival AND crush, and Kashima and Hori simply have no idea how the other one thinks at all. It works well, and I continue to giggle aloud as I read the series. Always a treat.

Also, there are still tanukis.

By Hirohiko Araki. Released in Japan as “Jojo no Kimyou na Bouken” by Shueisha, serialized in the magazine Weekly Shonen Jump. Released in North America by Viz Media.

Because everything is so ridiculous all the time, it can sometimes be hard to remember how influential JoJo really was on the Weekly Shonen Jump era. Yes, JoJo has its predecessors as well – we’ve seen sink-or-swim training since the dawn of time – but most of the story and fight beats here are something you’d see in your average One Piece or Bleach. Indeed, I have to wonder if Aizen decided to carry out his evil plan after reading “It as me, Dio!” a few too many times. That said, One Piece and Bleach may go over the top a lot but they still can’t touch JoJo, where every single page is a dramatically shouted moment, and even the evil Nazis have retirony moments.

Joseph also needs his Speedwagon-esque sidekick, of course (made somewhat odd by Speedwagon actually being there at the start), and for that we have Caesar Zeppeli, who starts off as a typical Italian lothario who does not like Joseph at all, but they quickly bond when they have to battle the ancient villains who are trying to regain power or somesuch. There is a plot going on throughout the book, but it comes secondary at all times to the ridiculous poses, dialogue, and characters. Speaking of which, I was quite happy to see that Joseph and Caesar’s training mentor is female – Lisa Lisa, a young woman who does not let herself get lost in emotion (see what I did there?) when it comes to honing the pair’s hamon skills. I hope she survives, as she’s very cool.

There are still some moments of drama and horror – we’re near the start of World War II, so there’s a lot of Nazis running around, and they get the majority of the corpses in this volume. Mark, JoJo and Caesar’s young driver, is quickly marked for death the moment he shows us a locket with his girlfriend in it, and saying he’s about to propose is just icing on the cake. And a whole bunch of Nazis get their life energy drained out of them in a rather unsettling sequence. I would argue that the Nazi villains are perhaps not being treated as seriously as they should be, but that would imply that JoJo’s Bizarre Adventure should treat something seriously, and I can’t really get behind that.

The majority of the last half is taken up by JoJo battling one of the major villains, Esidisi (yeah, it went there. We also got Loggins and Messina in this volume as well), which shows off JoJo’s quick thinking and rashness. The best moment of the whole volume may be when JoJo’s trademark “you’re about to say this” schtick is used against him, a fact that I think wounds him more than any physical pain. In any case, this is just as overblown, manly and ridiculous as ever, and if you like Jump Manga you should enjoy it immensely.

By Bisco Hatori. Released in Japan as “Urakata!!” by Hakusensha, serialization ongoing in the magazine LaLa. Released in North America by Viz.

It can be hard to find a balance between trying new things and doing what you know you do best. This is particularly true for manga authors, as they have a popular style or way of writing, and fans who get their new series expect more of the same, only different. As do editors. And Bisco Hatori has earned her reputation from the insanely popular series Ouran High School Host Club, which ran for almost 10 years. As a result, it’s not really a surprise that her new series, Behind the Scenes!!, also features a school club filled with eccentrics where the new character is dragged around and slowly learns what the people are really like.

The main difference is in the main character. Hatori no doubt wanted a contrast from the blunt, deadpan Haruhi of Ouran, who could get frustrated at the antics of those around her but was, for the most part, rather quiet and matter of fact. Ranmaru, on the other hand, is a new student from a fishing family who is trying to be shy and retiring, mostly due to his past school life where he ended up, for one reason or another, being the scapegoat. It’s left him with a low opinion of himself, which informs his character during the entire first volume. That said, when the chips are down he proves to be a wonderful improviser, something that the club he’s accidentally gotten involved with notes right away.

The club, on the other hand, is filled with extroverted eccentrics. They provide costumes, props and special effects for the college’s four varied film clubs, and the clubs are of course all egotistical impresarios, so they’re always changing things at the last minute. It is, unfortunately, the sort of club where the reader will need several volumes to get them all straight, with the exception of Ryuji, who is the manipulative but with a good heart sort who bullies Ranmaru into joining the club for his own good. There’s a nice balance shown between the various functions of the club and the need for last minute changes – as well as the pettiness of your typical director with a vision.

The drawback, of course, is that this all feels a bit more-of-the-same. As I said, that’s what readers and editors want, and it’s great to see more of Hatori’s standard humor, but there’s less room for experimentation, such as the sort we saw in her earlier series Millennium Snow. Nothing really surprises you, and the plot beats roll out exactly as you’d expect. There is, perhaps, less of the BL tease that was found all over Ouran, but given how much of it turned out to be simply tease, that’s likely not a bad thing. Fans of Bisco Hatori will enjoy this, but I would wait a volume or two before making judgment – I think it’s a slow burner, and so far it’s merely simmering.

By Gen Urobuchi, Type-Moon, and Shinjiro. Released in Japan by Kadokawa Shoten, serialization ongoing in the magazine Young Ace. Released in North America by Dark Horse.

I find myself somewhat relieved that I am familiar with Fate/Stay Night, the original visual novel that this is a prequel to. Admittedly, it makes it hard to judge whether this work can stand on its own for someone who was unfamiliar with this world till they picked it up. My guess is that no, it would be hopelessly confusing, which is why I am relieved. This reads like a prequel everyone wants to see to the game/manga/anime they’ve already experienced, and so it delivers a lot of cool things, but the explanations are to a degree taken as read, or at least glossed over lightly in smug monologues. That said, it’s pretty good at delivering the cool things.

Fate/Stay Night’s manga was never finished here due to Tokyopop’s abandonment of their manga division, so I’m assuming most of the audience here is one that’s seen the various Fate anime versions. Including Fate/Zero, for that matter, which has also been an anime (which I haven’t seen) and which was originally a light novel (which I haven’t read, and isn’t licensed). This prequel takes place during the Fourth Grail War, and features the parents or relations of a great deal of the cast – Shirou’s adoptive father Kiritsugu, his wife Irisviel and their daughter Illya, Rin’s father (who is only briefly seen, and who Rin seems to have inherited her smugness from), and a young Kotomine Kirei, who has not yet been completely horrible but give him time. Thankfully, a few of the servants are the same ones we’ve seen before. Saber is still the King Arturia Saber we know and love, and Archer is Gilgamesh, as the original Fate had made clear.

It does shake up a few things, though. Kiritsugu and Emiya are meant to contrast, and they certainly do, with Kiritsugu’s adaptation of the “needs of the many” maxim meaning he tries to find the most happiness for others by killing those who get in its way – he realizes that you can’t simply save everyone, unlike Shirou later on. And Kotomine’s father seems to be pulling strings for the Church, which is as “unbiased” as ever. The most interesting part of the manga, however, is of the whiny, seemingly bullied Waver Velvet and his servant Rider. This Rider is not the Medusa we’re familiar with, though – it’s Alexander the Great, known here as Iskandar, and he is the main reason to get this volume, as he is awesome. You’d expect him to be contemptuous of his rather whiny master, and you’d be right, but he seems to be training Waver Velvet to be a better person instead of writing him off. They have a wonderful dynamic.

Saber doesn’t get as much to do here, though she does rock a fantastic bodyguard suit, and is as empathic as she was in the original. I like her conversations with Iris, who reveals she’s literally never left the castle where she lives until just now. I’m not sure how long Iris will last in this manga – Fate/Stay Night reminds us she’s dead, and even if it didn’t this prequel is written by Gen Urobuchi, who created Madoka Magica and Psycho Pass. But it has characters we wanted to see doing cool things, and the art is decent (the artist also does the Taboo Tattoo manga), and is definitely worth getting for fans of Fate.

By Kenjiro Hata. Released in Japan as “Hayate no Gotoku!” by Shogakukan, serialization ongoing in the magazine Shonen Sunday. Released in North America by Viz.

One of the stranger running plots we’ve had in Hayate the Combat Butler has been 13-year-old Nagi’s insistence on being a brilliant manga artist, an insistence that is counterbalanced by her actual manga, which is strange to the point of incoherence. This mas mostly been played for humor, focusing on Hayate and Maria’s attempts to not tsukkomi Nagi when reading her stuff, and pretend that it’s totally going to sell. Here, though, Nagi’s manga becomes the point of this next arc, as she runs into a genuine manga artist – mostly through the machinations of Ayumu – and discovers what a leap forward it would take for her work to achieve what a professional artist’s does.

We briefly saw this artist several volumes ago, but now we get a name – Ashibashi-sensei – and we see what the life of a manga artist actually entails. This also includes an assistant, who turns out to be Azumamiya, one of the many minor characters who littered the early volumes and have now mostly been forgotten. He’s here to be annoyed that they’re doing this for Nagi at all. In any case, Ashibashi-sensei is clearly based on Hata’s former mentor Koji Kumeta, author of Sayonara Zetsubou-sensei. There’s not quite as much despair this time around, but we do get to see how totally exhausted a manga author can get, the dangers of procrastination, and most importantly, how Nagi’s work just isn’t cutting it.

Nagi can’t even bring herself to show it to him – she runs off devastated, having received actual criticism she’ll listen to for the first time ever, as opposed to people trying to be nice (Hayate, Maria), or people with the same warped worldview as she has (Isumi). This leads to a serious crisis of confidence, particularly since, when Nagi decides to simply concentrate on school work, she notices her grades are slipping as well (though she’s still in the Top 10). Nagi’s maturity, or lack thereof, has been a source of frustration for many of the Western fans of Hayate. Honestly, I suspect for those fans the solution is so eliminate her entirely – character development is not what they want. But it’s what they see here.

Luckily, Chiharu comes to the rescue, asking Nagi to help her sell doujinshi at a local event. This allows Hata to throw in a couple of chapters praising the idea of doujinshi (here clearly referring to original works, not the parodies and porn most people associate the word with), and allowing Nagi to get her groove back, mostly as she reads a dolphin-based manga that’s even screwier than hers is. I like the idea that “I can do better than THIS!” is a motivating factor. We also see what I believe is the author of that particular manga, though why she’s in disguise is something that is likely left for the next volume. Hayate the Combat Butler continues to be lots of fun, and it’s good to see Nagi finally growing.