Sean Gaffney

By Satoshi Mizukami. Released in Japan by Shonen Gahosha, serialized in the magazine Young King Ours. Released in North America by Seven Seas.

This final volume has a lot of fighting and backstory in it – in fact, a good 4/5 of the book could be described as fighting and backstory, even the epilogue with Akane. But it’s a credit to the author that the backstory always feels natural and not like an infodump, and the fights never wear out their welcome, even when they’re supposed to. We get the villain’s main motivation (delusions of godhood), the relationship between him and Anima, and why Samidare is so desperate to smash the world. And, spoiler, the world is not smashed, which means that we also find out what happens afterwards – we hear in an afterword that Mizukammi always wanted to find out what happened to characters after the final battle ends, and that’s what we see here. It’s heartwarming as heck.

With the exception of Nagumo, our cast have for the most part been from middle-school to early college age, and their mindset and problems have stemmed from that – immaturity, frustration, pent-up emotions, and budding sexuality. We now see that Animus and Anima’s battle has remained what it is again due to a very childish reason – Animus has psychic powers, as does his sister, and when a doctor calls him a god, Animus gets one of the most creepy ‘insane grin’ faces I’ve seen in manga, and proceeds to prove his godhood by destroying first the space station they’re on, then the Earth. Anima, who was trying to convince him that powers or no he’s still a human, is desperate to stop him.

If this sounds vaguely familiar it’s because it’s mirrored in the relationship between Samidare and Yuuhi, who as I predicted is not really going to let her smash the world with her giant projected fist after all. That said, he does pretend he is for some time, which leads to a number of battles where he shows off how much he’s been holding back until now, and basically curbstomps all the other knights bar Mikazuki, who’s still down from the battle against Animus. Samidare goes on like a lovestruck girl (which she is) about how cool Yuuhi has become, and it’s true – his emotional growth in this series has been nothing short of stunning. And now with Samidare, who has discovered that she has something to live for after all, the emotional growth is a catharsis.

The 10 years in the future epilogue is a bit Harry Potter-esque, particularly the part where we find out that Shimaki and Yayoi got married despite very little interaction in the main series at all – Anima’s “Hmm?’ and blank stare reminds me of my own when I heard Luna was marrying some offscreen guy I’d never heard of. But as Yuuhi points out, that’s how life works, and is the nature of ‘where are they now?’ epilogues. More importantly, Samidare is healthy again, and everyone has been moving forward. Even Akane, in many respects the most emotionally broken of the group, gets a separate section to show off how much he’s changed – though the Hawaiian shirt is perhaps a bit much. (He also gets the best “love confession”.) The fighting is dine, our heroes are content, and so am I. This was a great ending to a terrific series, one of the more realistic takes on superhero battles out there. Get someone all of it for Christmas.

By Fujikawa Yuka and Rifuin Na Maganote. Released in Japan as “Mushoku Tensei – Isekai Ittara Honki Dasu” by Media factory, serialization ongoing in the magazine Comic Flapper. Released in North America by Seven Seas.

Never let it be said that companies don’t know their core audience. Someone like Viz might have simply called this ‘Jobless Reincarnation’ and be done with it, but Seven Seas knows that the folks most interested in it also wouldn’t recognize it unless it had its original Japanese title. Hence the hyphenated name. And Media factory knows their audience as well, which is why the front cover stars the cute teenage girl who’s a mere mentor for our hero, with our hero himself in the back. That said, some of the editorial decisions, while I can sort of guess why they happened, baffle me a little bit, the first one being why we have this story’s framing device at all.

Our story starts off with a chubby goateed guy at his computer eating instant ramen. He’s quickly kicked out on the streets by his family, as it turns out he’s a NEET with no job or desire to get one. As he bemoans his useless life, he sees a truck barreling towards an arguing young couple and decides to rescue them, even as it means the truck kills him. He dies with a desire to do his life over properly. We next cut to a standard ‘fantasy’ world, where Rudy, our hero, is a 3-year-old precocious brat learning swordfighting, but he can also do magic. He’s that guy reincarnated, but he still has all his prior memories. Now he buckles down and learns as fast as possible, so that he can live a life he’s proud of.

This is all very well and good, but aside from creepy moments when we see a little kid perving on a young teenage girl, or the odd traumatic reference to his death from the start of the book, there’s no real reason why this had to happen at all. Why not just have it be a story of a bright and precocious young kid in a fantasy universe? I fear the answer may be that ‘ordinary guy gets trapped in a fantasy universe’ is the in thing right now, and the author knew it. It’s based on a series of light novels, so that wouldn’t surprise me. It could also be a way to ward off criticism of his hero, who’s doing things at 3 years old that most folks can’t pull off till their teens.

That niggle aside, this was better than I expected, and shows off Rudy’s boyish young charms (when he’s not being a 34-year-old otaku) very well. His conflict resolution is also based off his prior memories, and while this does give him a vocabulary no little kid should have yet, it does actually resolve the conflicts to some degree. There’s also a suggestion that this might get into some darker areas, not least of which is the cliffhanger. I’ll check out the second volume, but I wish the series had simply dumped the wraparound and been a straight up fantasy.

By Nagaru Tanigawa and Puyo. Released in Japan as “Nagato Yuki-chan no Shoushitsu” by Kadokawa Shoten, serialization ongoing in the magazine Young Ace. Released in North America by Yen Press.

It is not particularly surprising that, having resolved its main relationship in this volume, Nagato Yuki-chan continues. After all, the main Haruhi novels are still in limbo, and may remain there permanently. The anime, unlike this spinoff manga, is not allowed to use Sasaki (indeed, the anime of the Nagato Yuki-chan manga took pains to avoid having her appear). And Haruhi-chan, while fun, is still just a gag manga. Thus is is this title which has almost become the series flagship, despite featuring characters who remain, at heart, really nice and sweet. And so we continue to toddle along, vaguely discussing graduation plans and learning how to cook, and occasionally teasing the main continuity, such as when Yuki gets sick.

Now that Kyon and Yuki have resolved their affections, most of the stress in this volume is carried by Ryouko, who remains my favorite and gets a lot of face time this time around. She’s not made aware that anything has changed till the very end of the book, mostly as Kyon and Yuki are too embarrassed to say anything. And it’s honestly easier, when repurposing material that may have been used in prior spinoffs or the main series, to use Ryouko’s POV, as she wasn’t in them by virtue of being evil and erased. She goes back and forth between being a mom, a big sister, a shipper, and a nervous wreck here, and once again it’s Haruhi who is forced to play the minder to the minder and comfort Ryouko when she begins to cry in happiness at Kyon and Yuki’s relationship.

Speaking of Haruhi, she’s still trying to do interesting things, but she’s also the one who, along with Tsuruya, actually has her act together and is thinking about what comes next. She’s given up on Kyon, but in this title is OK with that, and appears to be content to move on. (Koizumi is still sticking with her, but again she appears to regard him more as a useful tool than anything else). Mikuru is useless in the original series, adult form aside, but here Tsuruya admits that she’s genuinely trying to change that, and give Mikuru the experience with people she desperately needs to move forward when Tsuruya can’t be there to take care of her.

And so it looks as if the next volume of the series (and yes, there is one) will discuss graduation plans. Ryouko is undecided, mostly as she really hasn’t focused on her own life as much as living vicariously through Yuki. As for everyone saying Yuki is the housewife type, given Kyon’s less than zero ambition, I’m not sure that’s such a good idea. But of course this is a mild, sweet, happy title, so I suspect any crises of faith will be resolved in about 50 pages or so. It may not be the Haruhi we’d like to see, but if all we can get now is this continuity, I’m perfectly happy, and want to see what the cast will do in the future.

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.