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Story by Ryukishi07; Art by Hinase Momoyama. Released in Japan as “Higurashi no Naku Koro ni: Minagoroshi-hen” by Square Enix, serialized in the magazine GFantasy. Released in North America by Yen Press.

This review has spoilers!

Ladies and gentlemen, after 18 volumes, meet our heroine.

The author talks in the notes for this volume about how he tried to keep Rika’s main character-ness a secret at first, with Keiichi, Rena and Shion getting all the attention. The Time Killing Arc was probably the one exception, and even that was 5 years before the main action. We’ve known Rika is much deeper than she seems, and that she can see/understand the constant resets in this world. But this is where the manga outright has her as the star. And while no one is going to pick up a new manga 19 volumes in, the first chapter does a decent job at setting up the ‘mysteries’ and ‘rules’ of the resetting worlds… even if it turns out to be wrong a lot.

By the way, the twin girl that Rika meets is Frederica Bernkastel, whose poetry we have been enjoying at the start of each arc. She is somewhat unimportant to the Higurashi series (we’ll only see her again at the very, very end), but is a far larger player in Umineko, which begins over here in two months… Also, Frederica, not Furude Rika. I don’t know how anyone could mix them up. :)

We do also meet another major character here – Hanyu, aka ‘Oyashiro-sama’. For a series that has combined moe and gore to such a large degree, it’s not as much of a surprise as one would think to find that their torture god is an adorable little girl who hates all the killing. Seeing her stomping her feet in rage at Takano’s insane ravings is quite funny. Possibly the only funny thing she gets to do in this arc – Hanyu is a drag, and ends up bringing Rika down with her. Downtrodden and depressed, she’s the one resetting the worlds, but it’s clear she has no confidence this one will be any different.

But oh, how wrong she is. This is what the previous 18 volumes have led to. Remember Higurashi is actually an adaptation of a game, where the player saw everyone make really, really horrible mistakes. And in this world, through the constant replays and reboots, they subconsciously learn from those mistakes, and make the right decisions. This is one of the more heartwarming parts of the volume. Seeing Keiichi give Mion the doll, seeing Shion treating Satoko like a little sister, Rena confessing that she got her dad help and a job… it’s great to see. And it has a wonderful capper, as who should show up in Hinamizawa but Akasasa. With his wife. Who is not dead. It’s pure happiness on a manga page.

And this is where hubris starts to hit Rika. After being so depressed for so long, seeing this is a world where everything is ‘perfect’ makes her a little too cocky. She goes to tell Tomitake and Takanao that they’re going to be killed… and they seem to believe her. She deliberately incites a gang to hit her… and it turns out she now has hidden bodyguards. So she gets the tiniest bit smug… and oh, does she ever pay for it. Because this is the Answer Arc for the MOST DEPRESSING ARC EVER, the Curse Killing Arc.

See, when Rena turned to Mion and confessed the difficulties she and her dad were having, Mion told her family. Who are yakuza. Who responded by simply quietly killing off Mamiya, the woman blackmailing Rena’s dad. And with Mamiya now dead… Satoko’s uncle has come back home. This leads to the most chilling image of the volume, Satoko with a huge bruise on her cheek and empty eyes. We only have one problem to solve in this world, but oh, it’s a doozy.

But remember, people are learning from their mistakes, mostly. So even though Shion backslides a little, murder for once ISN’T an option. Instead, they go to child services. Who suck. Horribly. So they go back, with their teacher and principal. And fail again. It’s like beating your head against a brick wall, mostly as Satoko refuses to admit that she is being abused. (Well, maybe murder isn’t an option as it’s being taken off the table… the first thing Rika does is go to Takano and ask that her hired goons take out Satoko’s uncle. She should know better.) And Ooishi, despite getting a nicer introduction than usual, is not helping at all with his usual elliptical warnings.

By the way, there’s still the matter of who is killing Rika. When this first started in GFantasy in 2009, the games were finished. As was the anime. 95% of the people reading this knew who the main villain was. So you see the author cheating a bit, with perhaps a few more creepy villainous smiles than might be warranted. More on this later. It isn’t called the Massacre Arc for nothing, after all.

As you can see, there’s a lot going on in these first two volumes. I am pleased that Yen omnibused them. The next two aren’t out till December, but luckily we have Umineko in November. We switch from cicadas to seagulls… and also switch from a series searching for its happy ending to one where that may not even be an option.

By Satoko Kiyuduki. Released in Japan by Houbunsha, serialization ongoing in the magazine Manga Time Kirara Carat. Released in North America by Yen Press.

It may seem like forever, but in reality we’re getting two new volumes by Kiyuduki-san this fall, with this and the 3rd Shoulder-A-Coffin Kuro. This series ended up being far more popular in Japan (much to the consternation of Western fans, who I think prefer the darker Kuro), probably due to its dynamic – let’s face it, if every series you do with cute high school girls living their ordinary lives sells well, you’re going to want more of that. The artist does use this fourth volume to provide a bit more depth and characterization than we’d seen previously, though.

This series has always been compared with Sunshine Sketch (and not just over here – Japanese fanartists cross the two series over a lot), but GA is far more serious about its art. Previous volumes have dealt with color choice, textures, and lettering. This one has the color pages dealing with fashion from early to modern, and the chapters cover topics like the best way to convey water, how to get your model to not pose stiffly, and (in the best sequence) Kisaragi losing her glasses and seeing the rest of the cast as indistinct, vegetable-like shapes. For a 4-koma cutie series, the artist is not afraid to experiment within its boundaries.

Speaking of which, one series starring Noda, the flakey and eccentric girl, shatters the fourth wall in what turns out to be a long dreams sequence (which surprised me, as usually it’s Kisaragi who gets those sorts of stories). Noda, by the way, enjoys teasing Namiko, the straight woman of the group, about her weight and her larger chest. It was entertaining seeing that Namiko is starting to fight back in a deadpan way, and seeing Noda getting all upset is quite amusing, given she’s normally so hyperactive and cheery. Speaking of Namiko, she may be the perfect oneesama character to keep everyone else in check, but apparently her home ec skills show she’s not ready to be a perfect Japanese housewife just yet.

As for the third-year group that’s our secondary cast of GA characters, they get some nice spotlight time as well. Awara ends up wandering into said home ec class, and gets corralled into helping Kisaragi and Namiko make pasta. We also learn her eyesight is exceptional, almost preternaturally so. This is a contrast to the bespectacled Uozumi, who not only needs glasses but turns out to be color-blind (which, this being GA, leads to a discussion of how color-blind people see art and what Van Gogh painted). And in the final chapter of the volume, we see the sickly Tomokane brother, having passes out in the sun (his being sickly has been a plot point throughout) musing on the relationship between him and his sister (also Tomokane – the artist has deliberately avoided giving them first names) and how they contrast perfectly with each other. Not to mention how his sister apparently has psychic powers to know when he needs her help…

As I noted above, there are a ton of cute girl 4-koma series out there, even in North America. Most need something beyond the initial gimmick to keep you reading. And besides the bond between the cast members, humor, and occasional bits of character development, this series simply makes you more interested in art, and how artists see things. It’s great fun, and I’m pleased that we finally have the 4th volume. It’s coming out very slowly in Japan, though, so it may be a while before we see it again.

By Toru Fujisawa. Released in Japan as “Shonan Jun’ai Gumi” by Kodansha, serialized in the magazine Weekly Shonen Magazine. Released in North America by Vertical.

One of the things I’ve always liked about the GTO franchise, be it Shonan Jun’ai Gumi or GTO or Shonan 14 Days, is its insistence on taking responsibility for your own actions while at the same time not letting that destroy your dreams. Onizuka choosing to become a teacher may have had a lecherous motivation at the start, but it’s been proven time and time again that his ability to motivate jaded young minds and make them see there are other ways is second to none. And it’s also seen here in the earlier title, as we meet Nao Kadena, a former young punk who drove around in fast cars and on fast bikes (because there was nothing else to do, of course) who is now returning as a teacher in order to motivate these kids to get better grades… by any means necessary.

Onizuka here is fairly admirable throughout. Even if he’s attracted to Nao and thinking with his genitals as usual, he still notes that there’s something off about her, and resolves to dig a bit deeper and find out (and if he happens to see her naked, well, bonus). It’s this desire to understand and help others that makes him such an attractive shonen hero, and helps us to understand why girls actually do fall for him.

Then we have the second half of the book, which opens with a scene which reminds you why, even if he has a lot of girls falling for him, he’s still a virgin. After being mocked by Ryuuji, who is off for a secret date with Nagisa (still locked up by her parents, I believe), Onizuka decides to lose his virginity once and for all. So he climbs 12 stories up to Shinomi’s apartment, breaks into her bedroom, removes her panties and prepares to rape her in her sleep. Now, I know this was meant to be played for comedy. I also get that Shinomi woke up, beat the shit out of him, and that everyone regards him as a complete idiot for these actions. But holy crap, Shonen Magazine! What kind of heroes are you rolling out here?

Of course, we can also guess he probably wouldn’t have been able to go through with it. When he meets up with a genuinely cute girl later at a karaoke bar, who seems to be almost too good to be true. Taking her to a love hotel, he confesses his desire, and she’s willing to sleep with him… but is clearly doing it because he wants to, not due to any feeling on her part. This stops Onizuka cold, and he walks out, noting that he wants his first time to have some sort of love behind it. (That sound you heard was my neck breaking from the whiplash from three chapters ago to this point.) This touches her, and so over the course of the next few days the two begin a genuine romance – much to Shinomi’s annoyance (yes, she still has a crush on him despite everything).

Of course, the final pages seem to indicate that this romance won’t last. I’m not actually sure if this will end in a comedic way or will be another ‘Onizuka saves a lost soul and teaches them to dream again’ sort of climax. We will see in Vol. 15, the final volume in the series. Till then, enjoy Onizuka, seen here at his best and worst.