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By Milk Morinaga. Released in Japan by Futabasha, serialized in the magazine Comic High! (earlier stories serialized by Ichijinsha in the magazine Comic Yuri Hine). Released in North America by Seven Seas.

When I was growing up, the generally accepted “yes, you can now be nostalgic about this” period was about 20 years. Happy Days being the primary example, but the same thing applied as the 1980s wore on. Then, sometime around the early 90s, nostalgia started to speed up. Suddenly we can’t get enough of revisiting things that only happened 5-10 years ago. And this makes sense, given how fast culture has been moving lately thanks to the Information Superhighway and such. (See what I told you about nostalgia?) What this means in practice is that we can be startled that things we read only a few years back suddenly seem like products of a bygone age, and Kisses, Sighs and Cherry Blossom Pink is an excellent example.

When these stories first came out in 2003 or so, it was fantastic. They were in a magazine devoted exclusively to ‘yuri’ stories, and many of them sailed along based solely on that premise. Girls! In love with other girls! And even kissing and stuff! This particular story was actually a group of one-shots that ended up centering around the same school, which is attended by Nana and her friends (Hitomi’s school gets far less attention, possibly as it seems to be far less yuri-friendly). It’s not just Nana – there’s ghosts in love, and unrequited love, and a Takarazuka ‘prince’ who’s actually a bit of a weirdo. It’s a whole yuri subculture. And, in 2003, this was fantastic.

Why does it seem to old and cliched now? It’s partly because Morinaga Milk essentially rewrote and improved Nana and Hitomi’s story in Girl Friends a few years later for Futabasha (after first wrapping it up, as we see in the second volume of this collection.) But it seems to me to be primarily that this sort of story is now old hat. There’s so much more yuri out there, and not all of it has to be “Girl meets girl, girl likes girl, they like each other, the end.” Actually, at the time this collection went FURTHER than a lot of the stories in Yuri Hime. Nana and Hitomi are sexually active, and we see that – again, something that was a real wow in 2003.

But nostalgic doesn’t necessarily mean bad, it simply means “wow, I can’t believe this is only 10 years old”. These stories are cute and sweet, and even the story that doesn’t end with two girls getting together still manages to be adorable. There’s not a lot of “couples buying refrigerators” here – indeed, the manga ends literally right before Nana and Hitomi will have to do that – because in 2003, this was enough. Girls being gay and in love (well, as gay as they’re allowed to be – the word ‘lesbian’ isn’t used much here) at their local schools, and some of them even (gasp!) staying together after they leave school.

I really enjoyed this series, as it brought back a lot of happy memories, and the stories set up a lot of other series that I’ve also enjoyed that followed its example. Nana and Hitomi are sweet, everyone is happy (though the final Nanan and Hitomi story does have a deus ex machina so blatant you could drive a moving truck through it), and the series is quaint. Quaint and twee, you’re in 2003. Nostalgia is the new nostalgia. Recommended.

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

If you had not been following along with One Piece and were trying to come into this volume totally unspoiled, well, sorry. The cover totally spoils one of the funniest gags Oda’s come up with in some time, unashamedly. There’s a whole lot going on in Punk Hazard, and I’ll get to some of it later. But mostly what people remember from this volume is the bodyswapping. The reasoning behind it is somewhat flimsy – Law doesn’t want the Strawhats getting away, so does this to create chaos, I believe – but the consequences are pure gold, even if it means putting up with Sanji trying to feel himself up half the time. Even Smoker and Tashigi get in on the act, with a bodyswap that makes your head hurt even more. (Tashigi is still, I note, dealing with “we’ll obey our captain because she’s really hot!” from the crew, and is totally unable to do anything against Law. But then again, neither is Smoker.)

Oh yes, Law! One of the most popular of the Supernovas, we knew he’d show up again, but not quite so soon. He doesn’t seem to be entirely behind what’s going on here, but he’s involved in some way, and it’s interesting seeing him scheme and plan when compared with Luffy’s “well, whatever” style of piracy. As for who is behind things, well, it would appear to be ex-government scientist Caesar Clown, who is basically the Joker from Batman, only as a mad scientist. He is creepy as hell, and it’s pretty obvious that he’s the guy Luffy will have to fight a few volumes down the road. His plot involves kidnapping and experimenting on young children, which is pretty damn dark, but then I remember the other backstories that this series has given us.

I would be remiss in this review if I did not stop to talk about my favorite character. Robin gets a lot to do here, including, to my surprise and pleasure, a huge number of jokes. No, she’s not making goofy faces, but we do see her imagining Usopp and Zoro as Duck Ferry Rides, and joining with the others in stealing the villains’ clothes for warmth, and absolutely shutting Franky down when he tries to make his usual poses and faces in Chopper’s cute body. (Robin has always had a soft spot for Chopper. Also, I sense this may be Oda trying to sink the Franky/Robin ship a bit – she’s clearly REALLY IRRITATED here.) And of course she’s making her usual references to all her comrades possibly being dead on pools of blood. If it’s Robin humor you want, this is the volume for you.

And I haven’t even mentioned the goofy samurai who’s just a head, or Nami’s maternal instincts oddly popping up (I’ll buy it, but only just – I have to wonder if she’s thinking of her own childhood pre-Bellemere), or Brownbeard, of all people, making a comeback, or the really creepy chamber of corpses, or the bird woman and what role she’s playing. As ever, there’s just so much going on here. By the time you finish this volume of One Piece, you could have read 5 Bleaches! Absolutely recommended.

By Osamu Tezuka. Released in Japan by Sekai Bunkasha, serialized in the magazine Nico Nico Comic. Released in North America by Digital Manga Publishing.

I have been noticing, around the internet, a lot less enthusiasm for this particular title as opposed to other Tezuka titles. Usually the comment will start by saying “Well, any Tezuka is good Tezuka, BUT…” and then moving on to note its fluffiness and lack of deep, tragic history. This is a marked contrast to the other type of Tezuka fan, which is the “we must have every single Tezuka work ever created translated into English as soon as possible!” sort. I have sympathy for both camps. Tezuka wrote a TON of stuff, and not all of it is going to be on the scale of Apollo’s Song or Buddha. At the same time, I do want to see his lighter comics that are just moments of everyday life or dumb humor. And that’s why I’m quite pleased to see Atomcat, which is both.

The story of a young boy and his Astro Boy-themed superhero cat, this manga actually intersperses moments from the actual Astro Boy manga (redrawn by Tezuka) as contrast and compare. Usually Tsugio reads about another aspect of Atom’s fairly crappy life, and sympathizes, then has to deal with his own issues, such as an eccentric father, overbearing mother, and the ever-present school bullies. He tries to take home a stray cat as a pet, but the cat is an absolute disaster, destroying everything in the house in a great comedy sequence. Taking it away so he can abandon it, he and the cat and struck by a car… driven by Princess Diana. Only not really, she and Prince Charles are actually ALIENS. The boy is fine, but the cat is dead, so they fix him using the boy’s memories… with are filled with Astro Boy. So now the cat is intelligent and has superpowers. This doesn’t help quite as much as you think, although he’s a few levels above Doraemon.

This is a very 1980s manga – leaving aside Charles and Di the space aliens, we also have the school bully being named Gaddafi. It’s also very much for kids – Unico was too, but it had an undercurrent of melancholy at its core that Atomcat simply doesn’t possess. This is broad comedy with lots of funny faces. Our hero’s father is an absentminded freak, and his wife is the typical cartoon wife – all she needs is a rolling pin to beat her husband with. Atomcat and Tsugio fight mummies and gangsters, search for island treasure, and plunge through the sewers of Japan.

There’s no real character arc here – Tsugio starts the series as a bit of a wimp, and ends that way as well, and the series does not so much end as stop. But it’s fun! The dialogue is snappy, the Astro Boy inserts work well with the themes of the stories, and there’s lots and lots of comedic slapstick, which Tezuka was very good at indeed. I read this title and thought of Mitsuru Adachi’s Cross Game, or Rumiko Takahashi’s Ranma 1/2. Everyone says they’re influenced by Tezuka, but we tend to look for it in series like Ayako. In reality, these manga artists were more likely to grow up reading stories like these – and these are the stories that influenced a future generation. Fluff, but IMPORTANT fluff.