Sean Gaffney

By Shimoku Kio. Released in Japan by Kodansha, serialization ongoing in the magazine Afternoon. Released in North America by Kodansha Comics.

I’ve reviewed the last couple of volumes of this sequel to Genshiken in Bookshelf Briefs, and have remarked several times that it almost feels like they’re trying to aim for a new demographic with all of the new cast being of a more BL tilt, and the graduation of most of the previous players. That said, there are still characters dropping in and out throughout, and Madarame has been a constant, if smaller presence. Well, that changes here. The new volume starts with a definitive ending to the most talked about plotline of the old series, and helps to set up a new one that will also star Madarame, who has never been the viewpoint character but has always been the face of Genshiken, so to speak.

The old plotline is, of course, Madarame’s crush on Saki, and the fact that she’s been sort of aware but ignoring it. Last volume she admitted this, and the rest of the club set things up so that they could be alone and he could confess. No one – not even Madarame – seriously expects anything but a rejection. After all, Saki has been dating Kousaka since the series began, and while the majority of fans aren’t really thrilled with that, their love for each other has never been in question. (In fact, the scenes with Kousaka here are some of his best, as I finally begin to understand a character I’ve always had trouble with. As for the “confession” itself, it was very Genshiken, being both hilarious and heartwarming, and the aftermath slips to purely being the latter.

It feels like an ending, as Kio himself lampshades, but there’s still a lot of things to resolve. For one, as Saki notes, Madarame is busy obliviously gathering a harem of his own. Keiko gets a lot more face time here, and we see more of why she’s interested in someone with all the baggage that Madarame has – baggage that gets worse when he decides to quit his job, saying himself he wants to see how far he can fall. As for Hato, his crush on Madarame, if it is one, is still wrapped up in his own identity, which is in flux. This is painful for him, and it’s almost reminiscent of Wandering Son at times, except Hato is far less accepting of his own desires. Having Hato and Madarame intersect like this is a perfect plot – they’re the two most interesting characters of all of Genshiken.

Other than that, it seemed appropriate to devote a chapter to Ohno and Tanaka, who are almost the forgotten couple of the manga (partly die to Tanaka mostly being together about thin gs – even here he’s the adult.) This is also quite cute, and has a nice heartwarming scene that could be construed as a proposal – that’s certainly how the club takes it. And while there isn’t much Sue, the cliffhanger makes me think we may get more of her next time. Genshiken hasn’t forgotten about its old fans, but still has plenty for new readers. If you enjoyed the series before, this volume will not disappoint you.

By Hajime Isayama and the editors at Kodansha. Released in Japan by Kodansha in two separate volumes, “Inside” and “Outside”. Released in North America by Kodansha Comics.

Shonen manga in Japan get quite popular, and as you’d expect, fans want to know absolutely everything about their favorite characters, things that wouldn’t necessarily come up in the manga proper. For those people, there are guidebooks like these – they consists of bios, recaps, examinations of all the little fiddly bits, character popularity polls, favorite quotes, etc. They allow the creator to reveal some information that would likely fit awkwardly if it had to be inserted into the story proper, and let fans understand the characters and story better – OMG, Jean is an Aries! Just like me!

For those familiar with these sorts of guides, the style is unsurprising, but if you aren’t, be prepared for lots of superlatives. At times it reads like a gossip magazine, with lots of punchy headlines and exclamation marks as it tells the story of the 104th training squad. These are two books released separately in Japan joined together, and sometimes you’re able to see that – the book has spoilers through Vol. 11 of the series, but much of the first half seems to have spoilers only through Vol. 9. It can also be somewhat inconsistent – the book takes pains not to discuss Reiner and Bertholt’s secrets in their bio, but has no issues revealing Ymir’s.

There’s a long interview with Isayama where he discusses the major influences on the series – many may be surprised to here one of the biggest was Muv Luv Alternative, though those who have read the visual novel itself may be less surprised – it’s darker than Higurashi. I was less surprised to hear about the influence of Saving Private Ryan in regards to the emotional reactions of the soldiers. The workings of the manga industry are briefly shown, as Isayama discusses how he was asked to move to a more expensive apartment so that he could fit his assistants in it – but then had to make the series a success or he couldn’t afford the apartment!

Where the guidebook excels is in giving a name and backstory to the minor characters like “girl who dies in Volume 2” or “that one guy whose name I can never remember”. Isayama’s art is terrible, especially at the start, and this guide is a boon for those who can’t really tell apart the 5-6 different soldiers with short blond hair. There’s also a lot of discussion of the mechanics of titans and how the vertical gear works, and to show it’s not all grim darkness there’s also some cute fake interviews with the cast, and Isayama drew some AU art based on reader suggestions, such as Sasha, Connie and Reiner forming a band.

Obviously this is not something that you want to pick up if you’re new to the series and wish to see what it’s about. Read the actual manga instead. For those who are fans of the manga, though, this gives you lots of facts and figures, reminds you of your favorite moments, and is a good go-to reference guide. Also, I think the original must call Sasha a boke about 80,000 times. “Airhead” is the translation here.

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

I’ve joked several times in the last few weeks about warning people that this volume features the debut of Happosai, but there’s a kernel of truth to that warning: Happosai is repugnant, and a polarizing figure both within Ranma fandom and within the series itself. Not because anyone really likes him – even his fans think he adds some fun comedy but don’t like him personally – but whether the comedy he adds to the series is really needed. Because Happi is defined by being a pervert – yes, an incredibly strong martial arts master pervert, but a pervert just the same. He feels up women, he steals their underwear, he literally gains strength through contact with females. He is a walking trigger warning. He’s meant to be the male version of Cologne, but Cologne’s actions all serve a greater purpose – at least so far – and Ranma learns a great deal from her. For all that Happi is supposed to be training Ranma as his successor, there’s no lessons, no training, and no point. He is a pox on Ranma 1/2, and will be here till the end of the series. He doesn’t even make horrible puns, like Cherry, his spiritual predecessor from UY, did.

(breaths out) I feel better. Now let’s talk about what was fun this volume. Ranma has settled into doing what it does best, which is ‘almost anything goes in the name of comedy’. (It’s not *quite* as over the top as UY, so I added the ‘almost’.) There’s lots of martial arts battles, as we see Ranma, Akane and Shampoo compete in martial arts takeout delivery, as well as Akane and Ranma fighting to defend the name of their supposed school when a Dojo Destroyer comes to town (the Destroyer himself looks like a ridiculous over the top stereotype, and barely speaks, but I’ll gloss over that for now. And there’s plenty of comedy, as Ranma’s class puts on a production of Romeo and Juliet, which means a lot to Akane (who was Romeo as a kid, but now finally gets to be Juliet), but little to any of the various competing Romeos, including Ranma. (I was highly amused to see her yelling at Ranma for not reading the play, as in the end all Takahashi takes from the original is ‘balcony scene’ and ‘kiss’.)

There’s quite a lot of time devoted to Ranma (and sometimes Genma) trying to find a cure for the curse, and there are a few temporary cures but nothing really permanent. While this will still play out across the series, as we get further in Ranma simply gets more accepting of his dual nature, and seeing the desperation shown here is interesting. As for Ranma and Akane themselves, they’re both quite attracted to each other and sympathetic to each other’s pain once they pause to think – but they hardly ever do that anymore, so when we do see such moments (Akane bringing Ranma warm food and drink in the backlot), it’s nice and heartwarming. (The box Happi hides under in that scene, by the way, has a reference to Nura: Rise of the Yokai Clan. Wrong company! Shogakukan should be turning in its grave! Don’t tell me they aren’t dead, I’ve seen what Sunday sales in Japan are like lately.)

Miscellaneous thoughts: At one point, when Genma is at his absolute sketchiest, Kasumi calls him annoying. For Kasumi, this is a devastating comment, particularly this late in the series. Both Genma and Soun come off particularly badly in this volume, both as former disciples of Happi who want to be free of him but can’t do anything about it, and as parents who try to trick their children into marrying each other. Nabiki still exists mostly as the “normal” character – we see her deny she’s related to her family more than once in this volume – and Takahashi’s habit of showing her constantly eating is in full force here. Kuno and Gosunkugi are also as loopy as ever – Gosunkugi in particular suffers so much and is loathed by so many you can’t help but laugh at his pathetic awfulness.

Another solid volume of Ranma, though those who found the series beginning to grate at this point and hoping for more plot resolution are only going to get more annoyed as it goes on. Next time around we’ll introduce our final main cast member, and one who’s even more polarizing in her own way. Not because of her own characteristics, but because of how she gave fans who hate Akane a real alternative, and the ship wars truly began in earnest. Next time, we’ll talk Ukyou Kuonji.

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.

This is probably my favorite volume of Hayate the Combat Butler to date. It manages to resolve the Athena storyline with a lot of fighting spirit, emotional turmoil, and one big “call my name” rescue by Hayate. But is also has a great deal of heart, as we see Hayate’s reunion with Athena, Hina’s heart-to-heart with Ayumu, and some strikingly normal and non-insane life advice from Yukiji. And don’t worry, there’s a good amount of humor here as well, mostly featuring the minor cast back at the hotel having to fight off a pack of mythological beasts. This volume packs a lot of stuff into it, and it’s no surprise that the emotional resolution of Athena’s storyline will carry over into Volume 25.

We also see Nagi at perhaps her most mature, even as she insists that Hayate can protect her from anything. Nagi has been a bit of a polarizing character, being both underage *and* tsundere, but even her detractors seemed to like this scene, where she crushes the stone that represents Hayate’s moral dilemma, and announces that she will deal with the consequences no matter what. Of course, I doubt she really realizes what it’s like for a girl like her to live without money, but it’s still great to see.

Likewise, it’s always nice to see Yukiji as the big sister that she usually tries to avoid being. She senses Hina’s abject depression even over the phone, and so flies over there to set things right. (Hina lampshades that this is possible, as she notes Yukiji would have to fly all the way from Italy… which isn’t that far away from Greece, in fact.) Yukiji’s advice is blunt but necessary, as Hina (and Ayumu) both need to be reminded that even in a manga, you sometimes can’t get the happy ending you want, and that this is what life is – a series of struggles. The friendship forged by Hina and Ayumu is important right now, as they can console each other – and also note that it’s nice to be in love with a man who’s loved the same woman for 10 years now, rather than an indecisive player (which Hayate is often accused of being.)

Hina also gets to be at the final battle, as Ayumu and Aika coerce her into dressing as Red, the super sentai hero. Then a magical sword drags her to the battle (literally) that Hayate is having with a possessed Athena and King Midas. There’s little to no humor here, as we see Athena’s struggles and Hayate’s anguish in raw, unfiltered scenes. Yet even here, Hata can’t resist making cultural references – the entire finale is an homage to the end of Shoujo Kakumei Utena, with Athena trapped in a dark place surrounded by swords, and Hayate breaking through in order to rescue her from her despair. It’s hard not to cry with happiness as they embrace, Midas vanquished at last – even as Hina, making a quick exit, is trying not to cry in emotional pain.

The last chapter is pure romantic shipping fluff, as Athena gives into to her grumpy tsundere side (that 3/4 of this cast seems to possess) and tries fishing for compliments while at the same time being upset by them – witness her attack on Hayate after he notes how he was surprised how large her breasts had gotten. As the volume ends, Athena starts to tell Hayate how she escaped from the castle ten years ago, but I have a feeling that we’re also due for a parting soon – after all, Hayate is up to Vol. 41+ in Japan, and did not end with Hayate and Athena ending up together. So expect the next volume to nudge back towards the comedic status quo. For now, however, this was an amazing volume of shonen manga, and well worth the temporary departure from comedy.

By Arina Tanemura. Released in Japan as “Kamikaze Kaitou Jeanne” by Shueisha, serialized in the magazine Ribon. Released in North America by Viz.

Before I get started, I want to note that I remain immensely pleased with this series. It has a lot of what magical girl series should have, a nice sense of humor even in its darkest moments, a good deal of cuteness, and the ongoing plot is fascinating. Everyone should be picking this up. With that said, let me spend this review dwelling a bit on things that felt problematic to me in this volume.

To be fair, one of these things is sort of unavoidable. In her massive villain rant at the start of the series, Finn Fish reveals that Maron has been manipulated, not just since she met Finn, but since birth, as it was the influence of Satan that led to her parents breaking up. I dislike the agency that this removes, and feel that it makes her parents less interesting people – their almost shallow horribleness was a large part of what made Maron so strong and interesting. But then that’s Finn’s point, and certainly if you’re in a series where God and Satan are real, you have to expect temptation to have more concrete forms.

Less excusable is Maron’s forgiveness of Noin’s actions once they go back in time to meet Jeanne D’Arc. She immediately rationalizes the attempted rape by noting that if he’d meant to go through with it, he would have done it while she slept, and also points out that it was due to both being possessed by a demon and his love for Jeanne. Which, yes, is true, but the whole “It’s OK, you were just overcome in the heat of the moment” forgiveness rankles in many shoujo titles. We also have several moments in the second half where Chiaki is attracted to Maron so much that he forces himself on her multiple times. This is meant to be half-amusing, and he beats himself up over it, but that doesn’t actually stop the attempts, even when he knows she’s in a fragile state.

And then there’s Miyako. She gets less of a role to play in this volume until the end, clearly upset that the “phantom thief” isn’t appearing anymore. The problem is that her plotline is mostly resolved – she’s realized that Chiaki loves Maron, and that she can’t really do anything to change that. So, as she herself notes, all that’s left to do is confess to him, get rejected and move on. She is, therefore, too nice to be an antagonist anymore. And that has to be fixed, so at the end of the volume we see her abducted by Finn, and she later pops up, I suspect, clearly possessed by evil. I wish there were a more natural way to do this.

That said, there’s still so much to love about this volume, don’t get me wrong. Everything about Finn’s past and her relationship with Access is beautifully tragic, and (typical for Japan) paints God as being not all that much better when it comes to forgiveness. Yamato’s confession to Maron, and subsequent rejection, plays out beautifully, and is likely why Tanemura wanted to avoid repeating it with Miyako. And the time travel arc is handled surprisingly well and logically, and among its questionable forgiveness does have Maron assuring Jeanne that being raped does not make you less good of a person.

To sum up, see the start of this review. Even with my issues, it’s still far and away by favorite Tanemura series.

By Eiichiro Oda. Released in Japan by Shueisha, serialization ongoing in the magazine Weekly Shonen Jump. Released in North America by Viz.

When I reviewed the last volume, I said that there was a bit too much going on for me to get a handle on all of it, and that goes double for this volume, which rarely stays on one character for longer than a few pages. As such, I think it’s time to bring out the bullet point review style, which I haven’t done in some time.

— So we get to see Sanji’s reputation as a loser who is easily manipulated by women, but this is undercut a great deal by having him actually be right about her needing help, of course. Sigh. One day I’d like to see a pretty girl who isn’t swayed by Sanji’s annoying chivalry. (Well, one can argue Nami and Robin perform this function…)
— I like the reveal that Donflamingo had the press send a retraction on this quitting the Warlords 12 hours later, right after all his enemies would have taken the bait. It’s quite clever. I also like that Law, given an easy chance, still respects Luffy enough to not take it, and proclaims that they are equal allies.
— Naturally, Usopp playing the hero is getting him into all sorts of trouble, as now he has to lead a Tontatta army to rescue their missing princess (who is apparently a horrible person, but is one of them, so must be rescued). Meanwhile, Robin is resting after using up her one big surprised face last volume, so she’s mostly stoic here.
— Nami, Chopper, and Brook get very little to do, but I have to admit that Oda still knows how to use fruit powers to his advantage. The Picasso fruit allows him to try styles for the characters that are both horrifying and hilarious.
— As I suspected last volume, the big reveal about the toys is that they were once people – and, tragically, they remember this, but the people who they were connected to (wives, children) do not. This is incredibly sad if you think about it, especially as it’s been going on for years. I wonder how this will fall out once the Straw Hat Pirates save the day?
— Much of Luffy’s fight in the ring is taken up by a bunch of seemingly awesome fighters who get taken out by a slew of other even more awesome fighters, as in most tournament arcs. I did like the Ideon ref. The one to note here is Chin Jao, who, as per One Piece tradition, has a backstory both extraordinarily sad and extraordinarily stupid at the same time. (Seriously, without his head being pointy, nothing can happen? He’s that much of a can opener?) That said, in the end it’s Luffy punching the grudge out of him.
–And then there’s Rebecca, who has an even more tragic backstory, which resembles Nami and Robin’s a bit too much for my liking. She’s going out their to kick ass, but I have a sinking feeling that she’s going to need saving. There was much discussion when she appeared that she might join the crew, but her tragic past flashback is only a few pages, so chances aren’t good. We shall see.

Oda is still doing what he does best, and tehre are some very clever twists in this volume. One Piece fans should be quite satisfied.

By Adachitoka. Released in Japan by Kodansha, serialization ongoing in the magazine Monthly Shonen Magazine. Released in North America by Kodansha Comics.

It’s rare to see the word ‘Monthly’ next to Shonen Magazine in North American licenses. Between the licenses from the regular Weekly publication (Fairy Tail, UQ Holder, etc.) and the ‘cool’ alternative of Bessatsu (Attack on Titan, Sankarea, Flowers of Evil), Monthly doesn’t really get much of a look. It tends towards longer series, which may be a primary reason, and there’s also a lot of sports titles, including long-runner Dear Boys. Del Rey tried out Pumpkin Scissors, but it fell victim to The Great Del Rey Cull of 2010 (as seen in all good history books). But now we have Noragami: Stray God, a fantasy featuring a god who’s somewhat full of himself and a young girl who struggles to deal with her new-found brush with death.

As I read Noragami, I was struck by its similarity to another title I follow, Rin-Ne. Another spiritual odd jobs man who helps out people in need, even if they may turn out to not really deserve the help they get, and does so despite being on the edge of poverty. Takahashui’s series, though, has fairly mild characters in the lead roles. That’s not the cast with Noragami. I was struck after finishing the first chapter how hard it was to latch onto anything, which makes it a relief that it was a sort of prologue. A victim of class bullying, Mutsumi comes across as somewhat passive and shallow, and even though I am not fond of ‘it’s the victim’s fault for not standing up for herself’ plotlines, you can see Yato’s point.

As for Yato, he’s a very quirky sort of hero, coming across as a bit of a jerk, to the extent that his old Shinki, the only one in the first chapter who seemed like a decent person, abandons him. Of course, this is not the end. Yato is a decent person at heart, it’s just he keeps up a shell of over-the-top dramatics and uncaring dialogue. Things perk up when we meet Hiyori, who does end up taking the role of the audience identification character. She’s a little weird herself (her obsession with pro wrestling is her character introduction), but comes across as nice and sympathetic, and attempts to figure out what to do after an impulsive attempt to save Yato from a care crash leaves her in the realm between life and death (complete with tail for added service).

At the end of the series we meet Yato’s supposed new ShinkiYukine… who seems very ungrateful to be in this position, and whose discussion of Yato’s faults reminds me a lot of the original Shinki we met. Will he stick around long enough to see Volume 3? More to the point, will I? This is an intriguing new series, but it’s hard to really bond with anyone in it, and its plot is being done elsewhere as well. Those who enjoy fantasy comedies should like Noragami, but it can be as hard to take as its hero most of the time.

By Shimura Takako. Released in Japan by Enterbrain, serialized in the magazine Comic Beam. Released in North America by Fantagraphics.

Childhood and growing up is all about making big mistakes and then trying to deal with them, or make up for them, or (most often) realize that you can’t really make up for some things. This volume of Wandering Son definitely feels like that’s what’s happening with Takatsuki, who lets a secret blurt out in an impetuous moment and then has to deal with the fallout. Meanwhile, Nitori seems to have moved on from Takatsuki himself, as he’s started to date – and no big surprise who it is. This may be a heartwarming cutting edge coming of age manga, but if a girl says she hates a guy in Book 4, she’s going to be dating him in Book 7.

We’ve focused mainly on Nitori and his desires, but Takatsuki is the other half of this story, and her gender issues have not gone away. It’s harder for her to accomplish what she wants, though. There are little victories, such as leaving her ribbon off at school or binding her chest to hide her growing breasts. But there’s also Chiba, who proclaims her dislike of Takatsuki but can’t stop dealing with her. Takatsuki is not helping things either. Her revelation that Nitori is dating Anna is pure spite, and she knows how Chiba feels, so should not be surprised at the devastation that follows. It ends up forcing the two of them to deal with each other more directly, though. I wonder if Takatsuki will follow Chiba’s suggestion towards the end of the volume.

Meanwhile, as noted, Nitori and Anna have started going out. They’re very cute together, though Nitori’s gender issues have not yet really come between them, and it’s critical to note that he goes out with her and confesses to her as a male. He’s really come a long way, though, and I feel happy for him. All is not sunshine and rainbows, of course; puberty brings its own problems, in this case acne, and the fact that some cleansers simply work differently for different types of faces. And there’s Seya, forced together with Nitori on a skiing trip, who’s still having issues with how cute Nitori is and dealing with the reaction to that.

And I keep coming back to Chiba. She actually stays home for a considerable period after the Anna revelation, and is considering dropping out entirely. All of Nitori and Takatsuki’s friends seem to grate on her these days, and I am reminded what a difficult thing it is to get everyone in a young peer group to get along, or even communicate with each other properly. Things are looking up as she goes with the class on the ski trip, but even there she can’t really stop trying to influence people to change the way she wants them to change, something I think she has regretted before and will regret again. She’s a giant mess, and still my favorite character in the series.

Wandering Son is a nostalgic look back at what it was like to go through childhood, and if that sounds painful and discomfiting, it’s probably meant to be. But there’s a lot of warmth and affection here as well, and we long to see the cast struggle, make more mistakes, and continue to move forward. Highly recommended.