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In Another World with My Smartphone, Vol. 1

March 25, 2017 by Sean Gaffney

By Patora Fuyuhara and Eiji Usatsuka. Released in Japan as “Isekai wa Smartphone to Tomo ni” by Hobby Japan. Released in North America digitally by J-Novel Club. Translated by Andrew Hodgson.

It’s a bit difficult to know where to begin. I guess I’ll start by saying that by the end of this book, I was enjoying it immensely and had a big smile on my face. The second thing I should say is that this does not actually make the book “good” in any sense of the word. For a few years I’ve had to review the occasional awful manga, and people have sometimes asked me “do you mean that it’s bad in an MST3K way or bad in a bad way”. Sadly, I’ve always had to say that it’s actually the latter. Most terrible things are not remotely entertaining. In Another World with My Smartphone is an exception. Every ridiculous power the hero has, each new cliched heroine that appears, every time the plot rearranges itself so that everything is as “awesome” as possible, and most importantly the complete lack of any sense that things are about to get difficult for anyone makes this book bad in an absolutely wonderful, hilarious way. Everyone who says Kirito or Tatsuya are overpowered self-insert wannabes need to read this immediately.

I should lay out the plot here, though if you have read any isekai you’ll get the gist. Touya (no, not the Touya from Mixed Bathing in Another Dimension, though I now wonder if the name has significance for isekai works) is accidentally killed by a lightning bolt. He’s granted an audience with God, who offers to reincarnate him in a fantasy world where he can have adventures. Touya, a modern thinking sort, asks if he can keep his smartphone, and God obligingly allows it to remain working and gives it unlimited battery. He then arrives in a new world, where he quickly meets up with Kyou and Ryou Fujibayashi… (cough) sorry, with Elze and Linze, two beginning adventurers who he joins forces with. Joining an adventurer’s guild, he gradually adds incredible powers, more cute girls, and heroic feats that make everyone’s jaws drop. In fact, the author literally apologizes for not using the smartphone enough in the first volume – why would Touya need it, when he can fight like a champ, use every single kind of magic, and summon Heavenly Beasts that then become adorable tiger cub mascots?

This is taken from a webnovel, and it’s really, really obvious. Usually with most conversions to published works they at least try to get rid of the excited sense of “I’m going to put absolutely everything into this book!”, but not here. Touya has impossible magic powers. Touya can read the moves of other fighters so he’s able to dodge or counter them. Touya can heal the blind. Touya can solve crimes, provided the suspect is an obvious cliche of an evil Duke. Touya is so pure of heart that the Princess of the land immediately falls in love and declares that he will be her husband. (Touya’s complete panic at this idea is possibly the best he’s written the whole book, and I hope (probably in vain) that future volumes throw him off his game like this.) Touya can read ancient scripts (just like Bob Hope and Steve Allen!), and can make magical reading glasses to allow other to do so. Touya can even accidentally look as if he’s been to a brothel and get lectured by all his girls, because this is still a harem comedy. Is there anything Touya cannot do? Sadly, yes. Touya cannot stop his friends’ menstrual pain. Some things are simply beyond any power.

I mentioned Touya’s purity of heart, and I think the same thing applies to the book as a whole. The reason that this is fun bad and not bad bad is that it’s so innocent of the normal cynicism you tend to see in these works. I joked on Twitter that this was “Baby’s First Isekai”, and that’s not far off. I think authors are allowed to write this sort of thing to get it out of their system. Being mean to it would be like kicking a puppy. There’s apparently an anime of this coming in the summer, and I cannot WAIT to see how the typical male anime fan who hates Kirito is going to react to this. I think I’ll bring popcorn. I’ll also be reading more, because this proved to be insanely fun. Which makes it a big success after all.

Filed Under: in another world with my smartphone, REVIEWS

Kiss & White Lily for My Dearest Girl, Vol. 1

March 24, 2017 by Sean Gaffney

By Canno. Released in Japan as “Ano Ko ni Kiss to Shirayuri wo” by Media Factory, serialization ongoing in the magazine Comic Alive. Released in North America by Yen Press. Translated by Jocelyn Allen.

Those who follow my reviews know that I have a certain penchant for mocking the monthly manga magazine Comic Alive, which has always seemed to cater to the audience who wants fanservice, tie-ins, and the latest trends, and they want them now. Sometimes that can be a disaster, but on occasion Comic Alive will throw me a curveball and give me a series I can truly enjoy. Kiss & White Lily for My Dearest Girl is one of those series. I came to it at the end of a glut of yuri manga volumes (and who’d ever imagine I’d be typing that phrase even two years ago?), and was worried that a lot of this review would be finding ways to say the exact same thing again. But this title is different enough from its predecessors that there’s some interesting things to discuss.

The cover is somewhat deceptive, leading me to believe that we’d be seeing one of the common default yuri pairings (or CDYP for short), the shy easily embarrassed girl and the overly genki enthusiastic girl. Luckily, that’s not the case. The premise is actually similar to the old shoujo manga Special A – Ayaka is a hard-working diligent student who always gets the best grades, but now in high school she’s up against Yurine, a lazy and apathetic girl who nonetheless always manages to get first place in everything. Ayaka’s competitive nature (instilled by her parents, it’s hinted) won’t allow her to accept this, and so she grows more and more frustrated with Yurine. As for Yurine herself, nothing challenges her anymore, and therefore nothing is interesting… except maybe Ayaka.

By itself this would probably be enough to sustain a series, likely about 2-3 volumes. But halfway through we shift to Ayaka’s roommate and cousin Mizuki, who’s athletic, handsome, and the male half of the Takarazuka pair she has with her friend Moe, who manages the track team and is angling to get Yurine on it. Yes, you guessed right, this is a School Full Of Gay (TM), and so the second half of the story focuses on another couple and their own travails. This one is more easily solved, while it appears that Ayaka and Yukine will be the developing pairing we keep coming back to after wandering away for a bit. There’s also a few one-page shorts detailing that yes, everyone in this school is indeed gay, and while it’s unrealistic, it’s also quite cute.

As I said above, the thing I enjoyed best about this series is the way that Canno’s characters don’t quite go the way I expect them to. They’re still types to a degree, but this first volume gave them a bit more depth than I’d expect for a series like this, particularly Yurine, who also gets a chapter near the end where she hangs out all day with the exceedingly hyperactive Ai, partly in an effort to try to be more open and sociable. (She’s lucky she tried it first with Ai, who plows through social cues like a train.) I have a sneaking suspicion I’ll see more of ai and her own romantic travails in a future volume. In the meantime, Kiss & White Lily for My Dearest Girl may walk on some well-worn paths, but there’s surprising depth here. A must have for fans of yuri.

Filed Under: kiss & white lily for my dearest girl, REVIEWS

Manga the Week of 3/29/17

March 23, 2017 by Sean Gaffney, Ash Brown, Anna N, Michelle Smith and MJ Leave a Comment

SEAN: The 5th week of the month used to be a very quiet week, but this is manga boom time, so don’t expect quietness.

Dark Horse has the 2nd RG Veda omnibus, filled with early CLAMP pretty boys.

MJ: This never gets old for me.

Kodansha has a number of new titles. Cells at Work! has a 3rd volume.

ASH: The first volumes were a lot of fun, and surprisingly informative, too!

MICHELLE: Indeed!

ANNA: We got the first couple volumes in my library, but I have not yet read them due to them being perpetually checked out.

SEAN: And House of the Sun continues to be a very fast digital release with Vol. 3.

MICHELLE: Huzzah! Not that I have read the first two volumes or anything.

ANNA: Should I be happy about this? I haven’t read it either but I feel I should be excited if Michelle likes it!

MICHELLE: It’s shoujo from Dessert magazine, which also brought us Say I Love You. and My Little Monster. So, I’m basically just assuming it will be good because of that connection.

SEAN: There’s also a 9th volume of L♥DK, in case you’re reading the new digital Gakuen Prince volumes and want even more like that.

Otomo: A Global Tribute to the Mind Behind Akira is a new artbook from Kodansha dedicated to said mind, with lots of famous artists coming together to pay tribute.

ASH: I haven’t read much of Otomo’s work beyond Akira, but I’m really looking forward to this volume.

SEAN: Real Account gives us a 6th volume.

And there’s a 5th Sweetness and Lightning. Sorry for the lack of witty comments, I just don’t have much to say about these.

ASH: Awww, but Sweetness and Lightning is delightful!

MICHELLE: It is! As much as I love food manga, only Sweetness & Lightning regularly features things that I feel like I could conceivably make myself.

SEAN: Seven Seas also has a pile of titles, starting with the 4th volume of Monster Musume spinoff I Heart Monster Girls.

And the 4th and final volume of The Other Side of Secret, which is so very, very Comic Alive.

Servamp has a 9th volume, and rumor has it vampires still figure in it.

I know very little about the new debut, Species Domain, except that it runs in Bessatsu Shonen Champion and is another “Monster Girls” type series.

ASH: Personally, I’ve lost most of my interest in the various monster girl manga, but I know it’s a popular niche and so am glad for those who enjoy it.

SEAN: And the 5th Testament of Sister New Devil shows that Shonen Ace can be even worse than Comic Alive if it really wants to be.

MJ: Wow.

SEAN: Vertical debuts Flying Witch, which runs in Bessatsu Shonen Magazine and has both an anime and good word of mouth.

MJ: i’m probably interested in this.

ANNA: I’m maybe interested in this.

And there’s the now standard “Yen delayed these till one week later” releases. A 9th volume of Sekirei is out digitally.

And out in print, we have a 5th How to Raise a Boring Girlfriend. (Spoiler: girlfriend still boring.)

Lastly, there’s a 6th Prison School omnibus.

ASH: Assuming someone isn’t simply outright offended by Prison School (which would certainly be more than understandable), the series can actually be legitimately funny.

SEAN: Something for everyone next week. What are you getting?

Filed Under: FEATURES, manga the week of

The Legend of Zelda: Twilight Princess, Vol. 1

March 23, 2017 by Ash Brown

The Legend of Zelda: Twilight Princess, Volume 1Creator: Akira Himekawa
Translator: John Werry
U.S. publisher: Viz Media
ISBN: 9781421593470
Released: March 2017
Original run: 2016

Akira Himekawa is the joint pen name of A. Honda and S. Nagano, two women who have been collaborators for over thirty years. The two-person creative team is probably best known for their work on the manga adaptations of The Legend of Zelda series of video games, although some North American readers may associate Himekawa with the Avatar: The Last Airbender comics as well. Despite being a fan of both franchises, I actually hadn’t made a point to read any of Himekawa’s work until after meeting the two women briefly at the Toronto Comic Arts Festival in 2014. Twilight Princess is the most recent entry in Himekawa’s series of The Legend of Zelda adaptations. Initially Twilight Princess was intended to be a children’s series, but when the original 2006 video game it was to be based on became the first in the franchise to be rated for teens, plans for that manga were cancelled. It wasn’t until 2016 that Himekawa would begin serializing Twilight Princess digitally, the first volume subsequently being released in Japan in print later that year. Viz Media’s English-language edition of Twilight Princess debuted in print in 2017.

Link is a young man trying to outrun his past. A year and a half ago he wandered into the border village of Ordon, hiding his personal history in hopes of establishing a new life for himself. Ordon is idyllic, seemingly a perfect place for Link to retreat. The land is said to have been blessed by the spirits and the village is well-known for its bountiful harvests. Although Link arrived as a stranger, he was warmly welcomed by the villagers and has since become an integral part of the community. Link loves Ordon and its people, but there’s always a small part of him that feels like he doesn’t quite belong. He is still plagued by guilt over the tragedies of his past, dealing with a weighty feeling of responsibility which is impossible to ignore. Having experienced disaster before, Link may be one of the few who can prevent it from happening again. Most of the other people in the sacred kingdom of Hyrule are unaware of the looming threat that the long-forgotten Twilight Realm poses. It’s a danger that grows even greater when the ambitions of one man to rule both the light and the dark begin to come to fruition. As the shadows of darkness gather around Ordon, Link will have to face his past and his fears, confronting the possibility that he will once again lose everything that he holds most dear.

The Legend of Zelda: Twilight Princess, Volume 1, page 122Although I’ve played some of the original Twilight Princess, familiarity with the video game is not at all necessary to enjoy Himekawa’s adaptation. At least so far, the series can stand on its own as a work–the manga largely comes across as a freely-developed fantasy rather than a strict reimagining of a video game. Himekawa’s narrative in Twilight Princess is streamlined and quickly paced, incorporating elements of the original game in clever ways. Some of the wonder of having a world to leisurely explore and discover is lost as Twilight Princess is adapted into a different medium, but in exchange the manga emphasizes depth of characterization. As the protagonist, Link is generally the most fully-realized character. I really like Himkeawa’s multi-faceted interpretation of Link in Twilight Princess. While at heart Link is a troubled and brooding hero, he also exhibits happiness and joy and there are moments in the manga when his good-natured goofiness shines through. The Twilight Princess manga, much like the video game itself, is intended for a more mature audience than many of the previous incarnations of The Legend of Zelda. The story tends to be fairly dark and can be strikingly violent at times.

One of the things that I appreciate the most about Himekawa’s work on The Legend of Zelda manga is the creators’ ability to adjust their tone and style to fit the requirements of a given series. Himekawa’s skill and flexibility as artists can be seen as they move from one adaptation to the next, but can also be exhibited within a single manga. In Twilight Princess specifically there is a wonderful contrast between the serene, pastoral setting of Ordon and the ominous darkness and shadowy creatures encroaching upon it. The artwork in Twilight Princess is beautifully executed, ranging from the gorgeous to the grotesque as demanded by the story. In comparison, the storytelling itself isn’t nearly as strong. The first chapter of Twilight Princess in particular suffers from some awkward exposition and Link has a tendency to ask questions that he should already know the answers to having lived in Ordon for so long. Still, I do like the story, characters, and settings of Twilight Princess. In the past, Himekawa’s The Legend of Zelda manga have only been one or two volumes long. I would be surprised if Twilight Princess could end satisfactorily in such a short span, so I hope that the series will be longer to allow the story to unfold more naturally; I enjoyed the first volume of Twilight Princess a great deal and look forward to reading more.

Thank you to Viz Media for providing a copy of The Legend of Zelda: Twilight Princess, Volume 1 for review.

Filed Under: REVIEWS Tagged With: Akira Himekawa, Legend of Zelda, manga, viz media

Durarara!!, Vol. 6

March 23, 2017 by Sean Gaffney

By Ryohgo Narita and Suzuhito Yasuda. Released in Japan by ASCII Mediaworks. Released in North America by Yen On. Translated by Stephen Paul.

When you write a book that creates a series of events that spiral into chaos, as Narita specialized in, particularly in this series, it can be many things to many people. For every character that’s involved in wacky hijinks, there’s another who’s undergoing a traumatic life-changing event. The skill is to keep those balls up in the air, and more importantly, to make everyone distinctive and memorable. As the books go on, we introduce more and more new cast members, and you need to be able to care about everyone without consulting the wiki to remember who they are (A Certain Magical Index suffers from this quite a bit). Luckily, Narita is quite good at this, so we can empathize not only with our heroes, but even the passing villains who get curbstomped by yakuza, and said yakuza, who are finding all of these gangs and Russian assassins simply exasperating. It’s all things to all people.

And so Durarara!! can be a comedy. There’s lots of great humor here, even if some of it is pretty twisted. Shinra’s diary of Celty fetish outfits, and her reaction to same. Chikage’s absolutely ridiculous chivalry, with equal measures of “knight in shining armor” and dumb sexism. Speaking of sexism, Erika gets to play the depraved bisexual in this one, groping Anri for no reason other than she wants to and to give the illustrator some fanservice to draw. Not OK, Erika. There’s also her and Walker namechecking Index and Shana in the middle of a pitched fight. And Mairu and Kururi’s chatroom gabbling is always worth a smile.

But Durarara!! is also ridiculously heartwarming. The fact that Shizuo has grown and changed as a person is a literal plot point here, as that very growth is what spoils Izaya’s plans. I loved the way that he bonded with Akane at the end, after saving her from Vorona and Slon. Celty might be weirded out by all the talk of Akane killing him, but it’s sweet in a Ryohgo Narita way. Anri may not be able to admit how close Mikado is to her, but her attempts to protect him are wonderful to see, as are Mikado’s absolutely pathetic attempts to protect her and also stop the Dollars gang from kidnapping Rio and her friends. For all that I like to say that Durarara!! is about terrible, twisted people, a lot of them have a good heart. Oh yes, and who doesn’t get a warm feeling in their heart when they see Izaya get what he deserved at the end of the book? I know I smiled. Well, cackled, really.

But I’m avoiding the elephant in the room, and that’s the fact that Durarara!! Book 6 is also a tragedy. We see a bit of it in miniature with Akane, a genuinely sweet little girl who is broken by events (and helped along by Izaya) to the point where both Celty and Shiki are disturbed by her but can’t quite put their finger on why. Vorona is shown that she’s nowhere near strong enough to take on Ikebukuro (don’t worry, she’ll be back). And then there’s Mikado, who is being used as a pawn by both Izaya and Aoba, and who finally makes a decision to go to a very dark place. Several times in the book we see people seemingly know Mikado better than he knows himself, and he’s given several opportunities to back off, to do the right thing, to become a good person. And he absolutely rejects all of them, agreeing to become the Blue Squares leader so that he can “fix” the Dollars. The most chilling moment in the book isn’t when he stabs Aoba in the hand with a ballpoint pen (though that is the most famous moment). As Aoba also realizes, it’s right after, when he switches back to innocent, kindhearted Mikado like flipping a switch. Mikado has chosen to embrace the darkness, and I appreciate that the narrative shows us how much of a terrible tragedy that truly is.

So we’re at the end of another arc, and that means next time we’ll see a lot of wandering around and setting up future plotlines. Still, books like that are what lead us to books like this, which is a highlight of the series.

Filed Under: durarara!!, REVIEWS

Ranma 1/2, Vols. 37-38

March 22, 2017 by Sean Gaffney

By Rumiko Takahashi. Released in Japan by Shogakukan, serialized in the magazine Shonen Sunday. Released in North America by Viz. Translated by Kaori Inoue, Adapted by Gerard Jones.

And so at last we come to the end of the great Ranma 1/2 reissue. Inu Yasha may have had a broader reach, Urusei Yatsura may have had a bigger impact on Japan itself, and Maison Ikkoku may have had more maturity and resolution, but Ranma will still be THE anime gateway for many fans, along with Sailor Moon and Bubblegum Crisis. Having read the series again, I am able to see why it was so wildly popular, as well as why revisiting it can be frustrating. Ranma does not have depth – in fact, it actively leaps out of the way of depth – which makes it perfect for creative fans who want to give it that depth. It’s no coincidence that more than AMVs or fanart, it was fanfiction that was the biggest part of the mid-90s Ranma boom. Still, this does not mean that Takahashi’s manga is not good. It’s very good indeed.

Please do not be fooled by the cover – yes, there is a wedding at the end of the book, but we don’t even get to the ceremony before everything is completely destroyed and we return to the status quo. Well, status quo except that it seems that if there had not been chaos, Ranma and Akane might have gone through with the wedding. But there is always chaos in Ranma, it’s practically the main cast member. This manga ends much the same way that many of the classic UY anime episodes ended – with more and more of the cast showing up, each trying to beat up somebody else, until everything finally turns into a giant pile of destruction. Ranma 1/2 is not a romantic comedy, or a harem manga, or even a martial arts comedy. It’s pure slapstick.

The martial arts gets a good workout in the main part of this volume, though, as we return to China to battle another major villain. You get the sense that Takahashi is trying to figure out a way to top Herb, and she doesn’t manage it, really, but A for effort. The whole main cast is there (poor Ukyou, guess you were supporting after all), and there’s lots of cool fights and dramatic kicks and Akane and Shampoo in distress a lot of the time. That said, even when captured or dehydrated down to the size of a doll, Akane is still thinking hard and trying to get herself out of her predicament. Shampoo, alas, is merely mind-controlled most of the time. (I will note that Akane not noticing Ryouga transforming several times in this beggars belief, but hey.)

And so Ranma ends with our main couple waving goodbye to the readers as they head off to school again. It’s never quite confirmed that they do have mutual feelings for each other, mostly as I think Takahashi hoped people could read between the lines and see that she’d had them show their love without saying their love several times. (UY did this too – Ataru in particular was the poster child for “show, don’t tell”.) It didn’t quite work, and fans who disliked Akane were always quick to point out the open-endedness of the ending meant that they didn’t end up together. Takahashi later did one of those “character relationship charts”, filled with one-sided arrows, except for two – Ranma and Akane, and Ryouga and Akari. So she knew they loved each other.

But we don’t read Ranma for resolution of romantic tension. We read it for genderswapping and bizarre martial arts contests and so many fights and “Ranma no baka!” and in order to flesh out our 800,000 word epic fanfic with smatterings of actual canon. And we read it because we love the characters, flat as they are. Of course, we may not always love the SAME characters, but any Ranma fan is obsessed with at least one of them (except Happosai). Ranma 1/2 was a roadmap to modern anime fandom, and the road may be less traveled these days but it’s worth walking back over.

Filed Under: ranma 1/2, REVIEWS

Accel World: The Seven-Thousand-Year Prayer

March 21, 2017 by Sean Gaffney

By Reki Kawahara and Hima. Released in Japan by ASCII Mediaworks. Released in North America by Yen On. Translated by Jocelyne Allen.

And so, at last, we come to the end of the Armor of Catastrophe arc, which was not only deliberately meant to be a long arc but also grew out of the author’s control, as he’s admitted himself in the afterword. The volume gives us a lot of what readers like about this series: good battles with some nice analysis from Haruyuki, some amusing harem comedy, some heartwarming romance with Kuroyukihime, and an examination of the nature of negative emotions and how to cope with them every day, because they don’t just magically go away merely because everyone believes in you really hard. That said, it also has some things that fans tend to not like as well: Haruyuki is not only the bestest person to ever be possessed by the evil armor, but he’s a shining magical beacon of hope for all. Oh, and he gets another girl confessing to him, and is caught with her lying on top of him, because harem comedy. It’s a balance.

The significant development here is a bit of a spoiler, but worth talking about. We learn the true identity of Ash Roller, which turns out to be somewhat confusing, meshing up a tragic tale of an introverted girl and her comatose brother with the nature of the neurolinkers that are omnipresent in this world. It’s left deliberately up in the air what’s going on here, whether Rin is literally being possessed by her brother while in the Accelerated world, or if she’s merely taking on his role to an almost absurd extent. (She genuinely seems to be unaware of what transpires without wearing her brother’s neurolinker, so odds are on the first.) That said, I admit to a bit of irritation at the fact that one of Haru’s only male friends turns out to really be a shy young girl who’s in love with him in real life. (The shyness is conveyed via an odd speech pattern – Rin talks in sentence fragments, and it’s unclear if this is a mental issue like Utai’s or if it’s meant to be natural introversion.)

That said, once again after a lot of harem tease we are reminded that at the end of the day there is only one who is top of the heap, and it’s Kuroyukihime. We get a little more insight into her real-life background – she lives alone in a very rich neighborhood, and it’s implied that the murder of the Red King in the Accelerated World had a counterpart in real life as well. That said, just as Haruyuki is a Pillar of Hope for All despite his omnipresent self-hatred, Kuroyukihime tends towards the perfect accepting girlfriend much of the time, listening calmly as Haru pours out his fears, getting the crap beaten out of her in the AW waiting for him to overcome the Disaster, and bushing cutely when he’s accidentally proposing marriage to her without actually realizing it.

So in the end Accel World has much the same strengths and weaknesses as the author’s other series, Sword Art Online. Which means fans of one will enjoy the other, and those who hate Kirito with a passion probably will find themselves getting annoyed at Haruyuki here. The next book should be standalone and lighthearted, and I fear that may mean MAXIMUM HAREM ANTICS. We shall see.

Filed Under: accel world, REVIEWS

Ne Ne Ne, Chapters 1-4

March 20, 2017 by Katherine Dacey

Ne Ne Ne sounds like E.L. James fanfic: the lead character is a virginal lass who’s forced into an arranged marriage with a sexy, mask-wearing man twenty years her senior. The actual story, however, is much less kinky than my capsule summary would suggest. Like millions of other nineteenth-century couples, sixteen-year-old Koyuki and thirty-seven-year-old Shin begin their married life as strangers, their union one of familial expediency rather than romance. Each entertains different ideas about what constitutes a proper marriage: for Koyuki, being married means homemaking and child-rearing, while for Shin, being married means mindful companionship. Most of their conflict stems from Koyuki’s immaturity, as she bursts into tears every time she burns a meal, tumbles off a ladder, or ruins one of Shin’s yukatas.

Though Koyuki’s bungled chores and teary monologues scream “moe,” Ne Ne Ne retains a core of emotional honesty that’s missing from other rom-coms about clumsy young girls and their older male admirers. The secret lies with the manga’s nuanced portrayal of Koyuki and Shin. Artist Daisuke Hagiwara does a fine job of showing us the degree to which the characters’ ages influence their expectations about married life, using small gestures — a shrug of the shoulder, a chaste kiss, a longing glance — to reveal how carefully the two are approaching their new roles. Author Shizuno Totono also raises the question of sex, hinting at the characters’ mutual attraction while acknowledging the moral and ethical dilemmas posed by Shin and Koyuki’s age gap.

Ne Ne Ne isn’t all angst and meaningful glances; Totono and Daisuke dish out plenty of jokes and sight gags, too, going to great lengths to demonstrate that Shin never takes his mask off. (Not even when he’s doing the laundry! Or snoring on a futon!) Shin’s mask serves a legitimate purpose beyond generating jokes and occasional moments of erotic tension, however: it’s a symbol of his profession — priest — and his connection to the supernatural world. In one of the story’s loveliest scenes, Shin gives Koyuki an impromptu lesson on how to spot yokai. Koyuki’s face conveys her profound sense of wonder at seeing her first dragon, and her delight at forging a small but meaningful connection with Shin — something she’s struggled to do in their more routine interactions as husband and wife.

Totono and Daisuke are less successful at wringing humor out of the couple’s interactions with supporting players. These characters are two-dimensional at best, defined by a single trait or habit that determines how they react to Koyuki and Shin’s marriage. Their brash neighbor Shouta, for example, cracks wise about the age gap between Shin and Koyuki — at one point, he implores Koyuki to marry him “when that old guy dies” — but his comments are anachronistic; it’s hard to imagine a young man in Meiji-era Japan finding an arranged marriage unusual, or speaking to his elders with such blatant disregard for etiquette. Koyuki’s father is similarly two-dimensional, a walk-on role whose main function is to defend his daughter’s chastity with comic fury. (He forbids Shin to consummate the marriage until Koyuki turns 20.) As with Shouta, these scenes don’t contribute much to our understanding of the period setting or the family dynamics that brought Shin and Koyuki together; they do, however, remind us that Shin is waaaaaaaay older than Koyuki.

If Totono and Hagiwara sometimes seem too intent on proving to the reader that Ne Ne Ne is more than just a pervy tale about an old guy in a mask and his child bride, the manga nevertheless manages to be funny, sweet, and honest about the challenges of marital life — something I didn’t expect from a story with such a ludicrous premise. Recommended.

Yen Press is simultaneously publishing the English-language edition of Ne Ne Ne as it’s released in Japan. As of March 20, 2017, four chapters are available. They can be purchased individually or as a package through Amazon, Barnes & Noble, Book Walker, ComiXology, Google Play, iBooks and Kobo.

NE NE NE, CHAPTERS 1-4 • STORY BY SHIZUKO TOTONO, ART BY DAISUKE HAGIWARA • YEN PRESS • NO RATING (APPROPRIATE FOR TEENS 13+)

Filed Under: Manga, Manga Critic, REVIEWS Tagged With: Daisuke Hagiwara, Ne Ne Ne, Romance/Romantic Comedy, Shizuku Totono, yen press

Pick of the Week: Delectable Digital

March 20, 2017 by Sean Gaffney, Ash Brown, Anna N, Katherine Dacey, Michelle Smith and MJ Leave a Comment

SEAN: As I noted i n Manga the Week of, I think this week breaks the record for most volumes in one week, helped along by Kodansha’s burgeoning digital lineup, which I’m sure the rest of the team will be talking about below. My pick of this week is Barakamon, though, which is seemingly a slow-moving, relaxed series but in reality has moved from strength to strength, and the development of its characters in this volume in particular is amazing. It’s become one of my favorite manga series.

MICHELLE: There are several debuts this week that I’m really looking forward to, but the single volume I most want to read is the fourth and final That Wolf-boy Is Mine! The series surprised me with how good it was, and I wouldn’t miss the conclusion for anything.

KATE: I’m most excited about Kodansha’s latest digital offerings. The swoon-worthy covers for Altair: A Record of Battle and Hozuki’s Coolheadness are calling out to me.

ASH: Agh! I’m so conflicted! Once again, I’m probably most interested in Kodansha’s digital releases this week, but I don’t generally read manga digitally. I really hope to see some of these like Altair: A Record of Battle and Hozuki’s Coolheadness eventually make their way into print. In the meantime, my official pick for this week goes to Goodnight Punpun which continues to be an incredibly surreal and uncomfortable but powerful and resonate work.

ANNA: I have to say, I’m finding Kodansha’s digital releases very compelling, although so much is coming out, I can see myself losing track of titles I want to read fairly easily. That being said, Altair: A Record of Battle is what looks most interesting to me, so that’s my pick.

MJ: Like Kate and Ash, I’m pretty interested in Altair: A Record of Battle, but I think I’ll put my vote in for Hozuki’s Coolheadness, which seems likely to ping a lot of my personal preferences all at once. And if I only wish these were being made available in print, I guess we take what we can get.

Filed Under: PICK OF THE WEEK

Bookshelf Briefs 3/20/17

March 20, 2017 by Katherine Dacey and Sean Gaffney Leave a Comment

Barakamon, Vol. 13 | By Satsuki Yoshino | Yen Press – For a relaxed slice-of-life series set on an out-in-the-boonies Japanese island, Barakamon has had a surprising amount of character development, mostly coming from its lead, Seishuu Handa. He and Naru go to Tokyo as promised in the last volume, and he meets his supposed arranged marriage fiancée, who turns out to have lost about 150 pounds since she had the photo taken that he saw. They get on very well, but, as is noted in the text, it’s bizarre to see two people with so little sexual tension. (I assume Barakamon‘s BL fandom in Japan is as large as it is here, which might explain why.) Meanwhile, his decision to become a calligraphy teacher is pitch-perfect and flows well with what he’s been doing. A fantastic volume. – Sean Gaffney

Everyone’s Getting Married, Vol. 4 | By Izumi Miyazono | Viz Media – This series continues to tie all of its various plots together with ease, ranging from serious events like Kamiya’s aggressive courting of Asuka and the fact that Ryu is a celebrity and being seen with him would have a backlash on both their careers to lighter fare such as Asuka being upset that Ryu paying too much attention to her belly during sex reminds her she’s gained weight. Speaking of sex, we get the dreaded “here’s a story from earlier in the author’s career to pad out the volume” extra. Fortunately, it’s good. Moreover, it’s HOT—possibly the most erotic thing Viz has published in some time, with a frankness that blows away both the reader and the heroine. An excellent adult romance series. – Sean Gaffney

Happiness, Vol. 3 | By Shuzo Oshimi | Kodansha Volume three of Happiness offers further proof that Shuzo Oshimi’s teen vampire drama may be the best manga you’re not reading. Though Oshimi has a knack for introducing surprising plot twists, he never takes short cuts to get there; as volume three demonstrates, Oshimi makes these narrative twists and turns effective through meticulous character development and world-building. By the end of the volume, we have a clearer sense of what might happen to Makoto’s family and friends if he continues to live among them as a normal teenager. Expressive, trippy artwork adds special urgency to Makoto’s story, giving us a better sense of how hard it is to be a hormonal fourteen-year-old vampire with a conscience. Edvard Munch would approve, I think. – Katherine Dacey

Haikyu!!, Vol. 9 | By Haruichi Furudate | Viz Media – The tournament is over, and our heroes lost—not uncommon in long-running sports series. So it’s back to aggressive training—provided, of course, our two young phenoms can pass their midterms, as they won’t be allowed to go to Tokyo to practice otherwise. Fortunately, the team has a new team manager who’s learning the ropes from the old one, and gives us—horrors!—a second female regular in the series. Yachi is cute and somewhat introverted, and reels a bit from dealing with overtly in your face people like Shoyo. She’s also smart, though, and has an eye for design. I like her. Meanwhile, there’s a new rival on Nekoma’s team, a Russian kid who’s just as phenom as our heroes. What will we learn in the next volume? – Sean Gaffney

Nisekoi: False Love, Vol. 20 | By Naoshi Komi | Viz Media – We’re beginning to wrap up Nisekoi, and much as the fandom may have wanted it to end with an actual harem, that ain’t happening. The first to fall is the last one in, which is to say Yui, Raku’s older sister figure and teacher. She’s required to either marry Raku in a week or return to China for an arranged marriage, which is annoying as she’d just given Chitoge the “I want my beloved to be happy” speech. The best moment in the volume belongs to Marika, who heard said speech and finds it infuriating that Yui would simply leave her feelings unexpressed and not try her hardest to win Raku. And, of course, Raku is still clueless about the fact that Chitoge is now Best Girl, though the narrative will spin that out a bit longer. Very well-written if frustrating. – Sean Gaffney

Sword Art Online: Progressive, Vol. 5 | By Kiseki Himura and Reki Kawahara | Yen Press – Last time I noted that the manga changed a few things from the end of the first novel. This new volume, adapting the second novel, goes even further, adding a whole raft of new scenes that give more added depth to the Dark Elves—particularly Kizmel’s doomed sister and her fiancé. This allows us to have more extended fight scenes, and also gives the whole thing a feeling of growing tragedy, but it also helps emphasize one of the big plot points of book two—are the NPCs really sentient? Kirito says no, and points out that Tilnel, Kizme’s late sister, may have even been ‘modeled’ on Asuna after they encountered each other. Asuna, who is far more of a dreamer than Kirito, thinks differently. This has become essential. – Sean Gaffney

Welcome to the Ballroom, Vol. 3 | By Tomo Takeuchi | Kodansha Comics – After a couple of volumes that seemed to try to balance out possible romance with dancing, this third one tilts firmly towards the ‘dancing’ side of the equation, and it’s all the better for it. Tatara is a faster learner than anyone had really given him credit for, though he needs to build up his stamina, a fact that I suspect will come back to bite him in the next book. He also learns that as the male partner in a ballroom dancing team, his job is to better bring forth the beauty of his female partner. And then there is the art, which is the series’ main strength and reason to buy. It’s brilliant, making the reader feel as if they’re right there in the room. This series has gotten very good very fast. – Sean Gaffney

Filed Under: Bookshelf Briefs

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