Sean Gaffney

By Yoshiki Nakamura. Released in Japan by Hakusensha, serialization ongoing in the magazine Hana to Yume. Released in North America by Viz.

We left off last time with Ren and Kyoko posing as siblings – and all of the awkwardness that comes from this, including having to share a room. Volume 27 does now pull back on this at all, but makes things a whole lot worse, as we get to see, for once, Ren lose control rather than Kyoko.

Before that, though, we have some highly amusing scenes in which Kyoko finds, once again, it’s hard to act method when you have no idea what something is like – in this case, being spoiled. You can tell Ren is having an absolute ball with this, and Kyoko’s faces throughout as a picture – especially as she realizes that seeing Cain acting like a petulant child is actually sort of a turn-on for her/Setsu.

This cuteness is just a setup, though. The real meat of the volume is what happens next, where Kyoko is accosted by a gang of young guys looking for “a good time”. She, naturally, sics her “brother” on them, which is fine, as Ren is quite good at dodging, and these thugs are nothing special. At least until they start pulling out weapons. When one of them knocks Kyoko to the ground, the sight of Ren losing control is rather scary. If not for us (we’ve had flashbacks spoiling us for Ren’s traumatic past for some time), then certainly for Kyoko, who is stunned. It’s made worse by the fact that she can’t break character, but has to break up the fight. Strong stuff here.

Afterwards, in the hotel room… well, we’ve done comedy. We’ve done drama. Now it’s time for some romance. Well, quasi-romance, that is – it’s only Vol. 27, after all, you shouldn’t expect any real development just yet. But Kyoko gets into character too easily, which means that if she’s worried about her brother drowning in a tub, she’s gonna walk in on him. What follows is both hilarious and sexy, showing the depth of feeling Ren has for Kyoko (and his complete misinterpretation of her reaction), as well as Kyoko’s growing love for Ren – which she’s oblivious to, of course. The highlight here has to be Kyoko upset that she didn’t see “all” of Ren… so that she could make her doll more realistic.

Meanwhile, just because Kyoko’s doing Setsu doesn’t mean she’s not also still involved in Box R. Indeed, her two roles are bleeding into each other, and it can be hard to switch. I like the way that Skip Beat! shows us that, even though Ren and Kyoko are prodigies, acting is still a difficult profession – and that even if you’re method acting, you still have to keep your head in the game. Which is definitely something Ren is having trouble doing. He begs Lory to have Kyoko “fired” as Setsu, as he worries he won’t be able to control himself around her. Lory agrees – provided Ren fires her himself, saying he “doesn’t need her”. Oh Lory, you’re such a wonderfully manipulative ass. XD

I mentioned this volume is Number 27, so it seems appropriate that it ends with everyone realizing just how much Kyoko has grown up recently – and how gorgeous she’s becoming. Poor Ren. He’ll have rivals before you know it. In the meantime, one of North America’s longest shoujo series continues to show why it’s so popular. Lots of fun.

By Tadashi Agi and Shu Okimoto. Released in Japan as “Kami no Shizuku” by Kodansha, serialization ongoing in the magazine Weekly Morning. Released in North America by Vertical.

The third omnibus of Drops of God sees the first major plot advancement in the series. After spending so long trying to guess which wine was described in the will, one of our heroes finally gets it right. Of course, that does leave eleven more. And there’s still a few other problems to solve along the way…

(Incidentally, my cover for V. 3 is different from the one above. Last minute change? Or multiple designs?)

Once again, we have a plotline about how wine is far more than just an alcoholic beverage. We left off at the end of the last volume with an amnesiac woman who only had a description of wine to link her to her forgotten past. The trouble is, she’s now married – and both she and her husband are worried that if she recovers her memories, she’ll remember she was in love with someone else. Even though it relied on a contrived coincidence (two car accidents in the past leading to tragedy?), I really enjoy the way the authors used this, showing that it doesn’t necessarily take amnesia to avoid the past. And indeed, that the future can also shape the past – when Kaori recovers her memories and discovers her old love, we see that she and her husband are not the only ones whose lives are shaped by the tragedy. Throughout this plot, wine comes into play, acting almost as a mnemonic in order to be a gateway to prior events.

We then get the battle for the first apostle, which comes down to a very interesting point: these are not ‘the 12 best wines’ that Shizuku’s father has been describing, but 12 wines that he wanted to describe. This means that the first apostle revealed here depends on it not being an outstanding wine, but rather a wine that you have to work at to enjoy. Not only can I empathize with this, but of course it opens the playing field of wine even more to the cast. As with previous volumes, we get lovingly detailed depictions of the scene they’re imagining (and that his father described), which allow you to see the similarities and differences between the two wines picked, which differ only in the year made. It’s a good scene.

Characterization of the regulars continues to be the weak part of the series, but to be fair this is a manga about wine, not about Shizuku and Miyabi. We do get a little more development of her character here, showing her first love from high school returning and shocking her by being a cold businessman, but honestly I thought the best part of the manga for her was her superdeformed jealousy of Shizuku having lunch with Sara. Any love story that happens in this series will take even longer than Oishinbo’s did (and that took 47 volumes!), mostly as when it comes to love Shizuku seems to be thick as a brick. Something lampshaded by the other cast members. Speaking of the rest of the cast, the Italian wine snob, Chosuke, gets a rather sweet little backstory showing why he dislikes French wine so much.

The volume ends with the first half of the story I mentioned above with Miyabi’s old love. It involves trying to show that brand name doesn’t always mean quality, but to do that they have to note that in terms of wine, it frequently does. Lafite and Rothschild aren’t the top names in wine just due to marketing and publicity. They’re the cream of the crop, and I liked the scenes where Shizuku and Miyabi realize what a big hurdle they have to overcome. In the meantime, they’re also searching for the second apostle. Given this is a manga series, I have a sneaking suspicion Shizuku is going to fail hard at finding it, but we shall see.

This continues to be a good solid foodie manga. The broad points (p;lot, characters) are cliched, but the writing is what makes them stand out, and shows the work of two long-standing professionals. Definitely one for your shelves… though maybe the drinks cabinet instead?

By Sacchi and Shinichi Kimura. Released in Japan as “Kore wa Zombie desu ka?” by Kadokawa Shoten, serialization ongoing in the magazine Dragon Age. Released in North America by Yen Press.

Now, let’s be fair. I knew I wouldn’t like this title when I ordered it. As I’ve noted before, I sometimes get things I hate in order to bring more ‘balance’ to my blog – see my review of Qwaser of Stigmata as an example. And honestly, any title that ran in Dragon Age is guaranteed to get me looking at it warily, similar to Champion Red. Sadly, though, Is This A Zombie? is merely bad, and not laughably bad.

This is essentially one of those manga where the premise is ‘guy living with lots of cute girls of various tyes’, but the author can’t really be bothered to give us much backstory on them. character development for Haruna and Sera in particular is minimal, with the two of them fulfilling the usual moe fetish tropes – Haruna is the loli tsundere, and Sera is the violent kuudere. Amazingly, by the way, this is not actually the worst of the adaptations – there’s an ‘alternate universe’ manga running in Comp Ace called ‘Yes, She’s Your Bride’ that is basically this only with less monster fighting and more naked harem antics. The mind boggles.

There is meant to be a certain amount of self-parody here, I suspect, but it’s the kind that’s done by people who think putting ‘ironic’ in quotes is ironic. The sleazy fanservice winks at you, but wants to have it both ways so the wink doesn’t fulfill its function. There’s also our hero’s magical girl outfit – excuse me, ‘magikewl’ girl (Yen explains why they translated it that way, and I agree it works, but I still hate it) – which of course is designed for laughs. Even the layout of the manga itself screams ‘self-aware comedy!’. It’s just not very good at that.

This is actually a shame, as there are a few moments in the manga where it briefly gets serious, and they show a definite leap in quality. These tend to revolve around the third girl, Eu, who is the quiet Rei Ayanami-esque character. She’s the one who resurrected Ayumu and turned him into a zombie in the first place, and like many other emotionless girls in anime/manga, her emotionless state is actually a plot point. Ayumu’s advice to her, and his decision to take whatever fate throws at him in order to make her life easier, is about the only time in the entire volume I liked him (he is otherwise a sarcastic pervert, one of the new breed of harem leads who are a reaction against the nebbish “Tenchi” type, but seeing a perverse guy not sleeping with all the women chasing after him is even more irritating than seeing a ‘pure-hearted’ type not do so).

Yen’s translation is fine for this type of series – it’s very colloquial, and at times read like a dub, but the original was no doubt just as colloquial. There’s lots of sentai and giant robot references, all explained in Yen’s copious endnotes. Sadly, absent from the endnotes is an explanation of why they licensed this at all. Admittedly, it *has* an audience here, unlike Sasameke. This title will appeal very much to the harem-anime-downloading, body-pillow-buying, waifu-proclaiming males out there. For everybody else, read pages 130-145, realize that the rest of the manga is nothing like that, and find something else.

By Naoko Takeuchi. Released in Japan as “Bishoujo Senshi Sailor Moon” by Kodansha, serialized in the magazine Nakayoshi. Released in North America by Kodansha Comics.

The fourth volume of Sailor Moon, and Jupiter gets the cover! Unfortunately, we’re also in the middle of a ‘have the senshi get abducted one by one’ arc, so she gets the first chapter and not much else. As with the Mercury and Mars chapters, we see Jupiter bonding with a friend of hers, this one male. It seems pretty platonic, though, at least on her end. We also get the revelation that her parents are both dead from a plane crash, so she lives on her own in a swank apartment. No idea where she gets the money… Rich relatives? Settlement from the crash? Honestly, most of the senshi are well-off. Even Usagi and Minako, the two most likely to be whining about not having any money, don’t seem to be hurting.

But in any case, soon Jupiter joins her friends in ‘captured off screen’ land. Venus is theoretically the next chapter, but honestly she’s not in it much. Presumably as Minako had an entire manga series devoted to her own personal life, she didn’t need a chapter that shows who her friends are and what she does on her days off. What we’re more concerned with is Chibi-Usa and the new enemies (who I will just start calling the Black Moon Clan, as that’s who they are). Chibi-Usa is settling in nicely in the past, and has even made a new friend (Momo will be Chibi-Usa’s designated friend till Hotaru basically replaces her in SuperS and Stars). But she’s still in denial about what’s going on, and actually seems to have some sort of PTSD (and with good reason, as we shall find). So Usagi is worrying about that, to the point where Naru and Umino are concerned. Remember them? Naru here even admits she knows Usagi is part of “another world that she can’t enter”. True enough, Naru, the author will forget you again soon.

Venus is abducted as we expected… but this time Usagi and Mamoru get there in time, and Mamoru gets a bit of powerup (albeit a ridiculous one: Tuxedo La Smoking Bomber is not in the anime, which tended to make Mamoru less powerful and more jerkassish). So Venus gets to stick around and help question Chibi-Usa, who has finally broken down and admits the truth: she’s from 1000 years in the future. And the future is in danger from the same folks abducting senshi. So, after a brief stop at Mamoru’s to get it on… oh, yeah, about that. Chapter 19 has Chibi-Usa basically terrified, so she wants to stay at Mamoru’s apartment. Usagi goes along, and after discussing things and various reassurances, they start to kiss and fall onto his bed. Then it’s the next morning, and Chibi-Usa is looking out the window. Usagi and Mamoru come in, Usagi wearing the same dress she had on last night and Mamoru’s dress shirt. So, nothing may have happened… or something may have happened. Most fans of Usagi and Mamoru’s romance think of this as their ‘first time’.

So we’re off to the 30th Century, something which is basically forbidden. So forbidden, in fact, that another senshi arrives to stop them! Yes, Sailor Pluto debuts here, though at this point in the story she’s still basically trapped in one place, at the Gates of Time. She’s devoted to stopping intruders, even if that means Sailor Moon and company (which makes no sense, but we’ll assume it’s some preventing paradox thing). Luckily, Chibi-Usa shows up, and it’s revealed that she and Pluto are close. In fact, the 30th Century, for all its crystal utopia, seems to be a very lonely place, as Chibi-Usa is mocked for being relatively powerless by the other children (she’s also 902 years old, something so gratuitously broken I don’t even want to get into it. Pretend that line doesn’t exist.), and Pluto’s stoic duty is only relieved by visits from Chibi-Usa (who she dotes on) and Endymion (who she seems to have a small crush on, as noted by her blushes here.)

Ah yes, Endymion. Arriving at the desolate wasteland of corpses that is the 30th Century, we meet King Endymion, aka Mamoru, who is a phantom but can at least interact with the others. We also meet, encased in crystal, Neo-Queen Serenity, aka Usagi, the future ruler of the planet. This is not really a surprise today, and honestly I don’t think it was meant to be back then either. Chibi-Usa is their daughter, and we also meet Luna and Artemis’s daughter Diana. Unfortunately, Usagi is still having difficulty with the whole ‘Mamoru loves his daughter more than me’ thing, and runs off to get captured.

I haven’t talked much about the Black Moon Clan here, but Prince Demande deserves a special mention here as being a loathsome creep. He’s not the true big bad in this arc… that would be Wiseman, who gets the cliffhanger for this volume… but he’s the equivalent of Beryl, and it seems appropriate that he has an obsession with Usagi the way that Beryl did with Mamoru. He even forces a kiss on her, much to her horror. (One note about the odd continuity here. After going to the future and getting told the plot, the senshi quickly go back to their home era… only to pretty much immediately have to return after Usagi storms off and gets captured. Why bother going back at all? No wonder Pluto gets annoyed when they arrive… the Time Gate must be a revolving door.)

We end this volume with Cibi-Usa being the one doing the running off, and running into a fortune-telling black cloud of evil called Wiseman. As with all black clouds of evil in Sailor Moon, this is not going to prove to be a good thing. Not for our heroes, not for Chibi-Usa, and especially not for Pluto. But that’s for Volume 5.

By Yumi Unita. Released in Japan as “Usagi Drop” by Shodensha, serialized in the magazine Feel Young. Released in North America by Yen Press.

Quick note: Please do not write spoilers about this series in your comments. They will be deleted.

When we last left our heroes, Rin was a cute 6-year-old, enjoying school, and starting to come into her own. Daikichi was still bumbling along, but generally had gotten the hang of being a good parent and was making inroads on getting closer to single mother Nitani. And so we come to Volume 5… where ten years have passed.

Yes, it’s a giant time skip, and Rin and Kouki are now in high school. Well, I had said that the series needed to shake itself up a little, and this certainly does that. More to the point, however, it manages to shift things to an entirely different place. The basic premise is still the same… we’re seeing Rin grow and Daikichi parenting. But Daikichi has raised Rin to be a self-sufficient, strong young lady. She can take care of the cooking and cleaning when necessary. No, being the parent of a teenager brings fresh new issues. Like romance.

It is fairly obvious throughout this volume that Kouki is completely in love with Rin, and that it seems to be mostly one-sided. Not that she doesn’t like Kouki, but they get compared to brother and sister, and Rin doesn’t think that’s far off. Plus, in some of the gap filling we get in this volume, Kouki apparently has an ex-girlfriend who was not very fond of Rin, and this seems to have soured her opinion of Kouki and romance a bit. Rin is at a point where she’s not sure what she’s feeling. Honestly, the person she’s closest to is still Daikichi, whom she asks for advice. His advice is not particularly helpful, but it’s from the heart. Which sometimes is all that matters.

Then there’s Daikichi and Nitani-san. I had noted in early volumes that I wanted them to hook up, and now ten years later it hasn’t happened. This is quite frustrating to the reader. And to Kouki. And indeed to Daikichi and Nitani-san, both of whom clearly have feelings for each other. We get a flashback in the last chapter to a moment a few years back, where Nitani-san is trying to deal with Kouki acting up and being a delinquent (he’s gotten better by the present day). This scene is one of the most awkward, heartfelt yet also heartbreaking things I’ve ever seen in manga, an encapsulation of everything that doesn’t go right in romance. Sometimes even when everyone wants to… you simply can’t quite make that final leap. There’s several volumes to go, but after this, I honestly no longer expect these two to get together. Which is a shame.

When this series began, we had four volumes of cute, which fit very well with cute little six-year-old Rin. But now Rin is a teenager, which means we’re at that awkward period. And true to form, this entire volume is filled with awkward. People not quite saying the right thing, not getting their point across, unsure of how to handle something. And this is the entire cast, not just the actual teenagers. Bunny Drop has grown with its heroine, and now asks that you stick around while she deals with all these pesky feelings. I suspect I may cringe on the fallout from all of this, but I’ll be riveted nonetheless.

By Hisaya Nakajo. Released in Japan as “Hanazakari no Kimitachi e” by Hakusensha, serialized in the magazine Hana to Yume. Released in North America by Viz.

Yes, I know, Viz is drawing me in again. Another long series I haven’t read that Viz teases me with easy to collect omnibuses of. And yes, I am aware that after the 3rd omnibus Viz will stop and tell me to find the rest in backorder. And I won’t, as I am lazy like that. Still, this is a shoujo series that I had never really gotten around to when it first came out, so I thought I would give it a try.

At the time this first came out in North America, it must have been a lot more original to readers than it seems now. Girl dressed as a boy… love triangles with perky blond and serious brunet guys… what are these strange feelings in my chest… attempted rapes (I wish that last wasn’t a cliche). But a good 7-8 years on, we have to sort of retrofit our brain and read Hana-Kimi as something that influenced a lot of other shoujo manga doing similar things. And to be fair, as I read Hana-Kimi I kept thinking to myself “Wow, this reminds me of Here Is Greenwood”, a series that ran in Hana to Yume ten years before Hana-Kimi.

There are a few notable things that make Hana-Kimi stand out. First of all, to the delight of female readers no doubt, there’s a lot more “queerness” in this manga than you tend to find in most cross-dressing shoujo manga. Sure, Oresama Teacher and Ouran High School Host Club tease that people think that their alter egos are gay, but it’s almost entirely used for comedy, and is basically brought up then forgotten about. Here the theoretical homosexuality of the characters is right up front, and a constant presence. The school’s doctor is perhaps the only genuine gay character, but Nakatsu is hopelessly confused about his feelings for Mizuki. Still mostly used for comedy, but having it out there and in your face a lot is rather refreshing. I wonder if we’ll see any genuine gay relationships in the future?

The other guy in this triangle, by the way, becomes aware almost immediately that Mizuki is a girl. However, he doesn’t actually tell her. This leads to an interesting tension – Mizuki is constantly trying to hide her gender, and Izumi is trying to hide from her that he is aware of it, thinking that she basically must have a good reason and will tell him when she’s ready. This makes things a lot of fun, though I do note that this series is 23 volumes long, and I’m not sure how much fun it will be if they’re still doing this dance by the end of the series. In any case, Izumi is the serious young man with the (relatively) tragic past, and matches well with Mizuki – as with most love triangles in shoujo, the actual couple is never in doubt. Especially as Nakatsu is always used in comedic situations.

There’s a lot of ‘old school’ 90s Hana to Yume style in this series, which was familiar to me from my reading of I Hate You More Than Anyone!. It’s not as messy as Hidaka’s early work, but you still see a lot of extraneous text outside bubbles, etc. Despite that, this is a fairly easy read, and I finished it fairly quickly. If you enjoy breezy shoujo comedies with a focus on gender blending… and don’t mind that Viz is likely to end this re-release at Vol. 3… then you should pick up this omnibus.

By Kaoru Shintani. Released in Japan as “Christie High Tension” by Media Factory, serialized in the magazine Comic Flapper. Released in North America by Seven Seas.

I will admit, when I first saw that Seven Seas had licensed Young Miss Holmes I was looking at it with a wary eye. Being a longtime fan of the original stories by Watson (via Arthur Conan Doyle), I was not especially looking forward to something that sounded like “Sherlock Holmes gets outsmarted by his ten-year-old niece.” Of course, the fact that it was written by Kaoru Shintani should have clued me in. Being a old and established mangaka, famous in many countries (except, of course, North America, where Area 88 utterly failed to take off for Viz), he was not about to let this become some cutesy story about a precocious brat, nor would he forget that this is Sherlock Holmes, brilliant detective. What we get instead is a nice balance, using the Holmes stories to tell the story of a child who is indeed very smart and precocious, but who still can be realistically childish and whom Sherlock can still out-think.

I will leave it to those unfamiliar with the Sherlockian canon to discuss how these stories work for those who are not familiar with the basic plots. Given I read this volume with my copies of Leslie Klinger’s New Annotated Sherlock Holmes sitting about 6 feet from me, I am not that person. Suffice to say that this first omnibus features five stories from the canon. Two are generally considered to be among Watson’s best: The Red-Headed League and The Dancing Men. Two more are not in the top pantheon, but do have elements to recommend them: Thor Bridge and The Sussex Vampire. And one is generally simply considered bad, to the point where scholars sometimes try to say it was not canon, and that rather than being a Watson tale it was actually written by Conan Doyle, based off of a play he wrote: The Mazarin Stone.

The manga essentially uses the adventures as basic templates: the events are much the same, and sometimes the outcomes are the same as well. But it is not wedded to Watson’s story either. It can’t be, given that the whole point is to insert Christie, Holmes’ precocious niece, into every story and have her attempting to solve the mystery as well. Sometimes that’s all the story basically does: the events of two of the tales play out much as the originals, with added Christie. A third simply has Holmes “on another case elsewhere”, and has Christie taking the role of the detective. And two of the stories actually end up being altered from the original. The alterations, while occasionally stretching credulity, did not make me toss the book away in frustration, so I would have to say they are a success.

As for Christie, she’s a lot of fun, but I admit I was more taken in by her supporting cast. Holmes and Watson are reasonably canon, once you accept the fact that Holmes is given a precocious niece, meaning he spends a fair amount of time being exasperated by her more than would seem appropriate. That said, in the stories he appears he figures out the solution almost immediately – must to the consternation of Christie, who can see he knows but not HOW he got there. And he doesn’t like to explain, which is totally in character. Watson is also treated with respect, though he has a smaller role in this manga. This is not the “Jam!” Watson from poor adaptations. Speaking of Watsons, Christie cleverly gets her own after the second story: Grace Dunbar, the wrongly accused governess in Thor Bridge, is hired by Christie’s (unseen) parents to be her own governess, and for the rest of the book takes on a Watson role to Christie’s Holmes. Fans of Thor Bridge may find this amusing.

And then there are the two maids. First off, before he got his big break with Area 88, Shintani was an assistant of Leiji Matsumoto’s. (No doubt this is why his art style remains very “70s shoujo’, even when he’s writing for adult men.) He’s also quite influenced by Osamu Tezuka, as 99% of manga artists tend to be. And so he also has what Tezuka fans have nicknamed a “star system”: he reuses character designs and personalities in different series, renaming and reconfiguring them. Thus Nora, the uneducated but wisecracking maid we meet in the first chapter, will be recognizable to Shintani fans as Irene from Suna no Bara (“Desert Rose”), a 15-volume manga he wrote for Hakusensha’s Young Animal in the early 90s about a female anti-terrorist group. And Ann-Marie, the prim and ladylike maid with a surprising knack for guns, is based on Helga from the same series. (Speaking of which, Grace Dunbar may be from the original canon, but Shintani’s design is Tina from his manga series Cleopatra DC.)

Secondly, I love Nora. Basically everything about her was designed to appeal to me personally: wisecracking street-smart woman who wields a whip, beats up would-be rapists and has ‘bedroom eyes’, aka droopy eyelids. I will admit I’m not as sure about Nora’s ‘Texan’ accent (I suspect it was thick Osakan in the original), but as I’m not entirely sure of her origins (which will be revealed in the 2nd omnibus, along with Ann Marie’s), I’ll let it slide till then.

Speaking of Nora’s whip, I note that Seven Seas has this volume rated at ‘All Ages’. I see their point – it’s hard not to sell a series about a young girl solving mysteries and not try to hit that market – but there is a certain amount of violence in this series, including corpses, head wounds by gunshot, and Nora’s gleefully whipping her attackers, complete with blood dripping from her whip handle. (You can certainly see why Christie’s parents hired Ann Marie and Nora – they’re as much bodyguards as they are maids.) Looking at the second omnibus, which will not only feature The Hound of the Baskervilles (!), but also The Five Orange Pips (!?!), I honestly don’t see this level dropping soon. It’s not overtly gory – this isn’t Hellsing – but was enough to make me notice it. So be aware that parents may want to review the series to see if it’s too violent.

Lastly, it’s best to mention the crossover. Despite what Seven Seas’ own manga site says, this series is *not* a spinoff from Dance in the Vampire Bund, the very popular vampire manga that also runs in Comic Flapper, the magazine Young Miss Holmes runs in. Dance in the Vampire Bund is also Seven Seas’ best-seller. It’s tempting to say the series was licensed for the crossover, but I doubt it. More likely Media Factory said ‘Hey, we have this 7-volume series, and it SO HAPPENS it crosses over with your big hit.” In any case, Mina appears where you would expect her to, in the Sussex Vampire story. While you’d expect that this would alter the whole point of the story, it manages to fit Mina’s vampirism in without distorting the original solution (and also gives the writer an excuse to make Christie a quick healer, though thankfully not a vampire.) Vans of DitVB should find it fun. (And yes, yuri fans, Mina is clearly attracted to Christie, but nothing comes of it. She’s ten.)

Given the sheer amount of research I did after reading the first volume, I think by now you can guess that I greatly enjoyed Young Miss Holmes. I expect it will be 3 big omnibuses here, as it’s 7 volumes in Japan. (A new series has recently begun in the same magazine, showing Christie as a young woman, still dealing with Holmes cases.) Unfortunately, the 2nd one is not scheduled till November, meaning we’re in for a long wait. I definitely recommend it to fans of good manga. Hardcore Holmes fans may gripe a bit, but they should also be able to enjoy it. I’d give it more of a T rating, though.