Sean Gaffney

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

Takahashi has settled into a groove by now, and it shows in these two volumes, which have some of the strongest combinations of comedy and action in the entire series. Unlike the last omnibus, there’s no real serious plotline here – indeed, several of the plotlines are best known for their complete and total ridiculousness. But that just allows Takahashi to mine them for ridiculous and hysterical comedy, and show you why she had such an amazing reputation back in the 1990s. And it also shows off a bit more Ranma and Akane not-romance, for those who watch for that.

We start with ludicrous right off the bat, in the form of the Gambling King. (Well, OK, there’s a story with Kuno getting a sword that grants wishes, but it’s the weakest in the book, so let’s skip it.) The King is not unlike your typical Ranma one-shot villain – grossly egotistical, somewhat thick, tends to cheat in order to gain temporary victories – but of course what makes the comedy truly work is that he looks exactly like the King on a deck of playing cards, and therefore there’s always a comedy visual dissonance when he interacts with anyone. Add to this Ranma’s laughably awful attempts at a poker face, and you have a definite winner. (It was also nice to see Nabiki take on the King – she was winning handily till he cheated – though she’ll need to wait for the next omnibus to finally get her turn in the spotlight. It’s also fantastic whenever Kasumi and Nabiki emit ‘giant scary auras’, which they both do here.)

Next we see why Ranma always has his hair tied in a pigtail, and it again involves comedy villains (more pathetic than anything else) who look ridiculous – this time they all look like dumplings. This has some nice Ranma and Akane interaction, but also plays up a man’s vanity for laughs. The strongest story in the volume, though, involves a Hot Spring Resort that is doing a contest, the winner of which can travel to any spring in the world – including Jusenkyou. If you guessed this content involved an increasingly ridiculous series of obstacles that can only be defeated by martial artists, you are 100% correct. We also have the three ‘main’ fiancees present and correct (sorry, Kodachi), and they’re all thoroughly pissed off at Ranma, while also trying to help him. Even at this point, still not quite halfway through the series, everyone unconsciously knows if Ranma is cured, life will move on and he’ll have to decide who he likes once and for all. Takahashi’s final joke, of course, being that this never happens.

Possibly the most terrifying of the stories here – if only for the grotesque faces – sees Ranma taking on Picolette Chardin II, a master of martial arts eating, helped along by the fact that his family all have giant, stretchy mouths. Again, in a situation where the laughs come from the premise, all you really have to do is drop the cast – here Ranma, Akane, and their two fathers – into it and have them be themselves. So Ranma is stubborn and determined to be the best at this because it is a martial art, Soun is determined to ensure that Ranma remains engaged to Akane by the end of it, Akane stands to the side making deadpan wisecracks and occasionally helping when Ranma doesn’t insult her, and Genma eats.

So, for Ranma fans, this is pretty much the classic period. It maintains its high quality next volume, too, as we see Nabiki finally emerge as the amoral shyster she remains the rest of the series, and are introduced to possibly *the* most bizarre enemy of Ranma’s ever, Pantyhose Tarou.

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.

Index had a good start, but I felt the second novel was a bit rushed and inconsequential. Luckily, there’s no such issues here, as Kamachi puts out one of the strongest books in the Index series, and one with a lot of consequences, not least of which is the inspiration for side-series A Certain Scientific Railgun, which especially in the West has become more popular than its supposed parent. We continue to examine the world our heroes live in, this time entirely on the ‘Science’ side of things, and see just how far researchers will go in the search for knowledge and power, a running theme in this series on both the Science AND Magic sides. And we also meet a few characters who will prove very important down the road, for reasons that I will awkwardly try not to spoil here.

Introduced in this volume: Kuroko Shirai, Misaka 10032 (aka Misaka Imouto) and her clone sisters, Accelerator, Maika Tsuchimikado (who I had forgotten gets introduced before her brother, though blink and you’ll miss her appearance.) For Railgun readers, well, you know this one. In fact, you know more than Index readers, as Railgun expanded this arc greatly.

The series may have as one of its main themes that trying to achieve knowledge for its own sake is a dangerous thing, but I can’t really ignore the fact that the series also has its unironic shonen side to it. This seems to aggravate readers, and not just in Index, as I know a lot of long-running shonen series have fans who keep hoping people will get killed off or the heroes will fail just so that manga can be more like DC Comics. Likewise, Index (who, along with Himegami, barely appears in this volume) is a lazy, hungry ball of moe, and therefore jars with anyone who wants to take A Certain Magical Index seriously. But I think it’s the tension between the two that makes it interesting – Touma goes through a ridiculous amount of hurt here, and the idea that he’s still getting up near the end of the book is laughable – but that’s what you do in shonen. You get back up.

Mikoto gets her first major role here, and I’m amused at the difference between the way she acts around Touma and the way Kuroko says that she is afterwards – dealing with Touma relaxes her, which is important given what she’s been trying to achieve. This isn’t her series, so she doesn’t get to save the day, but it’s her pain, and desire to kill herself if it will help to save her clones, that drives Touma to go beyond the impossible again and save her. She’s a serious girl, who clearly places a lot of weight on the choices she makes, even if she’s ignorant of what they mean. After this book, her popularity skyrocketed even higher, and I imagine Railgun was in development by around the 5th volume of Index.

Kuroko does appear here, but doesn’t do much beyond glomp Mikoto a couple of times and give exposition to Touma. Her lecherous habits will have to wait for a future volume for me to be irritated by them. Accelerator is more interesting. I’d forgotten that he actually had some depth here beyond “I am the villain of this arc”. He’s clearly bored with the entire experiment, demanding from the Sisters that they at least make it worth his while to bother coming out. He also states outright why he’s doing this – to be left alone. Being the most powerful Level 5 in the city means that everyone tries to challenge him all the time. This is why he gets so excited when Misaka Imouto, and later on Touma, actually manage to hurt him a little bit. It elevates the tedium. Unlike Isard from last volume, he’s not mentioned at all in the Epilogue beyond the experiment being suspended. The last we see of him is flying through the air via Touma Airways. I wonder if he’ll be back? (Spoiler: Yes, he will be back.)

This was also the first volume where I didn’t find Kamachi’s writing style difficult to get into. He’s still a very eccentric writer, and his narration can meander much of the time, such as when he’s discussing Japanese baseball pitchers, or explaining the plot of Index Volume 1 because Touma’s lost his memory and Mikoto wasn’t there. But it’s a page turner, even more than the last two, and you really want to find out what happens next. Also, his exposition, though frequent and voluminous, can be quite interesting. Not so much worldbuilding as a world textbook. Yen’s translation is quite good. Note they have a company policy of no honorifics, so Misaka Imouto is Little Misaka, and Kuroko says Big Sister rather than Oneesama. I think this is fine, though don’t be surprised if I tend towards what I’m familiar with in future reviews. More importantly, Misaka Imouto’s eccentric speech pattern is kept intact, which is hopeful news for Last Order fans waiting for Volume 5.

If you haven’t read any Index and want a volume that will show you why it’s popular, skip the first two and get this one. It really is excellent. Also, a reminder that Touma and Index spend the entire volume carrying cats around.

By Jin (Shinzen no Teki-P) and Sidu. Released in Japan by Enterbrain. Released in North America by Yen On.

Writing something that is merely one part of a massive media franchise can in many ways be even more difficult than it is to create an original story – even if you’re the original creator. The writer has to balance out giving the fans who know everything already exactly what they’ve been expecting, and trying to create a space where new readers who may pick up the book sight unseen are encouraged to continue. Kagerou Daze is one of these books. It’s based on a series of songs created for the Vocaloid series, which became wildly popular. They thus spawned this light novel series (6+ volumes), a manga adaptation (also 6+ volumes), and an anime series with a completely different name (Mekakucity Actors, complete in one season and highly controversial.)

The novel is told in two parts, essentially. The first concerns Shintaro, a young man who has been holed up in his room for the past two years and whose narration verges on the histrionic, and Ene, his sentient AI whose job is apparently to annoy him so much that he forgets to be depressed. When his keyboard and mouse are damaged and the Obon holiday means he actually has to leave the house to replace them, he goes to a department store and gets caught up in one of the stupider terrorist attacks I’ve ever seen. The second and third sections are narrated by his sister Momo, a pop idol despite her best efforts who is having tremendous trouble dealing with the fame and the fact that she apparently causes it without really knowing why. She meets up with a group of teens who all have superpowers stemming from their eyes, and finds they can teach her how to control her own abilities to make everyone watch her.

So far so good, and the characters are all mostly likeable, though I think the guy whose outward persona is ‘be a jerk until people relax around each other’ is trying a bit too hard. There’s typical anime ‘types’ here – said jerk; the grumpy NEET; the ditzy younger sister (I know she’s bad in school, but 2 out of 100 is pushing it); the stoic girl with a side of tsundere, the shy to the point of extremes girl. The problem for me is that after finishing the first book (it’s quite short, probably the shortest of the recent Yen On releases), I’m not actually remotely sure where it’s going or what the plot is. There’s a cliffhanger ending of a sort, involving danger to someone we’ve never met before. There’s also interludes featuring a young sort-of couple who are apparently reliving the same trip to the park over and over again, possibly as one of them keeps dying, and it’s almost Higurashi-esque.

It’s diffuse. There’s very little to hang your hat on, so to speak. As I said above, these are based on a series of songs that, taken together, tell a sort of plot. I admit after listening to the first, “Artificial Enemy”, I am very glad that the creator chose to not end it by killing off the AI, who is annoying but probably the most amusing part of the cast. But it reads very much like a series where the author knows he can take his time to draw the plot out over several books as he has a built-in audience which will get it no matter what. That could be the case here as well – Kagerou Daze has over 2K stories on Fanfiction.net, even more than Sword Art Online. I just wish I knew more about what was going on.

By Q Hayashida. Released in Japan by Shogakukan, serialization ongoing in a Shogakukan magazine to be named later. Released in North America by Viz.

Readers of this manga will know already that it can be very, very violent and blood-filled. It’s not all buff babes and gyoza, there’s a good deal of death and dismemberment – the main reason it’s rated M, in fact. But even for Dorohedoro, Vol. 15 really pushes the envelope of what its readers can take, offering up some truly disturbing and grotesque imagery. And it’s actually rather fitting, as the main character sees his various personas fractured beyond belief… oh yes, and we find out that the main character has been a lot more characters than we may have previously believed.

This is not really news for anyone who has been following the plot of the last few volumes closely (and if you are one of those people, I commend you – I love this series, but half the time I can’t remember what’s going on), but this volume spells it out: Caiman = Aikawa = Kai = Ai. Of course, we as the reader know this, but the cast are still somewhat in the dark. The cross-eyes wonder why their boss doesn’t have the distinctive markings. Risu needs to know more about the details of his curse. And En’s group don’t really care about Ai, as they’re still trying to find a way to resurrect En, who is busy attempting to incite rebellion in Hell (and failing), thus showing us that he really is dead. But as we’ve seen in Dorohedoro, death rarely means much. (Unless you’re Natsuki. Sorry, Natsuki.)

Dorohedoro is so addictive in part due to its imagery, and there are some excellent examples here. It rains in the Hole, which is pretty much unheard of – and bad news for most sorcerers, who find it nearly crippling to them. Nikaido may now be able to use her magic to change time and other deus ex machina things, but it comes at a cost – her magic is now literally rendered as a giant gun with only 5 shots, and she’s already used one of them – four left and then she has no more magic ever. Oh yes, and she’s still dealing with the whole ‘devil horns’ thing. And as for Ai, fusing with a giant mutated monster covered with severed heads seems all too appropriate given what’s been happening with him.

This far into the series, I’m not sure there’s much to offer the new reader, but there’s also not much to make old readers drop it, either. What we’ve gotten before is what we get now. There’s some amusing humor scattered throughout. There’s some nudity and fanservice once in a while (for a certain definition of fanservice). Sometimes we get both together, as when a recovered Ebisu realizes she’s naked among a group of her close friends and completely freaks out. But most of all, Dorohedoro has finally started to answer most of the mysteries it’s been posing, and we’re eager to see what’s going to happen next. Will En be resurrected? Will Nikaido manage to save Caiman? Is there even a Caiman to be saved? Provided you can accept the fact that this volume is twice as disgusting as a normal Dorohedoro volume (is there such a thing?), you’ll enjoy pondering these questions as well.

By Kore Yamazaki. Released in Japan as “Mahou Tsukai no Yome” by Mag Garden, serialization ongoing in the magazine Monthly Comic Garden. Released in North America by Seven Seas.

There have been so many fantasy series released over the past few years that it can be a bit difficult to sort out the wheat from the chaff, and you find yourself looking for some plot point or character that makes the new license stand out from the pack of selkies, vampires, goblins and fairies that dot the manga landscape. I’m not sure that The Ancient Magus’ Bride possesses anything that makes it immediately leap out at a reader, expect perhaps for the skull of said magus himself. But what it does have it a strong plot, likeable characters, solid, pretty art and a desire to get the next volume in the series the moment you set the first one down. In other words, no flashy stuff here, just a very, very good book.

The premise is that a teenage girl who has spent most of her life shunned by friends because she can see “invisible things”, and whose mother has passed away, is kidnapped by a bunch of alchemists, who realize that she is a Sleigh Beggy, which is to say a giant magical sponge. Luckily for her, the one who purchases her is Elias, who may have a face like a cow skull and claim that he plans to make her his bride one day, but in practice seems happy to take her on as an apprentice, showing her the joys and dangers of a world where magic is slowly dying but still present, and allowing her to use her considerable power to try to help those in need.

As I said above, I’m not sure where the ‘bride’ thing is going, but given that Chise is 15, I hope it’s nowhere anytime soon. Chise herself is a fairly quiet, reserved type, as you’d expect from a child with her past – we see her pondering suicide in one flashback – but she is also very much attuned to the wonders of the world she is now part of. This can be dangerous – in the first chapters, she’s almost kidnapped again by “helpful” fairies who try to take her to their own land – but also tremendously heartwarming, as when she’s kidnapped AGAIN, but this time manages to help a dying dragon have a vivid and wonderful final dream before he passes on.

It’s a bit difficult to know what else to say in a review like this, as I don’t want to spoil too much, but I will say that I was smiling a great deal as I read it. There’s likeable supporting characters – Angelica in particular is awesome, and there are some interesting bad guys who pop up near the end as well. As I said before, the art is excellent, showing off the world it’s creating without being too complex or showy. And you really want to see Chise learning more and growing into her power fully, as well as realizing what life can hold for her and learning to love herself after spending so long on the edge of despair. There’s also some humor, mostly from Elias – or rather, against Elias, who gets beaten up for not remotely recognizing the trembling of a young maiden’s heart.

There’s nothing specifically outstanding about this title so far, but it doesn’t put too many feet wrong, and as such ends up adding up to something excellent. Mag Garden’s titles are somewhat genreless, but I think this is a title that could appeal to both men and women, even if it has a bit of a shoujo feel to it. Seek it out immediately.

By Yoshitoki Oima. Released in Japan as “Koe no Katachi” by Kodansha, serialized in the magazine Weekly Shonen Magazine. Released in North America by Kodansha Comics.

There have been many manga releases here in North America that deal with the subject of childhood bullying – it’s a theme in Japanese manga that is getting more and more of a workout lately, as the ability to simply blame the victim and look away gets harder to do. This doesn’t mean, however, that it’s always accepted or welcomed. A Silent Voice won an award for its original one-shot chapter, but took years to get released as a series – in fact, there were apparently lawsuits. This is likely due to the fact that it has not one but two things that there is a desire to gloss over and not bring out into the open – childhood bullying, and disabilities.

The blurb on the back cover says the word heartwarming was made for a manga like this, and I can only imagine readers will finish the first volume and want to give the writer of that blurb a good swift kick, as this initial volume is all heartbreaking instead. You can see why this title was shied away from. It’s not shy about showing exactly how a culture of bullying works, and how quickly it can turn against anyone. It shows the apathy and outright cruelty of teachers, how parents can seethe with anger or merely stand there unable to do anything. And in the end our hero, who’s a childish brat who discovers that harassing a deaf girl is a good outlet for his anger and boredom, is driven to the point where at the end of this volume he’s looking to put all his affairs in order so that he can kill himself. This is a heavy book.

If there’s a fault in this initial volume, it’s that there’s really TOO many characters who we simply don’t like. Shoya’s boredom and desire for excitement (and lack of desire for learning) is understandable, but you desperately hope he will mature, and cringe as the book goes deeper and deeper into how he feels about Shoko’s mere presence. The children are quick to go along with what Shoya does, mostly as they find it incredibly annoying to have to deal with Shoko’s disability. And the kid’s teacher is loathsome, wanting nothing more than to shuffle these kids on and make sure they don’t do anything embarrassing, with a side dose of cruelty.

As for Shoko, she’s a bit of a cipher right now, aside from being shy, but there’s a bit of deliberateness in that. She is the outsider, the different one, the one who NEEDS special attention over the other kids. It’s notable that she’s deaf but doesn’t know sign language – a well-meaning but easily cowed teacher tries to get the kids to learn it, but that goes precisely nowhere. Shoko’s disability doesn’t automatically make her better, faster, or stronger like other cliched works – she’s an average kid, can’t sing because of her hearing… honestly, it’s seeing her insistent effort on trying to br friendly with everyone despite all the abuse that is the most heartwarming part of this series.

We end on a bit of a cliffhanger, and I suspect that this reunion will go poorly, but I really want to see more. Most of these characters are horrible, but the author does a great job of making you want to see them mature. And it’s also a good, non-shiny look at how disabled children might be treated in a society that believes the nail that sticks up must be hammered down. Definitely recommended.

By Yuyuko Takemiya and Akira Kasukabe. Released in Japan by ASCII Media Works, serialized in the magazine Dengeki Daioh. Released in North America by Seven Seas.

Sometimes a series has to work hard to get out from under the preconceptions it carries and also the tropes it seems inspired by. Evergreen is from the author of Toradora!, something I was rather surprised wasn’t mentioned at least on the back cover, and therefore already has some expectations since Toradora! is one of those rare harem series that actually is enjoyed by female readers. Unlike the author’s other series, this one is a manga original, though. It also has the extreme misfortune of coming out scant weeks after Kodansha’s shonen series Your Lie in April, which features a sullen teen who has given up on any hopes or dreams who is inspired by a gorgeous beauty who turns out to be rather eccentric. As it turns out, the series don’t really share much in common besides that, but there is a threat of “Manic Pixie Dream Girl” hanging over the whole thing.

Having gotten that out of the way, there’s a lot I enjoyed here. On-chan (if she gets a full name, I missed it) is really fun, carrying most of the comedy on her back, and having a nice love-hate relationship with Sora, who she will clearly end up with but for now is content to simply beat up. As for the two leads, the awkwardness both of them have interacting with each other is handled very well, and I like Hotaka’s imaginary “I am smooth and cool” fantasies that occasionally intrude before reality ensues. The awkwardness doesn’t just end with his relationship with Niki, though – his past guilt and physical condition have left him a bit broken, and I empathized with him a great deal when he visited his paternal grandmother, who is dying in the hospital.

I am interested to see if the plot goes in the direction that it’s hinting at, and how the manga will handle it. Hotaka’s heart condition seems to have a parallel with the sudden nosebleed that Niki got, and the visit to the grandmother reveals that there is another sibling who is supposed to be involved that we don’t know about. It’s not hard to put two and two together, but if I skipped every manga because of potential incest these days, I’d never read anything. I am pretty confident, having read Toradora!, which handles various serious plots like parental neglect and abandonment with a deft hand, that Evergreen is not likely to go down that road. And the art is quite pretty (fanservicey color page aside), making this a very smooth read. It’s only four volumes long, so I don’t think that any of the major plot bombs hinted at should drag on too long, and these are good kids, so I want to see them overcome their difficulties.

To sum up: Evergreen is not exceedingly original, and may rely a bit too much on some well-worn cliches, but its heart appears to be in the right place, and I want to see how it deals with the reveal I have a sneaking suspicion is coming soon.