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The Champions of Justice & the Supreme Ruler of Evil

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By Kaede Kikyou and Tobari. Released in Japan as “Seigi no Mikata to Aku no Sōtō” by the author on the Syosetu website. Released in North America digitally by Cross Infinite World. Translated by Jekaterina Bält.

As with Obsessions of an Otome Gamer, the other Cross Infinite World title I’ve read, I went into this because the concept intrigued me. Honestly, it sounded like Excel Saga, and I am nothing if not a fan of anything possibly related to Excel Saga. We have a young girl who is trying to take over the world but is a bit of a flake. We have an organization that essentially fills the role of a sentai team trying to stop her. That said, that’s about where the similarities end. Instead of Il Palazzo, Mia has her late father, who drilled into her daily the rules on how to use magic but seems to have forgotten (on purpose, as we later find) to tell her what being “evil” actually means. As for the Champions of Justice, they’re cops, and while they have some flaws, for the most part they are all adults who see this Supreme Ruler of Evil they’ve been assigned to stop for what she is: a lonely young girl living alone with genuine magical powers.

Changing up my usual style, I’ll start with the good and move to the bad. It’s mostly good – I was quite entertained by this, which is a LOT deeper and more dramatic than I’d really been expecting. There’s lots of humor, sure, as Mia has a tendency to act like a stereotypical cackling villain at the drop of a hat. But I loved how her attempts to “do evil” are all rather pathetic, and that at heart she is obviously meant to be catching bad guys instead – there’s a bit of Ran from Super GALS! in her, only Ran’s just in denial, whereas Mia genuinely does not seem to know what good and evil are as concepts. The five officers are divided up fairly easily: the serious one who wants to make sure Mia eats properly, the blase one who has a secret I could have done without (more on that later), the angry guy who’s trying to date someone long-distance; the romantic lead who is constantly sexually harassing Mia as a way to distance himself from the fact that he’s fallen in love at first sight (more on that later as well), and the token woman, who is there essentially to be a big sister sort. Gradually they get Mia to open up and get closer, and honestly I think the book may have been better (if less marketable) if it removed the romance and stuck with “found family”.

There are some things I didn’t like. The book was noted as being somewhat racy, and I wasn’t quite sure why till we got to the chapter dealing with Shou, the cheerful yet sneaky blonde guy. At one point, when fighting with Mia, Mia’s magical attacks tear his jacket, which seems to cause him to go dark, and he takes her back to his apartment… which is set up like a bondage fetish room. With lots of toys, lovingly described in great detail. And a rape threat (which Shou clearly doesn’t mean but I don’t care). Honestly, this entire section could be removed with no damage to the story – sure, Shou would get no development, but Aya didn’t either. As for Ren, the love interest, he’s acknowledged in story as sexually harassing Mia, a high school student who is not yet 18, from day one. It’s done in that “this is a romance title” sort of way so I wasn’t as annoyed with it as I was with Shou, but it’s there. I did like Aya at the end admitting that she let him get away with it as she could see he was working through his issues and if he screws this up now she’ll kick his ass to hell and back.

This is another of those really long books, though at least it is complete in one volume. Overall, I’m glad I read it, as I loved the bonding between this group of rough yet gentle police officers and their wayward charge who is a “Supreme Ruler of Evil” who can’t help but do good to anyone she comes across. If you like shoujo romances, I’d definitely give it a try.

Dr. STONE, Vol. 1

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By Riichiro Inagaki and Boichi. Released in Japan by Shueisha, serialization ongoing in the magazine Weekly Shonen Jump. Released in North America by Viz Media. Translated by Caleb Cook.

It’s always difficult to judge these Jump titles because the beginning feels like a prologue even when the series takes off, as this one has. Here we have the new series from the writer who brought us Eyeshield 21 and the artist who brought us Sun-Ken-Rock. So they’re both seasoned veterans, and there’s no doubt the new series feels confident. I’m just not sure who I’m supposed to be focusing on. The guy on the cover, Senku, starts the book as the seeming “intelligent sidekick” type to the classic idiot Jump hero-type guy, Taiju. That said, Inagaki has learned his lessons well from his days at Eyeshield 21 and knows that no one read that series for Sena, likeable as he was. No, Eyeshield’s popularity was entirely due to Hiruma. As such, it’s pretty clear the the intelligent, verbally abusive guy is who we need to keep an eye on. (I’m fairly certain he’s not a real doctor, though.)

Our story begins with Taiju, for whom the words ‘lovable lunk’ seem to have been invented, finally manning up and preparing to tell the cute Yuzuriha that’s he is in love with her. Sadly, as he’s about to do this, something flashes across the entire world and every single human on it is turned to stone. Their consciousnesses survive, they’re just… trapped in stone. (It’s not just humanity, some birds are caught as well, but most animals seem to have survived. Fast forward to the year 5738, and Taiju finally is able to escape his stone body. It turns out Senku, his science friend, has been awake over half a year earlier, and has big plans. Together, they’re going to find a way to un-stone people and revive humanity. Naturally, Yuzuriha is one of the first revived, as, well, you need a cute girl in a Jump series. Unfortunately, their other revival proves a bit more unfortunate.

I’m going to leave aside the likelihood of everyone being turned to stone yet alive and conscious for over four thousand years and being mostly fine when they are revived, because that’s clearly handwave plot powers. I’m also going to leave Yuzuriha aside, because as I said earlier her sole purpose seems to be pretty and female – hopefully the manga will get a few more well-defined women in it soon, but honestly, Eyeshield 21 wasn’t great on that front either. Senku and Taiju are much better defined characters – despite his Dragon Ball hair, Senku is clever (and knows it) and pragmatic, and is ready to rebuilt the world with the help of Taiju’s muscle. The antagonist is also interesting, as he points out this is the perfect time to only revive the best, while Senku, our hero, thinks they should revive everyone regardless of whether they’re evil or not. I’m not entirely sure how you can guess the morality of a person from their stone statue self, but given our antagonist seems perfectly happy to break apart little kid’s stone bodies, I suspect he’s not really meant to be much other than ‘the bad guy’.

The art here is good, and I do like Senku, but it feels very much like a prologue. I think I’ll need one or two more volumes before I see where Dr. STONE is going. Till then, Jump fans should like this. Also, Boichi seems to have studied at the Masakazu Katsura school of female character design. Yuzuhira could have stepped off the pages of Video Girl Ai.

Amagi Brilliant Park, Vol. 1

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By Shouji Gatou and Yuka Nakajima. Released in Japan by Enterbrain. Released in North America by J-Novel Club. Translated by Elizabeth Ellis.

In the beginning there was Full Metal Panic!, a long series of light novels that sadly will probably never be rescued but which spawned a long-running anime franchise. Then there was the spinoff, Fumoffu, which was FMP as a gag comedy and featured Sousuke dressed up as an amusement park mascot. As the author admits in the afterword, the design of the mascot was so perfect that the author just poached it outright (with permission) for his new series Amagi Brilliant Park. Sousuke is not inside the costume this time, but fortunately we have Isuzu, who is sort of a gender-reversed Sousuke with about the same amount of social skills and the tendency to use guns as the first and only option. Fortunately, the male protagonist is not a Kaname expy, but instead Seiya is a young man (and former child star) who is smart, handsome, athletic, and smug about all of this. He’s clearly the perfect person to take hostage and beg to save your magical theme park. Which is what Isuzu does.

For most of this book, I will admit, I was a tad underwhelmed. Isuzu and Seiya were flawed characters, but it sort of felt that the flaw was meant to be a “quirk” rather than lead to actual character development. The same applied to other characters – the other heroine is blind, but this is apparently so irrelevant the anime didn’t bother to adapt the blindness. In addition, as part of his job to save the magical amusement park, Seiya is given a magic power, but it’s hilariously useless and for the rest of the book he simply never bothers. The writing itself is solid – no surprise, given the author’s experience – and it definitely does not have the “I am adapted from a webnovel” feel that so many titles do these days. But I really wanted something more from the series, and as the deadline to save the park crept up I was wondering what weird plan our hero would come up with to save the day.

Then came the revelation of what that plan was, which I will do my darndest not to spoil. At first I was sure it was a fakeout, because there was absolutely no way that they were going to go down that dark, cynical road. But they absolutely do, and I literally said “Holy shit” out loud when I read it. It’s a horrible thing to do, and while Seiya wins the day and the amusement park is (for now) saved, both he and Moffle (one of the “mascots” who is the spitting image of Bonta-kun and also the only one we care about in this volume) feel like it is a bitter, undeserved victory. It absolutely is. And it made the book so much better for me, knowing that in among all the wackiness of Isuzu shooting things and the mascots talking about getting it on with hot moms, the author is ready to pull the rug right out from under his readers with this sort of thing. It made me sort of ill. Bravo.

The next volume is supposed to be more lighthearted, and I’m not sure that’s really what I’ll want. But for now, I recommend Amagi Brilliant Park to fans of FMP or ‘comedy workplace’ series who don’t mind the hero coming off as something of a tortured sociopath. I’ll be reading more.

Otherworldly Izakaya [Nobu], Vol. 1

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By Natsuya Semikawa and Virginia Nitouhei. Released in Japan as “Isekai Izakaya “Nobu”” by Kadokawa Shoten, serialization ongoing in the magazine Young Ace. Released in North America by Udon Entertainment. Translated by Caleb D. Cook.

There’s a small subset of isekai series that seem to involve a restaurant that is modern Japanese and yet caters to fantasy characters. This one is particularly odd in several ways, though. It’s based on a light novel series, which makes sense if you think of it as an isekai manga but no sense whatsoever if you think of it in its real genre, which is a “everyone enjoys food and describes it” manga. (I’m not sure it’s technically a foodie manga as there are no recipes. You aren’t supposed to make these yourself.) That said, if you DO see it as an isekai manga, it’s probably one of the few I’ve seen shown almost entirely from the POV of the existing fantasy characters. The “Chief” and Shinobu are the staff of the izakaya in question, and by the end of the first book we know the same thing about them which we knew at the start – nothing. It’s about the fantasy cast, and food.

Even the isekai part of the series is a bit vague. The plot involves this izakaya (think pub) in a side street of a medieval town, which gets traffic at first mostly from the guards who are exhausted after a day’s work (just like real izakayas). They are poleaxed by things like cold beer, oden, etc. – basic Japanese pub fare. It becomes somewhat clear as the book progresses that the izakaya has a “back area” that is connected to modern-day Japan, where Shinobu and the Chief get ingredients and (presumably) live. In other words, they are the ones who are transported to another world. But, as I said earlier, this is a series about the food and the people eating it. boisterous guards, their grumpy captain, an uptight tax collector (who is not Gustav St. Germain from Baccano!, but happens to look just like him), and a spoiled rich girl wander in, think they’re not going to like the food, and like the food.

In the end, you have to think of the series as a food manga to really appreciate it. The attention given to the food is, of course, excellent, and the characters make you really want to dig in. As I said earlier, Shinobu is the waitress girl on the cover, and she’s bright and helpful and that’s about it – likewise, Chief is straightforward and somewhat stoic. There’s some sort of language barrier that isn’t quite made clear – Shinobu using untranslated Japanese at times (particularly her long, drawn-out “haaaaaiiii!”) is meant to show this, but she can also clearly communicate with everyone. The other very odd thing about this isekai is that, as far as I can tell, there’s no magic or fantasy in this world whatsoever. It’s in some sort of German medieval world, but the only isekai think is the Japanese pub. It’s a very odd combination, but the relaxed mood and food descriptions in this volume means I’ll be coming back for more. And hopefully getting at least some backstory for our staff.

Manga the Week of 9/26/18

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SEAN: September has ended. Go in peace, to love and serve the manga.

Let’s break this down, cause there’s a lot. First of all, Bookwalker snuck out The Ryuo’s Work is Never Done 4 last week and I missed it. Sorry, loli shogi fans!

Ghost Ship has the 5th To-Love-Ru omnibus.

J-Novel Club has the 7th Demon King Daimaou.

Kodansha has its usual pile o’ digital, but print first. We see Kiss Me at the Stroke of Midnight 7, The Seven Deadly Sins 28, and the 6th and final volume of Wake Up Sleeping Beauty. I suspect MB peeps are most interested in the last one.

MICHELLE: Yep!

ASH: It’s true!

SEAN: The digital debut looks amusing. Ao-chan Can’t Study (Midarana Ao-chan wa Benkyou ga Dekinai), a shonen series about a girl who has (to her shame) inherited her father’s dirty mind, and a guy who loves her and won’t take a hint.

Ongoing? There’s Ace of the Diamond 15, Beauty Bunny 7, Defying Kurosaki-kun 4, Is Kichijoji the Only Place to Live? 3, Liar x Liar 6, My Boyfriend in Orange 5, and The Quintessential Quintuplets 4.

MICHELLE: Ace and Kichijoji for me.

SEAN: Lately Seven Seas has been backloading all their series to the end of the month, which means there is SO MUCH out next week. The debut is a digital one (print comes out at the end of October: The Ancient Magus’ Bride Supplement I is another Guidebook to the world of this popular series.

ASH: I’ll be waiting for the print edition, personally, but am glad it’s coming out digitally, too.

SEAN: And so many ongoing series. We see the 6th 12 Beast (not to be confused with the 12th 6 Beast), A Centaur’s Life 15, Devilman Grimoire 4, the 2nd Dragon Half omnibus, Generation Witch 5, The Girl from the Other Side 5, Hachune Miku’s Everyday Vocaloid Paradise 4, Hour of the Zombie 7, Magical Girl Site 7, Magical Girl Spec-Ops Asuka 4, New Game! 3, Not Lives 10, Precarious Woman Executive Miss Black General 2, and Soul Liquid Chambers 2. There’s a lot of grimdark and fanservice (and both) in that, but I’m excited for Dragon Half, The Girl from the Other Side (which is admittedly pretty dark), and New Game.

MICHELLE: I’m always excited for more of The Girl from the Other Side.

ANNA: Me too! Such a unique series!

ASH: Wow, you weren’t kidding about the number of Seven Seas title! The first Dragon Half was certainly entertaining and The Girl from the Other Side remains one of my favorite series currently being released.

SEAN: Vertical has been debuting a lot this month, as we now get After the Rain (Koi wa Ameagari no You ni), which is not by the creator of School Rumble despite seemingly having Yakumo on the cover. It’s a seinen manga from Big Comic Spirits, about a high school girl and her romantic pursuits. It’s gotten some good buzz.

MICHELLE: I like its cover!

ANNA: Ok, I’m curious.

SEAN: Viz has a digital-only release of the 9th Boys Over Flowers Season 2.

ANNA: One day I want to give into nostalgia and catch up on this series.

SEAN: Lastly, Yen Press has some digital titles and some runoff from last week. The digital is the 18th volume of Sekirei. The print is the 16th Barakamon and the 4th (and I believe last) No Game No Life Please!.

And for fans of A Bride’s Story, Vol 1-5 are finally out digitally next week, with the other 5 volumes arriving in October.

We also have the print debut of a series that came out digitally by chapter a while back, Hinowa Ga CRUSH!. With a title like that, you can guess it’s from the creator of Akame Ga KILL!, and appears to be tied into it. It runs in Big Gangan.

Any manga for next week before everyone starts saving for Pumpkin Spice?

MJ: So if I’m not that into anything here, does it mean I’m stuck with Pumpkin Spice?

Dead Dead Demon’s Dededede Destruction, Vols. 1-2

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What if the world ended not with a bang or a whimper, but a shrug of the shoulders and a TL;DR? That’s the question at the heart of Inio Asano’s Dead Dead Demon’s Dededede Destruction, a dark comedy about alien invasion.

Asano buries the lede, however, initially framing his story as a coming-of-age drama about Kadode and Oran, two girls on the cusp of adulthood. We learn about the aliens’ arrival in bits and pieces, through a 2-chan thread, a news bulletin, a string of text messages, and a sign tallying the day’s casualties. We also learn that Kadode’s father — a journalist — disappeared in the immediate aftermath of the attack, an event that has pushed Kadode’s mother to the brink of insanity.

The dramatic impact of these revelations is muted by Asano’s attention to the mundane rhythms of Kadode and Oran’s life: they study for tests, shoot the shit with friends, horse around with Oran’s older brother, and play video games until the wee hours of the morning, marking time until they graduate from high school. Like most teenagers, Kadode and Oran are morbidly curious about sex, fixating on a young teacher who does a poor job of establishing professional boundaries with his students. In private conversations, the girls tease each other about seducing Mr. Watarase, but when Kadode finds herself alone with him, she’s awkward and nervous, unable to carry out her plan. It’s to Asano’s credit that nothing happens between teacher and student, as he recognizes that Kadode’s interest is not in having sex with her teacher but in speculating what it would be like — in essence, she’s trying on the idea of an adult relationship, not actively seeking one.

A similar tension between maturity and inexperience plays out in other aspects of Asano’s narrative. Kadode, for example, is deeply invested in Isobeyan, a manga starring a dim-witted girl and a time-traveling Mushroomian with an “interdimensional pouchette” that yields amazing inventions: a brain bulb, a pair of skeleton specs. Though this manga-within-a-manga offers Asano an opportunity to showcase his technical virtuosity — Isobeyan looks like a Fujiko F. Fujio original — Isobeyan also highlights Asano’s knack for creating convincing teen characters, sympathetically portraying Kadode’s interest in kiddie manga as a survival tactic; she clings to Isobeyan because its jokes and stories offer her the consistency that’s otherwise missing from her chaotic home life.

Running in tandem with these domestic interludes are scenes of the media, government, and big business co-opting the invasion through incessant television coverage, carefully orchestrated public memorials, and merchandise, all promoting the idea that Tokyo should “never forget” about the tragedy while simultaneously encouraging residents to move on with their lives. Both volumes of Dead Dead Demon thrum with the activity of radio and television newscasts; through voice-overs and field reports, we learn the official version of events, but not what really happened on the ground. That same element of hollow reassurance informs a rally celebrating the successful demonstration of a new weapon. As people begin gathering, a chant of “Nippon!” ripples through the crowd. “Why are they all yelling ‘Nippon’?” one girl asked. “I dunno,” her friend replies, “But this is fun, so who cares?”

Asano’s art plays a vital role in suggesting the way in which the ordinary and extraordinary can coexist side-by-side. In this particular image, for example, Asano draws the undercarriage of the mother ship — its cannons, landing gear, and exhaust ports — with the same shapes and lines as he uses for the city below; it’s as if we’re viewing Tokyo on the surface of a pond, upside down and slightly murky:

Then, too, there’s a tension between the hard, industrial precision of such imagery and the soft vulnerability of the principal characters, as is conveyed by this panel in which Kadode and Oran’s view of the sky is completely blocked by the mother ship:

Though Asano’s character designs are naturalistic, capturing that liminal state between adolescence and adulthood with physical accuracy, Kadode and Oran’s faces are preternatually elastic, registering the full gamut of teenage emotions with outsized intensity. Many of the adults, by contrast, resemble Noh characters with impassive, mask-like faces that make them look… well, cartoonish, emphasizing the degree to which deception and denial have robbed them of their ability to express the fear, uncertainty, and hopelessness that the invasion has undoubtedly stirred in them. It’s a technique that Asano has used in other series — most notably Goodnight, Pun-Pun — and it works beautifully here, underscoring the absurdity of the characters’ situation.

What makes Dead Dead Demon more than just a stylish exercise in nihilism is the way in which Asano recognizes the lengths to which people will go to preserve their routines and personal comforts. Asano doesn’t frame that act as heroic resistance or conscious choice, but an atavistic need for order, especially in the aftermath of a catastrophe. For Kadode and her friends, though, that quest for normalcy takes a slightly different form, as they’re not yet old enough to have their own homes, jobs, and families; the things they cling to — like pop music and video games — offer only temporary comfort, pushing them to seek deeper answers about the alien invasion.

Lest Dead Dead Demon sound like a Terribly Serious Manga, it’s worth noting that Asano never falls into the misery porn trap that made Goodnight, Punpun such a punishing experience. Dead Dead Demon is nimble, funny, and sad, buoyed by a vivid cast of characters and a densely layered plot that allows Asano to explore weighty questions without casting a pall over the reader. For my money, it’s his best work to date, the ideal showcase for his phenomenal artistry and mordant wit. Highly recommended.

DEAD DEAD DEMON’S DEDEDEDE DESTRUCTION, VOLS. 1-2 • STORY & ART BY INIO ASANO • TRANSLATION BY JOHN WERRY • VIZ MEDIA • RATED M, FOR MATURE AUDIENCES (VIOLENCE AND SEXUALITY)

Outbreak Company, Vol. 5

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By Ichiro Sakaki and Yuugen. Released in Japan by Kodansha. Released in North America by J-Novel Club. Translated by Kevin Steinbach.

Every volume of Outbreak Company seems to begin trying its best to irritate me, I swear. It’s as if the creator has to present his bonafides before he gets into the meat of what he actually wants to do. Hence we begin with Shinichi, who has just been kidnapped by this world’s equivalent of Saudi Arabia or something similar, going on and on about moe fetishes for a bit, followed by his summarizing the entire plot for those readers who may have wanted to start with Book 5. That said, this book does show us, even more than usual, that Shinichi is very fond of these fetishes AS FICTION, and when they’re given to him in real life he is reasonably creeped out by them. And given that the entire premise of this book is basically “Shinichi has done the Eldant Empire so much good and now the entire female cast (who either love him or are at least good friends with him” proceed to rescue him:”, the reminder is needed. Shinichi is a model otaku – he can separate fiction and reality.

Myusel gets her second cover, and also pretty much separates herself from the harem pack here. We get a large chunk of the book narrated by her (out of necessity, as Shinichi’s been kidnapped), and her love and devotion to Shinichi is really impressive. As is her use of automatic weapons towards the climax, which given it gets two interstitial pieces of art may have been the excuse for the plot. At this point, if she’s not Best Girl by the end of the series I’ll be very surprised. Elvia too gets a lot to do here, given that it’s her country who has kidnapped Shinichi – we get to meet her sisters, and see how the family dynamic is. It honestly looks like it’s a good thing that Elvia was captured and stayed with the main cast. That said, it was rather startling how much she was treated as ‘evil spy’ at the start of the book given that she’s pretty much lazed around drawing and occasionally firing off soccer balls. No one forgets how she first arrived.

The plot itself is quite interesting. We’ve seen for the first four or so books Shinichi dealing with a very unequal world, where humans are the ‘norm’ and elves, dwarves, beastmen etc. are considered less than human. The core of the series has been showing that this is a bad thing. Now, however, we see Elvia’s country, whose king has set things up so that everything is equal – by force. People eat the same things, work the same jobs, are married in mass ceremonies to whoever the King picks out for them… it’s pretty damn appalling. Shinichi is supposedly kidnapped so that he can write something that will make the population of Bahairam love their king the way the magical girl movie made everyone love Petralka, and after wracking his brain and avoiding the obvious, he finally gives in. He can’t do it. Equality is important, but not at the cost of individuality.

Of course, all this may have been planned all along, and we see at the end that Shinichi’s idea of fixing things may be the smartest. Overall, though, this was a very good entry in the Outbreak Company series, and should appeal to those who enjoy it and don’t mind Shinichi occasionally leaping off of otaku cliffs.

Gear Drive, Vol. 1

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By Kabayakidare and Koutaro Sugi. Released in Japan by Overlap, Inc. Released in North America by J-Novel Club. Translated by Matthew Warner.

Sometimes when I am reading fiction I am looking for something with deep philosophical themes, something that takes the characters on a tremendous journey and teaches the reader something about both the author and themselves. And sometimes I just want to kick back and have a rollicking good time. Gear Drive is definitely designed to be the latter, and I spent most of the book reading with a giant grin on my face. If I didn’t know better I’d swear it was a novelization of tome shonen manga from Jump or Sunday. It’s filled with ridiculous powerups, intense fight scenes, and showing off the truly important things, which is caring about the people around you and not just trying to look cool. And its heroine, Anti, is a great narrator, sounding very much her age without being too annoying to the reader. It’s actually a series I’d be quite happy to recommend to YA readers, especially as there’s only one volume out in Japan so far (the second comes next month).

Our story begins in a small fantasy village named, erm, Cardiff, where the inhabitants spend their days, erm, mining coal. Look, it really is a fantasy land and not Wales, though I know the two can be confused easily. Everyone in this world has magic, though some come to it more easily than others. Anti, our heroine, is one who needs a little help, so at the age of 15 she goes to the church to find out what her magic ability is. Turns out… it’s gears. She has no idea what this means, and nor does anyone else. Rapidly, however, it turns out to be a far more useful ability than expected, especially combined with two other items that her parents left her before they tragically died… no, wait, both her parents are still alive and active in the story! Fake shonen! At first being somewhat unhappy with her mystery gifts, Anti has to learn how to use them on the fly when a giant bear creature attacks the woods near her village and two young kids go out to stop it to prove they’re brave.

As I said, the high points of this book are many. There’s one scene in the battle between Anti and the bear creature that features one of the best uses of a standard fantasy “infinite bag of holding” I’ve ever seen. There’s Anti’s moral sense, which is present and correct throughout the book, and which she passes on to the impulsive kids she has to save. (I loved the illustration of the kids as adults later in life, looking straight out of Log Horizon.) There’s the standard “our eyes meet and we know we are destined to fall in love later in the series” scene, only it’s between Anti and a girl her own age, and I’m not sure the series is going to go there, but it still made me smile. The book is not perfect, of course. Anti’s gear powers combined with her parent’s items sometimes lead to “whatever the plot requires”. It clearly ends Vol 1 with about 1/3 of a book to go, so we get some quick short stories from other people’s perspective, and begin book 2 early, which means it ends in an awkward place. Also, the translator clearly had the ability to have someone say “Anti are you OK?” and didn’t, which made me sad. Still, I’m carping.

This came out in Japan in February 2018, and was apparently licensed immediately. I can see why. If it keeps this up, this will become one of my favorite series. Go get it now.

Bookshelf Briefs 9/17/18

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The Ancient Magus’ Bride, Vol. 9 | By Kore Yamazaki | Seven Seas – I read the first eight volumes of The Ancient Magus’ Bride back-to-back, so it was a little weird reading this one on its own. We pick up with Chise having made a deal with Josef that ultimately involves each getting to see the other’s painful past. She eventually must agree that he’s suffered even more than she has, though this doesn’t give him an excuse for hurting people. I’m not sure if her message of understanding really got through to him, but it was pretty neat that, although Elias was prepared to do something terrible to save her, Chise essentially saved herself. Perhaps a bit too neatly, everything more or less resets in time for the next phase of the story—the “college arc”—which begins next volume. I’m looking forward to it! – Michelle Smith

A Centaur’s Life, Vol. 15 | By Kei Murayama | Seven Seas – Last time we had a lot of war and very little of the main cast; this time the main cast are more heavily involved, but only because the war comes to them. Honestly, if anything, the series gets even more bizarre, something I thought impossible, mostly thanks to the snake people and their “world in a bubble” reality generator, which makes me wonder how much of what we’ve seen has been in one of those. As for Hime, though the cover may make this look like a final volume, it isn’t—but she is almost killed by terrorists, who go after the little triplet girls as well. A Centaur’s Life has found the line between cute (and sometimes perverse) monster girls and anti-war otakudom, and is proud to step back and over over that line. – Sean Gaffney

Hatsu*Haru, Vol. 2 | By Shizuki Fujisawa | Yen Press -The concept of the playboy high school guy who ends up knowing nothing about what real love feels like is not a new plot in the slightest, but the author does a very good job of keeping us interested despite that. Kai’s attempts to force a kiss on Riko get him in deep trouble for almost half the volume, and justifiably so. But Kai is genuinely trying to understand Hiro, and understand why she continues to be in love with another man even though she knows he is with someone else and can’t reciprocate it. The series gets a bit more cliche when it moves to the other main characters—honestly, the Buddhist guy/Shinto girl pair made me groan at how cliched it was. Do we need to pair the spares already? Still, overall good. – Sean Gaffney

Is It Wrong to Try to Pick Up Girls in a Dungeon Four-Panel Comic: Odd Days of Goddess | By Masaya Takamura and Fujino Omori | Yen Press – The second volume of this 4-koma parody series is not as good as the first. Honestly, it has to be said: seeing Hestia and Lilly getting jealous over Bell is not really why fans over here read the series, and since it’s exaggerated in a parody, that makes it more annoying. This second volume came out around when Sword Oratoria was taking off, so the second half focuses far more on Lefiya and company, but the humorous tone is still the same. Oddly, the best parts of the volume are when it briefly turns serious, or at least sweet, showing off Bell and Hestia’s pure and innocent kind-of love. If you like the series, this may make you smile. – Sean Gaffney

Kaguya-sama: Love Is War, Vol. 4 | By Aka Akasaka | Viz Media – I suspect I may love this a bit more than other manga bloggers do, but oh well. I love it. Shirogane’s sister is on the cover, and she does come to visit the student council room, though she’s on her best behavior. And there are a few classic Chika moments. But for the most part this volume is dominated by Kaguya and Shirogane and their desperate attempts to get the other to confess first so they can just GO OUT ALREADY. This includes pretending to be cold, which goes disastrously on both sides, and Kaguya then CATCHING a cold, which leads to an actual crisis when Shirogane can’t control his teenage hormones and Kaguya thinks he went too far… or not far enough. I can’t stop laughing when I read this. – Sean Gaffney

The Night Beyond the Tricornered Window, Vol. 5 | By Tomoko Yamashita | SuBLime Manga (digital only) – I wasn’t exactly lulled into a false sense of security by the episodic first half of this volume, given the pervasive ominous feeling that always lingers on the fringes of this series, but I was still taken by surprise when some pivotal things suddenly happen in the back half, including Hanzawa having a run-in with Erika and readers suddenly learning some very major and disturbing truths about Rihito’s past that both render him more sympathetic as a character and provide further evidence that he’s likely a very dangerous person for Mikado to be hanging around with. I love this series so much, from the spare yet expressive art to the creepy cases to the leads and their complicated relationship. What it reminds me of the most is Tokyo Babylon, so if that’s your jam, please read this series! – Michelle Smith

Queen’s Quality, Vol. 5 | By Kyousuke Motomi | Viz Media – This volume of Queen’s Quality felt more like a shonen series, filled with dramatic battles, swords, and flashbacks of dead childhood friends in the best One Piece tradition. Fumi is getting closer to becoming a true queen, and succeeds in at least moving from the Black Queen to the Dark Grey Queen this time around (would she sing the Seven Seas of Rhye?), but she has to figure out a way to work with white as well, and it’s implied that she has to recover all her memories to do so. Meanwhile, Kyutaro is having trouble dealing with how much he’s in love with her, and even her very presence can relax and heal him. This new arc involving a spring break training trip will have trouble topping the excitement of the arc that ended here. – Sean Gaffney

Skip Beat!, Vol. 41 | By Yoshiki Nakamura | VIZ Media- Kyoko’s audition for a ninja role in a samurai drama continues, and the majority of this volume can be summed up as, “She proceeds to be very badass.” Some of what happens to make her stand out was a calculated move on Yashiro’s part, but the fact is that she has prepared more than any of the other candidates, and even the fact that she’s a “talento” with LME instead of an official actress doesn’t seem like it’ll hurt her much. I love the way Nakamura-sensei depicts Kyoko when she’s in character, and her ninja persona is very cool indeed. I’d be super happy to see some serious stardom start to come her way, especially with Yashiro as her manager. The final couple of pages hint for some movement on the romance front, too. I still love this series very, very much! – Michelle Smith

Slum Wolf | By Tadao Tsuge | New York Review Comics – Although it’s the first volume by a Japanese creator to be published by New York Review Comics, Slum Wolf is the second major collection of Tadao Tsuge’s work to have been translated into English. (Trash Market was released a few years ago by Drawn & Quarterly.) Slum Wolf brings together nine of Tsuge’s short manga originally published between 1969 an 1978, most of which first appeared in the influential alternative manga magazine Garo. In addition to an autobiographical article by Tsuge, an essay by the volume’s editor and translator Ryan Holmberg which provides additional historical context for the manga is also included. The stories themselves have autobiographical influences as well. Filled with vagrants, punks, hoodlums, and other tough guys living in the shadow of the Second World War and the American occupation that followed, the short vignettes in Slum Wolf share a similar atmosphere and mood, themes, and even a few recurring characters. – Ash Brown

Pick of the Week: Easy Pickings

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SEAN: My Brother’s Husband 2. Wow, that was easy.

MICHELLE: Yep.

KATE: In the interest of making this a polysyllabic Pick of the Week, I’ll agree with Sean and Michelle’s choice while adding two of my own: volume six of Golden Kamuy, everyone’s favorite manly cooking manga, and volume one of 20th Century Boys, back again as a series of handsome two-in-one omnibus volumes. If you missed Naoki Urasawa’s twisty thriller the first time around, now’s your chance to discover what all the fuss is about.

ASH: The final volume of My Brother’s Husband is definitely my pick this week although, like Kate, I have my eye on a few other things as well, including Golden Kamuy, the debut of Otherworldly Izakaya Nobu, and the last bit of Erased.

ANNA: There’s a lot of great manga coming out this week, but I’m going to take the opportunity to celebrate the new edition of Twentieth Century Boys. A great opportunity for people who missed it the first time around.

MJ: I will use more than one syllable, but there’s only one choice for me this week. My Brother’s Husband. The end.