Sean Gaffney

By Mamare Touno and Kazuhiro Hara. Released in Japan by Enterbrain. Released in North America by Yen On.

After two reasonably stand-alone novels, Log Horizon now has the first of the ever popular ‘2-volume arc’ books, as seen in SAO, Accel World, and Index has a few soon as well. This does allow for a leisurely pace throughout the book, with only a token cliffhanger at the end. But that’s fine, as this book is doing what Log Horizon does best, which is to showly explain how its world works and how the mechanics of gaming fit into “real” battles. Of course, as Shiroe finds out towards the end of this book, things may not be as simple as all that, particularly when it comes to death in this world.

I’ve said earlier that these books get into game mechanics far too much, and I admit at times I was getting a little bored at all the exposition. At the same time, however, the mechanics are far more important here than they are in SAO, where Kirito may as well just be genuinely using his sword as a sword. Each class has its own strengths and weaknesses, something that takes our newbie heroes (the twins from last book, Serara, and two new kids) the entire volume to really understand. I suspect a few gamers may be a bit frustrated by the “gosh, we need teamwork” lesson being drilled in here, but it’s cute, and serves the purpose of the actual book, which is to develop these five kids into deeper characters, particularly Minori. And we even get a mini-cliffhanger of our own with them, as Rudy seems to have a secret he’s been keeping from everyone.

As for Shiroe and company, instead of dungeon crawling they’re worrying about diplomacy. The other big function of this book is to set up the “people of the land”, which is to say the NPCs – as genuine characters with hopes, dreams, and desires, rather than “I’d love it if you could get that cat out of the tree for me” quest points. They have a history, one that is long and rather dark, as Shiroe finds out. And they have goals that may not mesh well with the adventurers, who they seems to regard as dangerous unknowns. Luckily, we meet Reinesia, the princess of one of the main capitols, who would much rather just lie against a table and be moody all day. I can identify with that. Her interaction with Crusty, who reminds me a lot of Heathcliff from SAO only hopefully without the evil, is one of teh funniest parts of the entire book.

There are also a few suggested romances, though I’m not sure if any of them will actually come off. Isuzu searches her feelings and realizes she likes Rudy as a big dog sort of guy. Akatsuki searches her feelings and comes up empty, though the more experienced reader can tell she’s in love with Shiroe and as yet unaware of it. In any case, romance may take a back seat in the next book, as evil creatures from the black lagoon are coming out from the sea all over the continent. Well, they’re in a game world, you can’t just turn off the bad guys. Log Horizon remains a well thought out series with relatable characters (so many introverts!), and is easy to recommend.

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.

After four novels that were basically one plotline, this fifth book gathers up three interlocking stories, one a novella and two short stories, all taking place on the last day before the school semester begins. Indeed, it’s a bit startling as you get into Index to see how fast everything is moving. The 4th book, and the Angel Fall arc, took place only a few days before this. These stories also share a certain theme, which I suspect was sort of shoehorned into the non-Accelerator ones to make it work better as a book, or people choosing to do the right thing rather than let someone else do it. It’s what makes a ‘superhero’, and given that Index is in many ways about a city filled with superheroes, it rings thematically true, though in some places more than others.

Introduced in this volume: Last Order, Kikyou Yoshikawa, Eztali (as Mitsuki Unabara). There’s no real equivalent to this in the Railgun timeline, mostly as Misaka features in two of these stories. It’s still right after the final battle in the SS anime.

There’s no getting around the fact that one of these stories is much, much better than the other two, so let’s deal with the other two perfunctorily here. The scenes with Mikoto, Touma and the fake Mitsuki look to have been editorially mandated owing to a certain Railgun’s overwhelming popularity, and if you like Mikoto being the tsunnest dere in the city, there’s plenty for you to like here. But it’s very slight, and fake Mitsuki (we don’t actually learn his real name here) seems to fall for Mikoto for no real reason other than to allow the story to vaguely tie into the novels’ theme. As for the final story with Touma, Index, and Ouma, it’s even slighter (the villain is even Touma with one letter removed, though I suspect the Japanese name is suitably different). It does allow Index fans (are there Index fans?) to brag that that she’s actually a smart cookie when not whining at Touma about food or his harem hero tendencies.

But the main reason to read this, as you might guess from the cover, is the beginning of Accelerator’s journey from a mass-murdering villain to a broken anti-hero. He does a lot of soul searching here, and doesn’t like what he sees, but he can’t really see any way to redeem himself for what he’s done, and has no real reason to do so. Enter Last Order, who despite fandom’s best efforts (and the artist’s, let’s be frank) to sexualize her is pretty much written here as a “little sister” figure for Accelerator. She’s tied heavily into the Sisters project, and is able to offer him as much forgiveness as she can given the circumstances, and show off that he was not being as sociopathic as he thought. In the end, he does manage to save the girl and save the day, though it gets him shot in the head for his troubles, thus solving the other problem with Accelerator, which is that he was simply far too powerful for this series. We haven’t seen the last of him, though.

The translation continues to have the usual strengths and weaknesses, but I really have to highlight two issues. First off, Last Order’s speech quirks are very hard to translate into English at all. I don’t mind the ‘like’ inserted into her words, as it’s a casualness the other Misakas (and Mikoto herself) don’t have that works well with Last Order. But the doubling of the ‘says Misaka’ makes it look more like someone accidentally screwed up the find-and-replace rather than a genuine adaptation choice. Secondly, did Touma really say the word ‘Japanimation’? In 2015?

The three stories in this novel are of variable quality, but the Accelerator one is excellent, and it’s also the longest, so it’s definitely worth reading the book for.

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.

As my regular readers are aware, I’ve been excited for this title for a long time. I’ve been a fan of Tsubaki ever since The Magic Touch (in fact, I am the only fan of The Magic Touch), and I’ve also loved her other ongoing series right now, Oresama Teacher. Those, however, are normal shoujo series, albeit with a lot of humor in them. Monthly Girls’ Nozaki-kun is a 4-koma gag series. As such, we do not need to worry quite as much about depth of characterization, advancing the plot, and romantic resolution. We just have to worry about 1) Build to a gag, and 2) Have a character react to the gag. This series succeeds admirably at both, but especially the second.

The setup is fairly simple, and ripe for amusing situations. Sakura has fallen for the tall, handsome, stoic Nozaki, and confesses to him in a roundabout way, trying not to use the words “I love you”. Unfortunately, Nozaki is as dense as lead when it comes to matters of the heart, so interprets this as a desire to work with him on the shoujo manga he draws for a monthly magazine under a pseudonym. Luckily for him, Sakura is quite good at art. And Sakura is okay with this if it means she can spend more time with him. Over the course of this volume, though, the cast broadens to include a wide variety of eccentrics, and we also discover that Nozaki’s manga, while popular still has its problems. As such, many of the final panels are Sakura giving a comeback to the ridiculous situation, in typical Japanese tsukkomi style.

Not that Sakura is always the straight man. As with Tsubaki’s other current series, the characters have the ability to alternate between boke and tsukkomi as the situation requires, and so if Sakura is off in Nozaki-kun fantasy land, it will be Mikoshiba or Seo who will boggle at her antics. And Nozaki-kun may be stoic, but this doesn’t mean he’s without emotions, as we see whenever he’s reminded of his prior editor. The 4-koma format serves this series perfectly, as the gags all land dependably right where they should, and have just the right amount of impact. There are no drawn out scenes where half the 4-komas are setup to a final gag – there is humor every 3rd and 4th panel throughout.

Indeed, there’s even humor on the front and back covers, and in extra stories at the back, which might be why the translation notes are awkwardly placed midway through. For those worried, by the way, the presence of the -kun in the title should tell you that this translation is allowed to be a bit more Japanese than other comparable series, and thus “in my heart I call him Mikorin” is present and correct. There are a few adaptations of super obscure things, like the concept of ‘KY’, but honestly, ‘oblivious’ is a pretty accurate translation of that. Fans of the Nozaki-kun anime will definitely enjoy reading the series in its original form, and if you simply like to laugh, this is a great series for it.

Also, there are tanukis.

By Ryohgo Narita and Suzuhito Yasuda. Released in Japan by ASCII Mediaworks. Released in North America by Yen On.

It can sometimes be difficult to review a light novel that is part of a long-running franchise whose fans have already seen variations on it – anime, manga, etc. In Japan, of course, the light novel came first, and thus the manga and anime give artistic attention to plot twists and character beats that the audience knows about through the book. In North America, it’s usually the opposite – we get the anime first, then an associated manga (though that’s switching around lately), and finally if it’s popular we see the light novels it was based on. And honestly, while I’m sure there will be some casual readers of DRRR!!, the primary audience for this 2nd book are people who already knows what’s happened in it. It’s thus more than a little amusing that the primary twist in this book is Anri’s identity, and the book goes to great lengths to keep it a secret from the reader for as long as possible.

Just as Mikado and Izaya shared the ‘main character’ stage with Celty in the first novel, so Anri and Shizuo do with her here in the 2nd. The two are not dissimilar, though you wouldn’t guess that at first. Due to past parental abuse and then emotional trauma of their death (oh, and being possessed by a katana with a mind of its own), Anri is naturally repressed emotionally, and usually has no idea whether she should be happy, sad, or angry in any given situation. This is why she became best friends with Mika, and later on with Mikado and Masaomi – she sort of leeches onto their emotions and thus feels a semblance of normality. As for Shizuo, he simply has no limited, and has to repress his own naturally strong rage through sheer force of will – something he’s very bad at. The final fight he gets into is very cathartic, as he goes all out in his violent fury but doesn’t kill anyone, as he delightfully crows at the end. Shizuo is probably the most popular character in the series – Izaya is his equal, but has just as many people who hate him. You see why here.

It’s actually almost one year after the events of the first book, which comes as a bit of a surprise. There won’t be as much of a wait between the second and third, though – if the first book teased hints of future plots to come, the second is blatant about it, leading up to a cliffhanger where we finally see what the amassing Yellow Scarves are trying to do, and who they’re trying to pull in to lead them once again. It’s not all that much of a surprise – given that Mikado turned out to be the creator of the Dollars, and Anri (or at least Saika) being responsible for all the slashings, the identity of the leader of the third major force in this triangle is obvious in a literary way. It’s a nice way to bring in new readers to a third book, though, and as for those who’ve already seen the anime, hey, don’t hate on Saki too much, OK?

A good solid book for DRRR!! fans, who will enjoy the extra depth the narrative gives to the characters, particularly Celty, Shizuo, and Anri. And also for anime fans, Erika loves Shizaya, but it makes everyone around her, including Celty, want to throw up when they hear about it. Hee.

By Rumiko Takahashi. Released in Japan by Shogakukan, serialized in the magazine Shonen Sunday. Released in North America by Viz.

I discussed in my last review that the reader of Ranma 1/2 has to hit that sweet spot of caring enough about the characters to want to read more, while also not caring enough about them to take them too seriously. Nowhere is that more evident in Ranma than with how Takahashi deals with parents. She’s always had issues with parents, especially fathers, being mined for comedy, and even today in Rin-Ne we have one of the worst fathers she’s ever introduced, which is impressive in a career that’s give us Mr. Fujinami and Genma Saotome. So when we have the opening story here, where we’re meant to wonder if Genma really does have deeper emotions and feelings, it doesn’t quite ring true for us, as we’ve seen 20 volumes of him being a gigantic uncaring ass.

And of course that’s exactly what she wants us to think. She’s going for humor, and having the characters believe that Genma might care about his son while having the reader know better is why we’re here. What we’re left with is a fairly standard Ranma comedy arc of about three chapters, but you are reminded that Ranma lived almost his entire life on the road with only Genma to teach him, which explains much. It sets up the best story in this collection, which is the introduction of Ranma’s mother, Nodoka Saotome, who has come to the Tendos in search of her long-lost husband and son. Naturally, they are still long-lost because (say it with me) Genma is an ass, and Ranma is getting dragged into it with him.

Nodoka is a new character, and gets a more serious introduction than what we’ve seen before (witness the introduction of Mariko in the cheerleading arc, which is pure 100% silliness from moment one). There are signs she could be used for comedy, mostly based around her somewhat disturbing tendency to carry around a sword in case she has to decapitate her husband and son for being dishonorable. But for the most part Nodoka herself is treated seriously, and the comedy comes from Genma’s increasing efforts to hide Ranma’s male identity from her. Indeed, Ranma reflects on the fact that he never even knew he had a mother, and Nabiki, of all people, reminds him that the Tendos will never have the ability to see their mother again, so he should reach out more. (Takahashi immediately undercuts this with Nabiki charging him for hiding his identity, but we’re used to that from this author.)

Sadly, this wonderful arc is followed by one of my least favorite. It’s not that it’s poorly written – on the contrary, Ranma is painfully in character. Everything about the ‘reversal jewel’ arc plays into Ranma’s biggest weakness, his pride and his ego, and thus he cannot stop trying to get Shampoo to fall in love with him again, even when everyone else realizes “you idiot, this solves your problem!”. It also has a lot of Mousse, which I also tend to dislike, but at least he’s been dialed back to desperate here, as opposed to madman, and we’ll see more of that in the next volume.

But this is life with reading Takahashi, and Ranma in particular. Every arc you like that shows off the sweet, heartwarming sides of our characters is followed by showing off their petty, vengeful sides. Never grow, never learn. We’ll see if that keeps up with the next omnibus, which features one of the most beloved arcs (by the old 90s Ranma fandom, at least) of the entire series.

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.

There was a bit of a worry in the Jump editorial offices when the 2nd part of this series began, Araki tells us, as Jump rarely killed off the hero and then kept going. This is why Joseph Joestar is a clone of his grandfather in terms of looks. Thankfully, he doesn’t act remotely like his grandfather, and we get to enjoy seeing a hero who is far more in the mold we’re used to today: brash, immature, confident, and a bit of a jerk. But he loves his grandma, and when it turns out that an ancient evil is upon them once more, he drops everything and bikes to Mexico to figure out what’s going on. Once again, no one does things in JoJo, they overdo them.

The first half of this omnibus gives us a lot to work with, as Joseph Joestar arrives in New York City and immediately starts beating up cops, making friends of black pickpockets, and dealing with an old ally from the first series who has now turned evil fifty years later as he seeks to find a way to keep himself young and powerful. Yes, Straizo is our initial villain, as he and Speedwagon are no longer brothers in arms (see what I did there?), but he’s mostly just a teaser to show off that Joseph is starting out this series with an innate knowledge of the things Jonathan had to learn. Not that there won’t be training arcs in this series, but Joseph has an advantage from the start. He’s also cocky, with his tendency to predict the corny lines people will say to him endearingly dickish.

It’s a good thing that he has such a strong personality, as the rest of the cast doesn’t get as much of a chance to shine. Speedwagon and Erina are still around, but their function is the same even as they’ve become elderly: stare in awe at what is going on around them and comment aloud on it. Smokey too doesn’t do much here except be a standard sidekick, and he doesn’t even get to go to Mexico with Joseph. Indeed, the other character who gets the most development is one of the villains, von Stroheim (not named after a band, but a film director this time), who is a Nazi trying to use the newly discovered Pillar Men to help Hitler, but rapidly finds himself in over his head.

Those who enjoyed the first arc of JoJo’s should not be too worried about things being different here. Joseph may be a different personality, but the author isn’t, and there’s lots of things like his using Coca-Cola or cacti as amazing weapons to please the reader who just wants to see… well, bizarre things. This is a manga that can make a line like “How did he stop my Hamon-infused spaghetti al nero?!” into dramatic climaxes, and we wouldn’t have it any other way. The cliffhanger also implies that Jonathan wasn’t the only one to leave badass descendants. Fans of ridiculous Jump manga will find this is more ridiculous than the ones most influenced by it.

By Arina Tanemura. Released in Japan as “31 Ai Dream” by Hakusensha, serialization ongoing in the magazine Melody. Released in North America by Viz.

There are bits of humor sprinkled throughout the first volume, but in my opinion the funniest part of Idol Dreams comes in the author’s notes afterwards, where Tanemura talks about how she landed this assignment. She’s no longer exclusive to Shueisha, so lots of companies wanted her, and Hakusensha asking her for a magical-girl manga for adults. This intrigued Tanemura, who signed up right away with Melody, Hakusensha’s hybrid josei/shoujo title. And then the editor urged her to get rid of all of the things she’s gotten so used to when working at Ribon – flowery SFX, lots of wacky gags, extensive drawings of clothing – to the point where the editor supposedly said “get rid of everything that makes it a Tanemura series”. I’m with the editor, though – Idol Dreams feels refreshing and new in a way a lot of her recent Ribon work did not.

When I first read the description of the series, I had assumed it was some sort of “Peggy Sue” story, where the heroine would go back in time and try to do her life over again better this time. It’s actually a different genre altogether – as the editor said, it’s a magical-girl story for adults, and will be very familiar to those who recall early series such as Tezuka’s Marvelous Melno or Creamy Mami, which featured little girls taking age pills that magically made them into adult idol singers. Indeed, Tanemura fans may recall Full Moon, which also had a premise like this. In Idol Dreams, though, the lead character, as seen on the cover, is a 31-year-old office worker who’s on the verge of losing it – she’s basically staked everything on a happy high school reunion, only to have everything fall apart when the fact that she’s still a virgin is screamed out loud by a classmate.

It’s startling to see Chikage, after this and a couple of other humiliations, actually trying to kill herself by drowning in the local river. But ultimately it leads to a different kind of fantasy, as another high school friend (who has a crush on her that he still can’t quite blurt out – and a girlfriend, which makes it harder still) has some magical – sorry, unproven scientific – age regressing pills that will make her body like a 15-year-old for a few hours. What are the odds that she would be scouted immediately as a replacement for an idol? Or bond with the troubled young genius singer of a boy band? Or find herself in a forbidden romance (which she really should know better about, we’ll see how future volumes develop yet another of the popular ‘age-difference’ relationships)?

So here we have a magical girl heroine who doesn’t go home and do homework after her battles, but goes out and gets drunk instead. Despite what Tanemura and her editor said, this isn’t totally far off from her usual titles, but it’s taken in a slightly new direction and has that fresh feel to it. I look forward to seeing where she takes us.