Sean Gaffney

By Ken Akamatsu. Released in Japan by Kodansha, serialization ongoing in the magazine Weekly Shonen Magazine. Released in North America by Kodansha Comics.

It’s pretty easy to tell that this is a sequel to Negima right off the bat – Evangeline appears on Page 1, talking about the difficulties inherent in immortality. It’s the following page that’s the gut-punch for all those who were hoping that this new series would see a lot of the Negima cast making cameos throughout – a metaphorical shot of Eva and the Negima cast slowly parting from one another as she continues on a solitary journey (not even Chachazero?), it’s also Ken Akamatsu telling us that this is 80 years after Negima proper, and most of the girls we loved are now dead. Is this the world that the shippers fought and died for in the “who is Negi’s wife?” wars?

Luckily, this is not a grim ‘n gritty story of how the Negima cast dies over the years – at least not so far. No, it’s pure shonen adventure, a Akamatsu has resolved whatever the issues were with Kodansha that caused Negima to end so abruptly and has finally won what he’d been working towards for years – pure adventure, no harem comedy whatsoever. Now, this is not to say we won’t have a few love triangles or fanservice scenes down the road – there’s at least two bath scenes with naked people in this volume alone. But Negima was always held back, at least at first, by Kodansha demanding Akamatsu try to replicate Love Hina, and it’s good to see that this new series is not going to be doing the same.

By the way, I had mentioned Evangeline, and she is the exception to the dead cast list above, being an immortal vampire. Indeed, immortality is the point of this entire series, as our hero is a young man, Tota Konoe (note the last name), whose parents died in a war, who has no memories before he as twelve, and who Eva, under the guise of a schoolteacher, has been raising for the last two years. It’s quite a burden for a young man to bear, but luckily Tota is very much a traditional shonen hero, complete with nonsense about a man’s dreams. (I am pleased it’s immediately pointed out as the nonsense it is.) As for Eva, she goes by Yukihime now, and it’s striking how much she has mellowed out and gotten nicer. The Eva of Negima would never, ever have gotten as close to Tota as Yukihime has – or at least would keep up a facade of disinterest.

The other main character we meet here is Kuromaru, who is an intriguing Setsuna clone. Given this is a sequel to Negima, I’m not entirely sure how much of the character’s looks are down to the fact that Akamatsu can only draw a certain number of faces and how much of it is deliberate, but I will give him the benefit of the doubt here. Tota is not too far off from Kotaro, and earlier we met a young person who was a dead ringer for Shinobu from Love Hina (which took place in the same universe as Negima). Kuromaru not only looks exactly like what Setsuna and Asuna’s child would look like, but also appears to be from the Bird Tribe that Setsuna had so many difficulties with earlier… and Kuromaru is having similar difficulties. Possibly the most intriguing thing, however, is how Kuromaru’s gender is being withheld – not only from the cast but also the reader. It’s clearly being done on purpose, and I’m wondering what’s going on here. Is Kuromaru trans? Or genderless? If so, kudos to Ken, though I suspect that will just open up a lot more questions.

We wrap up UQ Holder with a statement of the premise, which is to find aliens, time travelers and espers… wait, wrong series. To find immortal being like Yukihime and Tota and make friends with them! Luckily Yukihime seems to have her own personal yakuza to help carry this off. UQ Holder is an excellent start for both Akamatsu fans and fans of shonen manga in general, and I have no doubt will be filled with adventure and heart.

(Also, my guess on Tota is that Konoka and Setsuna’s son (via Negi helping out, so to speak) and Kotaro and Natsumi’s daughter got married and had Tota. Because forget diamonds, ship wars are eternal.)

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

Having almost run out of Tanemura titles to release, Viz has gone back to the early days with this one and license rescued it from the clutches of CMX. And I’m very pleased that they did, because if you were to ask me to take only one Tanemura title with me to a desert island, this would be the one. Her first really big hit, Phantom Thief Jeanne is a magical girl manga that is not afraid to examine the core of darkness that lies at its heart – and yet still be a fun magical girl title for kids. Madoka Magica this is not.

The phantom thief subgenre of magical girls should be familiar to everyone by now – not only through Jeanne, but also via Saint Tail, which uses very similar stylings, and CLAMP School Detectives/Man of Many Faces, where Akira is the male version of this. Naturally, given the thief is a young girl, they are stealing FOR GOOD. Indeed, Maron Kusakabe, our heroine, is a descendant of Joan of Arc (hence the title), and the plot is set up as quite religious – she is using God’s Power to extract the evil from paintings, evil that is being used by Satan to gain human hearts. (This is definitely the French Joan of Arc – Shakespeare would stare in sheer horror at the myth of Joan Puzel today.)

It’s not just the religious themes that give this manga extra depth. Maron has more going on in her background than the usual chirpy magical girl. She’s living alone, her parents having split up and separately decided to leave for another country (suspicious), her magical familiar Finn dashes off her origin story in less than a page (suspicious… though it could just be I live in a post-Kyubey world), and while she does quickly fall for the boy destined to be her love interest (who is also a rival thief with a rival familiar), she absolutely does not want to deal with these feelings, her parents having convinced her that falling in love in a horrible thing to happen to someone. There’s a depth and solidity to Maron’s life that I really enjoyed here.

Of course, it’s not all sadness and broken homes. This is still a Ribon title. There’s lots of fun and silliness, mostly in the form of Maron’s best friend Miyako, whose father is a police officer and who is dedicated to capturing the thief who keeps stealing paintings (as always, the world itself is unaware of the supernatural part of things). There’s lots of love triangle shenanigans as well, with the shy kid in love with Maron leveling up due to demon possession, but amazingly staying leveled up afterwards and trying to become strong enough to court Maron properly. (He clearly doesn’t know what genre he’s in.)

Essentially, this takes the basic beats of the Phantom Thief genre and simply writes them really well. It’s paced well, the characterization is doled out at the right moments, and I can even get used to Tanemura’s trademark GIANT EYES. Anyone wanting to read this will find a cornucopia of details to enjoy, and it has excellent rereadability. Definitely worth buying, even if you already own the CMX version.

And, most importantly, the lead guy is a blond and the runner-up is a brunet! Do you know how little that happens in shoujo? More blond leads!

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

(pre-review note #1: I use ‘Ryouga’ and ‘Ukyou’ when I romanize, though otherwise stick to Viz romanization. It’s a 90s fanfic writer quirk that I am unlikely to break the habit of, as I am stubborn.)

(pre-review note #2: Few comment on my reviews anyway, but just in case: please do not character bash in the comments, at all.)

It’s quite odd seeing reviews of the new Ranma 1/2 omnibus from people who haven’t read it before, as they talk about all the craziness that simply doesn’t register with me anymore. I am almost saturated with the first two volumes of Ranma contained here. Not only have I read it when Viz first released it in 32-page pamphlet comics, and then again as collected works, but so much Ranma fanfiction uses the same opening as a springboard for its own ideas (or lack thereof) that I can almost recite some of the dialogue. “And I’m better built to boot!” “She’s really a sweet girl, she’s just a violent maniac.” And so many others. So, in a sense, there’s no real way I can review this for a newbie. As such, this is more of a look at Ranma in retrospect, and will be liberally laced with spoilers. Short review for those who don’t want to read on: Ranma 1/2 is a lot of fun, and in these first two volumes you can see Takahashi shift her characters to where they are funniest.

For those who picked up the last iteration of Ranma, the scans used do look better – there’s still no color pages (there weren’t in the Japanese volumes either), but it’s not as dark and muddy as it once was. The translation is ‘spiffed up’ a bit, but is still essentially the same, so anyone who wants honorifics is out of luck. There’s a bubble order error on Page 1 (which everyone has noticed), but otherwise things seem well put together.

It’s worth noting that this was the new series Takahashi had in Shonen Sunday to replace her breakaway hit, Urusei Yatsura. For all that it repeatedly failed in North America, the manga was an instant classic in Japan, and I imagine there was some pressure on her to keep the comedy she did best while making things slightly different. Akane in these first couple of volumes is not all that far off from Shinobu Miyaki, Ataru’s long-suffering childhood friend and ex-girlfriend. Same general sweetness when not placed in stressful situations, same hair-trigger temper, same ability to beat up anyone who activates that hair-trigger temper. As such, it’s refreshing that Ranma is so different – at least at first. Sure, he shoots his mouth off without thinking, but he’s quite observant here, noticing people’s emotional states without commenting and playing off that. Most importantly, Ranma’s interest in scoring with women is zero, and this will not change for the next 18 omnibuses after this one. Ataru was a giant lech who wanted every cute girl in the universe. Ranma has issues dealing with girls, and tends to prefer fighting instead.

As for the others, Genma comes from a line of horrible Takahashi fathers that extends from Mr. Fujinami all the way to Rin-Ne’s horrible debt-ridden dad. Genma is obsessed with fighting and training, but is too dumb to listen when people tell him there’s a cursed spring ahead – though, to be fair, so is Ranma. He also tends to stay in his panda form almost as much as Ranma does his girl form, possibly for the same reason – he looks cuter that way. Meanwhile, Soun is something of a nonentity, and this will not change much either – his observation is the opposite of Ranma, as he is in the bath when P-chan leaps in and Ryouga leaps out, but presumably does not ever think “should I stop this man with a pig curse from sleeping with my innocent daughter every night?”.

Kasumi and Nabiki seem quite different at the start of the series. Nabiki is the ‘normal’ girl, who’s clearly OK with being engaged if the guy is cute, but is unwilling to put up with the guy being weird – which Ranma definitely is. Kasumi seems actually vexed at several points in Chapter One, and talks about how she prefers older men – clearly meant to hint at the start of her plot with Dr. Tofu that goes nowhere. As the volume moves on, though, we see the light bulb go off over Takahashi’s head as to how they’ll be handled in the future. With Nabiki it’s selling the photos to Kuno, something for which she is gleefully unapologetic. It’s the start of something big. And Kasumi gets to visit Dr. Tofu, but he’s so oblivious to anything and everything while she’s around that it’s obvious to anyone what she does to him – obvious to anyone but her. Kasumi’s breezy Yamato Nadesico-ness, and her tendency to think the best of everyone while missing the darker points, will become her standard character trait.

So far, the only supernatural aspect of Ranma we’ve seen is the curse itself, as opposed to Urusei Yatsura’s aliens bringing the excuse for any sort of plot whatsoever simply by virtue of being from another world. But that’s OK, as Ranma is far more focused on fighting. Not only are Ranma and Genma perfecting their own style of Japanese martial arts – which utilizes many different styles, most of which I suspect are ‘what looks really cool?’ – but we also get to see Akane’s kempo-influenced style (her family and Ranma’s supposedly have the same ‘anything goes’ background, but Akane has not been training around Asia for the last 10 years either) and Kuno’s kendo training with a wooden sword. Ranma is shown to be an excellent fighter, but is thankfully not perfect – he tends to underestimate his opponents, such as Kuno and Ryouga here, and ends up not giving his best effort till he’s already injured as a result.

Speaking of Kuno and Ryouga, let’s talk about them. Shutaro Mendou had his moments of complete idiocy, but could at heart behave like a normal person if pressed or girls were watching him. Tatewaki Kuno has no such normalcy filter, for reasons that we won’t find out for some time but are essentially similar to Ranma’s – “boy, my entire family is screwed up”. It’s worth noting that he and Nabiki interact purely by dint of being in the same class, and he even notes casually that he despises her at one point. Well, that’s one ship sunk. No one could possibly write Tatewaki/Nabiki after reading that. :) As for Ryouga, what most struck me wasn’t all of the anger he possesses – Ryouga is an out-of-control berserker here, with none of the sweetness and depression that will flesh him out later – but how much he looked like Ataru. It won’t be as obvious to those who haven’t seen the final few volumes of UY – Takahashi’s art evolved exponentially during that series – but put a bandana on Ataru by the end of UY and he’s basically Ryouga here. Ryouga, notably, DOES have a libido, but knows better than to do more than snuggle in Akane’s boobs as a pig – we don’t have a true lecherous pervert in the series. Yet.

I was amused at Ryouga not caring about Akane at all during the first fight – Ryouga tends to be focused only on fighting and revenge in this volume, and it’s only when Akane kisses his pig-form that he’s smitten – possibly as it’s the most affection he’s ever gotten from anyone. Ryouga’s sense of direction also comes up for the first time here, and it’s already exaggerated to its maximum – we see him at the Northern and Southern ends of Japan. As for P-chan, his arrival in the Tendo household sets up an obvious tension about how long it will be before his secret is revealed and Akane finds out who he is. The answer, of course, is never – this never comes up, likely as Takahashi knew it would require a response that would be too serious to cope with in the series.

Other characters we’re introduced to include Dr. Tofu, who’s an excellent doctor who’s useless once he sees Kasumi. This was once an amusing running gag, but seeing Tofu suffering the same effects when he sees a middle-school Kasumi show up with her elementary-school aged Akane feels horribly creepy now, and I won’t be sorry when he’s quietly phased out of the manga in a few more volumes. We also meet Kodachi, though she barely gets to appear before the omnibus ends. It’s still enough time to see that she’s a little bit crazy, and also tends to win her matches by crippling the opponent beforehand. As for her own family situation, it will have to wait till next time.

Lastly, it’s worth noting how well Ranma and Akane get along, despite the bickering and occasional misunderstandings. Usually everything is resolved in a chapter or so, and Ranma is not QUITE as thoughtless as he gets later on. They have common interests, and tend to work well when fighting together. Takahashi had gotten burned on UY when Lum became so popular she had to change the story to make her the lead girl, and though she came to approve of that, it wasn’t going to happen again. So here we get two whole volumes setting up how well Ranma and Akane go together, with the villains/rivals that we see so far mostly being comedic and/or focused entirely on revenge against Ranma for non-romance reasons. It will take a villain of a higher caliber to really create the first big rift between these two, one that will leave self-confidence and trust issues that never really get settled throughout the series. But Shampoo is in the next volume. For now, we’re introduced to Ranma Saotome and the craziness that surrounds him, and there’s a lot of it. If you’ve read Ranma, read it again. If you haven’t, go read it. And for God’s sake, please don’t take it seriously! That’s the WORST thing to do with this series! (looks up at backscroll, coughs a bit)

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

Sometimes you’re reading a manga and you get to one page, or even just one particular panel, that makes you grin so hard and flail around because it perfectly encapsulates everything about that series into one compressed image of fabulous. For One Piece 70, it was, believe it or not, Law giving his sandwich preferences. After everyone is setting sail again, Luffy demands food, which Sanji notes will be sandwiches today. The crew start giving their preferences, and Law briefly joins in, noting how he doesn’t want bread. He them stops and gasps, horrified. THEY’VE SUCKED HIM IN.

Once again we see in this volume how Luffy and his crew are different from the norm. They’re contrasted with the other pirates elsewhere in the world, particularly Donflamingo. They don’t want power as such (Luffy wants to beat the Four Kings, but it’s not so that he can take their domain away, it’s for the thrill). They don’t abuse, kill, or sexually assault anyone. They are the idealized kid version of a pirate, only actually making it happen. As the Marines note, they have to constantly belittle them and talk about how evil they are, as if they didn’t the Straw Hats would be far too easy to love.

This volume wraps up Punk Hazard, so as you’d expect there’s a lot of sections where the crew does awesome things. Usopp and Nami both get to show off (it’s even lampshaded, as Law talks about how they don’t have time to fool around, then later shows his grudging respect after they both do exactly what they bragged they would), Zoro gets to cut things, and of course Luffy gets to punch Caesar Clown into next week. As I sort of expected, the deadly poison gas is not quite as immediately deadly as it looks, so we were even able to rescue the marines who were hit by it. It calls for an arc-ending giant party, this time with Straw Hats and Marines, however grudgingly.

There’s a nice scene here where Tashigi begs Nami to be allowed to take care of the recovering children, and Nami agrees to it, noting she has a soft spot for ‘lady sailors’. I like that Bellemere and her upbringing is still very much a part of her life, and it helps to make sense of some of Nami’s maternal attitude during this arc – we’re not sure of all the details about her early childhood, but she and Nojiko were adopted, so seeing these kidnapped children probably spoke to her on that level.

So now we’re off to a new adventure, this time on the island of Dressrosa. Law and the captured Caesar are coming with the crew, however, and this is an island that Donflamingo already controls. We also get a harrowing shot of him beating Smoker nearly to death (hello, Aokiji cameo! Please arrive in the nick of time more) just to show how badass he is. Is the combination of Luffy and Law enough to stop Donflamingo? Well, yeah, probably. But can it stop… a TOURNAMENT ARC? (shudder)

By Moyoco Anno. Released in Japan as “Kantoku Fuyuki Todoki” by Shodensha, serialized in the magazine Feel Young. Released in North America by Vertical.

The North American market has been enjoying Moyoco Anno’s manga for years now, be it Happy Mania, Sugar Sugar Rune, or Sakuran. Hideaki Anno has also been a favorite over here, mostly for Evangelion but also for cult classics like Gunbuster and Nadia: The Secret of Blue Water. (And also infamous for the Kare Kano anime… and, well, Evangelion.) As a result, a volume such as this one, which is a biographical look at their married life with an otaku slant, is one that can actually be released over here and gather some interest. The book itself is a lot of fun, though it did go in a direction I wasn’t quite expecting…

Of course, this is deliberate. Moyoco Anno frames the story to set up my expectations of a normal Japanese woman overwhelmed by her insane otaku husband. The first chapter shows her avatar, Rompers (so called as she draws herself as a baby in a sleeper outfit), stepping on Gigantor toys left around the house like they were a child’s Lego toys. And yet throughout this book, the message we get is somewhat different: Moyoco is a lot like him. It’s very easy for her to get drawn into the otaku lifestyle, and she’s a lot less ‘normal’ than she may pretend to be. As for Director-kun, his sense of self and peace with being a giant weirdo is so great that he ends up being the calm and collected one a lot of the time. It really reads like a great relationship.

A word of warning: there are a LOT of translator notes for this volume. The Anno life is cluttered with 60s Japanese TV series, be it familiar ones such as Ultraman and Star Blazers or untranslated works like A Karate-Crazy Life. And, like many obsessed fans (including myself), the couple tend to speak to each other in terms of the media consumed. Even an argument about proper use of Japanese is referencing Dragon Ball and Galaxy Express 999. This is not something that a casual reader should pick up, though if they do they can at least be reassured that there are lots of notes telling them the importance super sentai shows and George Akiyama.

I note that this series ran in the josei magazine Feel Young, and its presence there was not all that unusual. Most josei magazines (and many seinen ones as well) have these slice-of-life biographical “and here’s what my husband/child/cat did the other day” comics running through them, usually in short 5-6 page bursts in between the larger serialized stories. (And indeed, the chapters in Insufficient Direction are all about that length.) It’s a type of story we’ll almost never see over here, partly due to cultural translation issues but mostly because there’s not really a market for it – North American anime and manga fans tend to prefer their slice-of-life looking more like K-On!. As such, this title is not only an amusing look at the otaku lifestyle of the author and her husband, but also a glimpse into a genre that we are rarely privileged to witness. It’s a lot of fun.

By Yuyuko Takemiya and Zekkyo. Released in Japan by ASCII Media Works, serialization ongoing in the magazine Dengeki Daioh. Released in North America by Seven Seas.

Given how impossible it is for most mass media to avoid cliches and tropes, the question often becomes “how well does this work manage the cliche”? This volume of Toradora! handles this in both a comedic and serious fashion. The Culture Festival rears its ugly head, and though thoughts of a maid cafe drift through our male classmates’ heads, what we end up with is far sillier, particularly after it’s subverted midway through. It’s the more serious plotline that folks will take with them, however – Taiga’s father is back in her life again, and wants her to come live with him. Something which a projecting Ryuuji can’t help but assist with.

Ryuuji is not helped by the cover art for the volume, showing a tear-filled Taiga and Ryuuji looking askance. This clues the reader in that we are meant to be in her side in the matter. Things are not helped by the appearance of her father himself, who seems far too contrite and meek to be true. Of course he’s playing right into Ryuuji’s hands, though I don’t think that it’s deliberate on his part – her father isn’t genuinely evil, he’s just monumentally selfish. What he doesn’t know, but we do, is that Ryuuji’s lack of a father figure looms incredibly large in his life. And so naturally Ryuuji is going to move heaven and earth to see Taiga and her father reunite, just as he can never do.

On the other side we have Taiga and Minori, who have experience with her father doing all this before and know the truth. Crucially, however, neither of them tell Ryuuji that full truth. In meta terms, this is because the plot has to happen. In the story itself, though, Taiga is more understandable. She gets the reasons why Ryuuji wants this to happen, she’s in love with Ryuuji and doesn’t want to disappoint him, and she really does love her father despite everything, so she opens herself up to him one more time. Minori, though, I’m rather disappointed in, as you’d think she’d be the one to sit Ryuuji down and say ‘Hey, let me give you a timeline of the times this guy has tried this with Taiga before.’ Instead, she just gets angry, saying it’s obvious he’s being a selfish ass. And so they fight, which, Ryuuji still having lingering feelings for Minori, devastates him.

Luckily, Ami is there to be the voice of reason and get Ryuuji out of his funk. Unluckily, Taiga’s dad *is* everything they say he is, and therefore things come to a head at the culture festival with a devastating text sent to Ryuuji. And, once Ryuuji sees for himself what’s going on, he gets it all IMMEDIATELY – a sign of his maturity, even as he backslides here. Sadly, resolution will have to wait – this is the end of the volume, and so we get the horrible cliffhanger with Taiga’s appearance on stage waiting for parental acknowledgement that will never come. How is this going to be resolved? Well, Toradora! comes out about every year and a half in Japan, so we’ll likely have to wait till summer 2015 to find out. See, and folks wonder why publishers don’t want to catch up to Japan…