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One Piece, Vol. 59

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

First of all, a warning: this review talks about that spoiler. You know the one. The one One Piece fans have been patiently waiting TWO YEARS to be able to talk about. It’s been out for months via the Shonen Jump magazine, but that’s still not good enough. And so now, Vol. 59 is out, and we can discuss it. I’ll put the spoilers after the image, just so you don’t see them by accident.

And so. The title of this volume, as well as the first chapter, is The Death Of Portgaz D. Ace. And for once – finally, in fact – Oda’s not messing with us. Yes, folks have died before in flashbacks, but for the most part, like Bleach, One Piece was well-known for having characters almost but not quite die. The classic example of this is Pell during the Alabasta arc, who flew into the air carrying a bomb, which then exploded in the air, and still managed to survive. One wondered what a person had to do to get killed in Oda’s universe. Well, here we have a one-two punch of death. First, Ace dies. This was implied at the end of Vol. 58, and it’s heartbreaking, though at least it gives Ace time to bid his brother farewell. Then, two chapters later, Whitebeard falls, having taken so many mortal wounds it boggles the mind. Oda knows how significant these two deaths are, and the weight they get is entirely appropriate.

Unfortunately, their deaths do not end the battle. Akainu is quite happy to keep killing until he runs out of things to kill, and the marines and pirates are almost all filled with bloodlust. (The ones who aren’t are notably the ‘good’ marine characters: Smoker, Tashigi, and Koby.) And for those who’ve been complaining that we’ve only had Luffy from our main cast for the last few volumes… now we don’t even have him. He’s so far gone after his brother’s death that his straw hat falls off and gets left behind. It’s shattering seeing Luffy simply frozen in catatonia. Instead, we get 4-5 chapters of pure chaos, not helped by the arrival of Blackbeard and his crew, who are there to gloat and declare a war of their own.

Honestly a lot of the first half of this book reads almost incoherently at times. I’m not entirely sure if this is deliberate. It’s hard to tell what’s going on, but it certainly gives the feel of being in the midst of a battle like this, where it would indeed be chaotic and incoherent and most soldiers or pirates would be just staring blankly at one event after another while trying not to die. It becomes less of a battle and more of a “rumble”, just with superpowers and a lot more death. To everyone’s surprise, putting a brief stop to it… is Koby! Yes, somehow Koby has found his inner volume control (or is this related to the Haki we saw Luffy use earlier?), and points out how they’ve achieved their objective and are only adding to the pile of bodies. It’s a great moment.

And if you’re going to have one legend go down in defeat, it makes sense to have the fight ended by another legend. Red-Haired Shanks arrives and not only stops a rabid Akainu from killing Koby, but declares the war over, and says anyone who wants to keep going can take on him. Shanks finishes what Koby started – everyone pauses, realizes what they’re doing, and the battle finally stops. As I said in my review of the last volume, it’s a battle that read better in weekly installments than it does in a big volume chunk, but either way it’s hard not to feel relief – this was exhausting.

Lastly, we finally get a flashback telling us the story of Luffy’s past – the one crewmember who had never had one. Needless to say, it’s not a happy and fun one, especially as his “new brother” Ace is acting like a complete asshole towards him. But Luffy is nothing but not stubborn, and we see him starting to win over Ace and his friend Sabo, who hasn’t been mentioned till this point and who screams “dead meat” to me. Of course, no doubt Oda knows this as well. In any case, the flashback will end in Volume 60, and perhaps we’ll finally see the rest of the crew again? They’re doing another speedup, so you can either find it online now for $4.99, or wait a month and get it in January. Still great stuff no matter what you choose, though.

Game Review: Sutakku

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Your wish is heard; a rich man you shall be!
Bits & Blips: Manga Bookshelf Edition

Once upon a time there lived a stonecutter, who went every day to a great rock in the side of a big mountain and cut out slabs for gravestones or houses. He understood very well the kinds of stones wanted for the different purposes, and as he was a careful workman he had plenty of customers. For a long time he was quite happy and contented, and asked for nothing better than what he had.

But we all know that kind of thinking won’t make you the 1%.

So says the Japanese folklore story, “The Stonecutter” which was the inspiration for this game.

Sutakku (スタック: stack) is a push-your-luck dice rolling game from Smirk & Dagger for one or more players of all ages. The game plays in five rounds, at the end of which the player with the highest score is the winner. It’s a quick game with very simple rules that anyone can learn.

Components:

Sutakku comes with 12 gorgeous 19mm (3/4”) dice, a dice bag, a score pad, a small deck of bonus cards, and a two-piece gameboard which players can use for building their dice stacks. The board also serves as a translator since the dice use Japanese kanji instead of pips which adds to the flavor of the game.

I can’t praise the dice in this game enough. I love both the size and the debossed Japanese numbers. They are quite heavy and hit the table with a satisfying “thunk” when you roll them. For me, this is important stuff for a dice game and Smirk & Dagger doesn’t disappoint here.

The rules also include the complete tale of “The Stonecutter”.

Gameplay:

The goal is to make a stack of dice that’s worth as many points as possible without “busting”, which means getting a “0” score for that round. When creating your stack, each die added to the stack must be the same or higher value than the die below it. This is not a dexterity game, so if the stack falls over there is no penalty; simply rebuild it.

On your turn, you’ll roll three dice. Two dice must then be added to the stack (or start a new stack if this is your first roll). If you cannot add two dice, you’ve busted! If you can add two, you do so and then it’s decision time: do you roll again or do you stop? If you stop, you score your dice (see “Scoring”). If you decide to continue, you’ll again roll three dice and will have to add two of them to the top of stack. As the number on the top of the stack gets higher, it becomes less likely that you’ll roll successfully. But the points…!

Once per round, a player may take a “mulligan” to attempt to get better results. However, only two dice are rerolled and both of them must be able to be added to the stack.

If you roll doubles and the doubles are higher than the third die, you can stack all three dice (assuming the third die is at least as high as the die on the top of the stack). If you roll legal triples, you may stack all three dice. If you roll a triple which can’t be played, you get a free reroll.

Scoring:

If a player stops rolling without busting, their score for the round is calculated. The score is equal to the number of dice in the stack multiplied by the number on top of the stack. So a stack of four dice with a 6 showing on top is worth 6 × 4 = 24 points.

There are bonuses available for living dangerously. If you continue rolling when the top die of your stack is a 5 and you succeed, then you get 50 bonus points. If you do this with a 6 at the top of your stack, you get 100 bonus points.

A real challenge is to try and create a tower of all twelve dice. Doing this successfully will net you 200 points in addition to any other bonuses you earned. There are special rules for what to do when you only have one or two dice left to roll which will help. It’s still a fairly unlikely but magnificent feat if pulled off.

At the end of the fifth round, the scores are totaled and the player with the highest score wins.

But wait, there’s more:

Smirk & Dagger games are generally known for having a “take that” aspect to them. Sutakku didn’t originally have anything like this in the game, and apparently during pre-release plays the fans and reviewers were disappointed in this oversight. Personally, I don’t understand the mentality that a game company should be required to live up to some sort of reputation for a specific mechanic in all of their games, but regardless the call for player screwage was answered and some bonus cards were added to the game.

When playing with the optional cards, the player who wins the right to go first gets one automatically. Subsequently, any player who busts while attempting to build on a stack of only two or three dice will gain a card. The cards are usually meant to be played on another player, but some may be played on yourself if you like. Most of them are pre-roll challenges where the player who gets the card played on her has to meet stricter criteria in order to avoid busting. There are also after-roll challenges and counter action cards. Often there is a risk associated with the cards in the form of a bonus if the roller manages to meet the challenge. Only one card may be played on a player at a time.

My test group played several games both with and without the cards. We found the game enjoyable either way. If you’re playing with any sensitive players in the group, leave the cards out. They are good, but not good enough to warrant making a player feel targeted if that’s not the kind of game they are into.

Conclusion:

Sutakku is a good addition to the field of push your luck dice rolling games. If you enjoy Farkle, Cosmic Wimpout, or Can’t Stop then this game will probably fit well in your collection. Plus, the dice alone are worth the price of admission.

If you’re looking for strategy, well, there really isn’t any here short of understanding odds and honestly if you’re putting that much thought into this game then you’re probably over-thinking it. This is a quick filler or a “Hey, I think I’m not too drunk to count and stack dice” kind of game.

Sutakku retails for $24.99 but the street price is around $17.00.

Age: All
Length: 15 mins
# of players: 1+
Designer: Curt Covert
Artist: Chiyo Nagahara Romei, Curt Covert
Pubisher: Smirk & Dagger Games

The Drops of God, Vol. 2

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

The second volume of The Drops of God continues our story where we left off, with Shizuku and Miyabi trying to find dazzling yet inexpensive French wines to satisfy a bet with their colleague who boasts that Italian wine is the best. Of course, each bottle they find brings another story, be it a family torn apart by both death and the inability to match wine with food; two brothers who cannot agree on anything about wine; and Tomine’s lover Saionji, who’s intrigued by Shizuku yet also wants to show him up in a wine-tasting competition. And of course there’s the will of Shizuku’s late father, which finally gives us the main plot of this whole series.

Really, there are so many things working against me with this manga, which I should not love nearly as much as I do. I don’t drink wine, which means that I’m usually smiling and nodding at all of the wine backstory and exposition about as much as I would be were I to read a really deep mahjong manga. The broad strokes of the plot rely on cliches that we have seen in a million other Japanese seinen mangas, food or otherwise, and this applies to some of the one-offs as well. (Father and daughter torn apart by an argument over the mother’s death? Two brothers, one a delinquent and one cool and intelligent? Did they get this from the Big Book of Manga Plots, Vol. 3?) And Miyabi, one of the main characters, is still rather undeveloped: she’s there to be the sounding board, provide mild fanservice, and be a cute female who the hero might eventually hook up with, but it’s not happening anytime soon.

All of this is true. So then why is Drops of God so good? Because the writers are fantastic at what they do. This is a manga written by two pepole who know exactly what needs to be done to sell a plot – which includes using tired cliches, which can easily work in your favor when handled correctly. The pacing is phenomenal, with every 4-5 chapters feeling like an episode of a TV drama (which I believe the show was later adapted to). These chapters were written for reading as a serialized weekly manga, and the start of each chapter recaps the cliffhanger from the last, just like old-school Doctor Who. The goal is to get you to be unable to ever put it down or stop – you have to find out what happens next week.

As for all the wine exposition, despite my lack of knowledge, I was never really bored with it. There is a balance between walls of text explaining a particular region of France and the emotional feelings that go with drinking the wines from that region. The descriptions of what it is like to drink a particular wine are not quite as over the top as the first omnibus, but are just as evocative – my favorite was probably the Parisian flea market. Given how hard it is to convey taste and smell to another person, you can easily imagine that wine critics talk like this all the time. I also enjoyed that the manga tries to be even-handed – the competition with Honma is not as easy as you’d suspect, and the Italian wines featured sound just as good as the French ones.

Lastly, I enjoy the art, which can sometimes be an afterthought in manga like these that are meant to be incredibly wordy. Most folks will love the scenes showing what the wine conveys to the drinker – I’d mentioned the flea market earlier, but the masquerade was just as good, and the description of the First “Apostle” looks gorgeous, and makes you want to figure out what wine it captures just as much as Shizuku. I also like the little ‘goofy bits’ that get thrown in – the manga has a certain sense of humor, though it’s not a comedy, and seeing Shizuku and Miyabi’s occasional frazzled or superdeformed expressions is great fun.

A lot of this reads like a giant mystery, which is not surprising given it’s from the creators of The Kindaichi Case Files. It’s a definite must for anyone who drinks wine. But it’s also fun for those who simply enjoy reading a well-crafted work with good dialogue. Albeit one that revels in some cheesy situatoios.

Hiatus

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Hi there.

A difficult year has ended on a low note with the not unexpected but still very difficult passing of my father.

I’m going to give myself some time off, and I’ll see you all in 2012, which I’m hoping will be an improvement on 2011.

Thanks.

 

K-On! Vol. 4

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By Kakifly. Released in Japan by Houbunsha, serialized in the magazine Manga Time Kirara. Released in North America by Yen Press.

It’s finally time for time to catch up with the cast of K-On!. Graduation is around the corner, and this volume deals with everything that comes with it: the senior’s school play, deciding on a future, taking exams so that you can achieve that future, and of course their final concert. But is it really the end for our pop band cuties?

Of course not. This is not the sort of manga where you’re going to get a lot of angst and serious business. It’s a silly 4-koma, and we get what Kakifly does best. In fact, one of the main plot points is that the girls *don’t* want this to be the end – they all decide to join Mugi in applying to the prestigious Japan Womnen’s Univ – pardon me, to heavily disguised “N” Women’s University, because they’ve grown so close they can’t let it end like this. Of course, this isn’t just some convenient escalator school – Yui and Ritsu really have to buckle down, and a lot of the humor in this volume comes from the two of them trying to study while being so easily distracted (Yui) or bored (Ritsu).

Then there’s that class play. I’ve said it before, and I will say it again, this is not a yuri series, despite what the fandom would tell you. However, among the situations that aren’t yuri but which fans glom onto anyway, this volume certainly has the most, especially for Mio and Ritsu. The class decides to do Romeo and Juliet, and decide that Mio is perfect for the role of Romeo… which she totally isn’t, but clearly they just want to see her dressed up as a hot Elizabethan boy. Likewise, Ritsu is a horrible choice for Juliet, and was likely chosen because… well, Mio was Romeo, and the two are inseparable. The manga latches onto this dissonance immediately, with some of the best jokes being about Mio’s timidity and Ritsu’s brashness. (Speaking of which, Yen’s translation of Ritsu’s speech patterns is fantastic – in Japanese, aside from ‘watashi’, she always tends to use boyish speech, and that’s conveyed very well here.) The solution to their issues is both funny and very clever, and again relies on them knowing each other inside and out.

And then there’s the chapter where folks think Ritsu has a boyfriend. (Look, Ritsu’s my favorite character, cut me some slack.) This is probably my favorite chapter in the book, as everything is just pitch perfect. Mio’s panic and jealousy, Mugi’s support and joy (Mugi is a yuri fangirl, but really just pushes interaction of any kind – again, it fits with her upbringing), Ritsu of course using this situation as a giant prank, and Yui for once as the voice of reason (great line about how Ritsu being girly makes her feel sick). In the end, of course, Ritsu does NOT have a boyfriend – it was set up so she could watch Mio freak out. Needless to say, Mio’s reaction in general, and particularly the “Ritsu, you can’t do this! Men are barbarians!” line made yuri fans happy. (Half the chapter was leaked online in Japan, and big surprise – otaku who thought Ritsu was ‘impure’ freaked out and made threats to burn merchandise again. And people wonder why so few love stories in Japan resolve anymore.)

And then we get graduation, and more attention is paid to the one band member who isn’t doing so, Azusa. Getting her to admit she’s an emotional bundle of stress, of course, is like pulling teeth – Ui and Jun both note this. However, when the other four have gotten their diplomas and reality is finally sinking in, Azusa just loses it, in what is one of the sweetest scenes in the entire series. Kakifly’s art is usually more what I’d call “satisfactory” than anything else, particularly with his ‘far older than they look’ character designs. But the way Azusa’s expression is drawn when she begs the cast not to graduate is simply excellent.

And so now it’s over… except it’s not. We now have not one, but TWO sequels running in Japan. The first deals with the four graduating girls in college, the second has Azusa, Ui, and Jun trying to keep the light music club going in high school. How this will be collected is unknown at this point, but no doubt we will eventually see more K-On!. Till then, this was a light and fluffy but of fun, and I enjoyed hanging out with these girls.

The Drops of God, Vols. 1-2

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Reading The Drops of God is like drinking a good table wine: the flavor may not be as complex as a finely aged varietal, but it goes down easily, leaving a pleasant aftertaste of melodrama, intrigue, and romance.

Like Oishinbo, the manga it most closely resembles, The Drops of God revolves around a slightly preposterous contest between a father and son. Kanazaki Yutaka, a revered wine critic, dies unexpectedly, leaving behind a will that’s a much a gauntlet as it is a set of instructions for his son: Shizuku will inherit Yutaka’s wine collection, but only if Shizuku can identify the thirteen different wines mentioned in his father’s will.

To complete his task, Shizuku must overcome several serious handicaps, not the least of which is his own lack of experience buying and drinking wine. (At the start of the series, Shizuku is a junior sales executive at a beer distributor, proudly eschewing wine for ale.) Adding special urgency to his quest is a rival, Tomine Issei, a handsome young wine critic who was adopted by Shizuku’s father. If Issei successfully names the “Twelve Apostles” and the “Drops of God” before Shizuku, Issei will inherit the entire collection.

No manga cliche goes unturned in the opening chapters. The brash Shizuku has never so much as drunk a glass of wine, but resolves to do his best to defeat Issei. Shizuku’s ability to win that contest is never really in doubt, however: from the very first pages of the story, Shizuku demonstrates a discerning palate, wowing oenophiles and greenhorns alike with his ability to recognize great wines. In his first showdown with Issei, for example, Shizuku correctly identifies the age, varietal, and origin of a wine even though his only exposure to that particular grape came from eating a handful of them as a child. (Top that, Robert Parker!)

Also disappointing is the portrayal of Shizuku’s partner-in-wine-tasting, Miyabi Shinohara, an aspiring sommelier. Though other characters praise Miyabi for her book knowledge of wine, she rarely has an opportunity to shine in her role as the expert on viniculture; Miyabi’s primary function is to recite each wine’s provenance in detail, allowing Shizuku the more entertaining role of waxing poetic about the wine’s flavor. Throughout volumes one and two, Shizuku frequently upstages Miyabi, even when Miyabi’s professional experience ought to afford her greater insight into an appropriate wine-food pairing, or lead her towards an inexpensive but sophisticated French import.

Yet for all the creaky plot mechanics and broad-brush characterizations, The Drops of God proves surprisingly fun, thanks to the author’s imaginative attempts to describe the flavor of particular wines. Early in volume one, for example, one character likens a a 2001 Chateau Mont-Perac to Freddie Mercury’s singing—an odd but inspired choice, as Mercury’s voice is one of the most distinctive rock-n-roll sounds of the last forty years, a piercing, operatic instrument that’s immediately recognizable, even to the untrained ear. The fact that the artist’s rendering of Mercury looks nothing like him is beside the point; the comparison alone is enough to instill in the reader a sense of how visceral and distinctive the Mont-Perac’s flavor is.

The other thing that prevents The Drops of God from sinking under the weight of hackneyed story elements are the supporting characters. Tadashi Agi (actually a pseudonym for the brother-sister writing team of Shin and Yuko Kibayashi) populates the story with mustache-twirling villains, oddball oenophiles, and opinionated co-workers, each of whom leaves a vivid impression. One of the most appealing is Chosuke Honma, a member of the Wine Division at Taiyo Beer. Though drawn in bold strokes, Chosuke seems like a real person — a wine enthusiast who firmly believes that Italy, not France, produces the world’s best wines, and who frequently bursts into song. (His tune of choice: “O sole mio,” of course!) Chosuke’s passion, temper, and obsession with Italian culture — not to mention his receding hairline — make him a great foil for the ridiculously perfect Shizuku, whose movie-star looks, charming personality, and superior ability to identify great wines make him more a fantasy figure than a real character.

Artistically, The Drops of God is a feast for the eyes. Shu Okimoto’s characters are beautifully rendered, making the numerous scenes of characters discussing wine something to savor, rather than something to be endured. Okimoto also does a terrific job of translating terroir into imagery, transporting the reader from Japan to Europe with crisp, evocative drawings of French vineyards; the reader can practically smell the soil and the ripening fruit. Most importantly, Okimoto finds creative ways to suggest the complexity of a good wine, using vivid imagery —  a field of sunflowers, a masquerade party — to suggest how the “nose” of a wine sparks strong associations with events, places, and people.

Long-time manga readers won’t be surprised to learn that The Drops of God is an entertaining way to learn about wine; as titles such as Oishinbo and Not Love But Delicious Foods Make Me So Happy! demonstrate, a skilled writer can fold a considerable amount of educational detail into a story without reducing it to a textbook. Manga newbies or readers looking for a good introduction to wine terminology will find Drops a revelation, however, as it imparts highly specialized information with the same natural ease that Law & Order illustrates the inner workings of a crime investigation, while at the same time functioning as a fun soap opera; even if the reader isn’t the least bit interested in wine, Shizuku’s quest for the “Drops of God” is an irresistible hook. Highly recommended.

THE DROPS OF GOD, VOLS. 1-2 • WRITTEN BY TADASHI AGI, ILLUSTRATED BY SHU OKIMOTO • VERTICAL, INC.

The Drops of God, Vols. 1-2

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Reading The Drops of God is like drinking a good table wine: the flavor may not be as complex as a finely aged varietal, but it goes down easily, leaving a pleasant aftertaste of melodrama, intrigue, and romance.

Like Oishinbo, the manga it most closely resembles, The Drops of God revolves around a slightly preposterous contest between a father and son. Kanazaki Yutaka, a revered wine critic, dies unexpectedly, leaving behind a will that’s a much a gauntlet as it is a set of instructions for his son: Shizuku will inherit Yutaka’s wine collection, but only if Shizuku can identify the thirteen different wines mentioned in his father’s will.

To complete his task, Shizuku must overcome several serious handicaps, not the least of which is his own lack of experience buying and drinking wine. (At the start of the series, Shizuku is a junior sales executive at a beer distributor, proudly eschewing wine for ale.) Adding special urgency to his quest is a rival, Tomine Issei, a handsome young wine critic who was adopted by Shizuku’s father. If Issei successfully names the “Twelve Apostles” and the “Drops of God” before Shizuku, Issei will inherit the entire collection….

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Off the Shelf: Beer, cheese, & a bit of fluff

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MJ: Hi! Hi. Um… hi. I had a beer.

MICHELLE: I had string cheese!

MJ: Have you had manga?

MICHELLE: I have had! Relatively “fluffy” manga, comparatively, but manga all the same!

MJ: Tell me more!

MICHELLE: Well, one thing I read was the fourth volume of Kakifly’s moe comedy, K-ON!, which is about as fluffy as it gets.

I’m not sure how it happened, but K-ON! has gradually won me over. When I read the first volume of this four-koma series about a group of girls who form a pop music club at their high school, I was not impressed, finding the fanservice awkward and some of the characters gratingly stupid. Now, true, some of the characters are still gratingly stupid, but I seem to have become more accepting of the less-than-perfect aspects of this manga. Or perhaps I’ve simply lowered my expectations. In any case, I have finally come around.

This volume finds the four original band members studying for college entrance exams in an effort to attend the same school. For two of the girls, this isn’t a challenge—in fact, the wealthy girl is never actually seen studying and there’s a subtle implication that she might have a secret “in” on account of her status—but the other two are not very good students, so there is a lot of focus on their comical failures. Meanwhile, the youngest member of the group, Azusa, drops her stoic demeanor and gets weepy at the thought of being alone but is joined by a couple of new bandmates right at the end of the volume.

Okay, you know what? This isn’t the most original stuff out there. There’s also a high school festival involving a performance of Romeo and Juliet, and another instance of the girls giving a concert that happens entirely off-panel. But I kind of don’t care anymore. I like Azusa and I like “seemingly cool yet easily flustered” Mio and, Heaven help me, I even like the slashy potential in this series. (There must be mad troves of K-ON! fanfic!) Reading it cheered me up, and that’s what a comedy is supposed to do.

I guess what I’m saying is that I’ve done a 180º on this series.

MJ: I’m actually pretty glad to hear you say that! I’ll admit that I haven’t yet gotten into the manga (I missed the first volume, and never caught up after that), but I was pretty well enamored with the anime series, so I come to it all with a pro-K-ON! bias. I’m probably still more in touch with my young teenaged self than a lot of women my age (this is likely not a good thing), so I can still relate to these girls, and I suspect I wasn’t much less stupid, even if I was more school-smart than most of them. In any case, I’m happy this has turned into something enjoyable for you!

MICHELLE: Me, too. I’m still sad that we never actually see them playing anything, but a segment in which various members try their hand at writing song lyrics was pretty amusing. I’m not sure whether there’s more of the series or not—I’d originally thought it was complete in four volumes, but it doesn’t seem like it from how this volume ends.

Anyhoo, what’ve you been reading?

MJ: Well, I suppose you could classify my first read as “fluff” as well, but it’s classic fluff, so it has a very different feel. I’m talking about volume one of Osamu Tezuka’s Princess Knight, finally released in this country by Vertical, much to the delight of us here at Manga Bookshelf. I had a good idea of what to expect from this series, especially after Kate’s Manga Artifacts tribute last year, but my own reaction to it was still a bit of a surprise.

As Kate’s article makes clear, this is a lively, swashbuckling fantasy, and it’s very enjoyable as such. She covered the premise too, in which Princess Sapphire is born as a girl being raised as a boy, thanks to a pre-birth snafu that gave her both a girl’s and boy’s heart. I’ll admit, I wasn’t quite prepared for my own reaction to this.

I’m perfectly capable of viewing this manga in the context of its time, yet I’m still jarred by the notion that Sapphire’s strength and bravery are due only to her accidental ownership of a boy’s heart. I get that this may have been the only way Tezuka (or his readers) could deal with the idea of a swashbuckling heroine, but I wish he didn’t feel the need to keep bringing it up. There’s even a fight scene in this volume where Sapphire’s boy’s heart is momentarily removed, rendering her suddenly weak and afraid. Then her bravery and skill returns as soon as she gets the heart back again. That really bothered me, I have to admit.

Fortunately, the issues I’m having with the manga’s discussion of gender roles are largely overshadowed by the likeableness of its lead character. I really like Sapphire, and though she dislikes having to live as boy while her girl’s heart longs for everything she’s not allowed to have, she doesn’t reject the qualities that make her able to pass as male. She wants to wear dresses and she wishes she could crush on the neighboring prince a little more openly, but it’s hard to imagine her enjoying a life without the adventure her “male” role offers her.

Things take an interesting turn in the last few chapters of this volume, and I expect I might enjoy the second volume more than the first, if those chapters are any indication. But even if the premise continues to bother me, I suspect I’ll continue to enjoy this series. Sapphire is just too much fun to let go of.

MICHELLE: Oh man, that fight scene you speak of seems guaranteed to make steam come out of my ears. But still, this is a title I long wished for, despite not knowing very much about it aside from its premise. (I’ve been waiting for the release of volume two so I could read the whole series at once.) I suppose I will try to overlook this aspect, or at least consider it a sign of the times.

MJ: It really is worth making the attempt, and honestly I’m looking forward to volume two. I hope your experience is the same!

So what else have you been reading this week?

MICHELLE: Well…. it’s something I have to be in the mood for, but when I am, it can really hit the spot!

I am talking about Gosho Aoyama’s long-running shounen mystery, Case Closed. This series is pretty unique because its Shonen Sunday stylings—by which I mean largely episodic but with a story-spanning arc that will only really be resolved at the conclusion of the series—make it an ideal candidate for “popping in to see what’s going on.” The first volume I ever read of Case Closed was volume 25, then I went back and read some of the beginning, and then this week was inspired to check out the current happenings in volume 41.

Immediately, one can drop right in and figure out what’s going on. The basic premise of the series is that hotshot teen detective Jimmy Kudo had a run-in with some mysterious “men in black” and is now trapped in the body of a first grader who goes by the name Conan Edogawa. He’s not as able to help the bumbling local police force in this form, but with the help of some handy gadgets, he makes do.

As the volume begins, Conan’s mom (a famous actress) has been sent by her husband to help solve the case of a wealthy widower who’s been receiving threatening letters under his pillow. The culprit is revealed within a few chapters and, as is usual for Case Closed, used an incredibly elaborate murder method. Next, some dude is stabbed. After that, some dude is garroted in a Porsche. Conan always happens to be nearby and always manages to use an adult as mouthpiece for the solution he devised.

If you’re looking for a gritty, compelling murder mystery, you’re not going to find it here. Go read some Elizabeth George or something. Case Closed consistently treats death like a puzzle, and no one is ever too distraught about what has befallen their loved ones. It’s a game, and usually not one that the reader has any chance of figuring out on their own. But man, I really had fun with this volume! I liked that the cases were short and that the volume was nicely seasoned with some stalking courtesy of the “men in black.” Because the series is up to volume 73 in Japan and still ongoing, I don’t really believe anything big will happen with them soon, but that doesn’t prevent me from being really keen to read volume 42!

MJ: I’m not often a huge fan of truly episodic storytelling, but I admit this does sound kind of fun!

MICHELLE: Like I said, it’s all about being in the right mood for it. Really, it’s another manifestation of the “everything is simple” brain-balm effect that I enjoy from some shounen manga.

Anyhoo! Thus concludes my fluff. What else have you got?

MJ: My second selection can’t rightly be called “fluff,” though it does have a slow, gentle quality to it that is perhaps a completely different kind of brain balm. This week, I read the second volume of Kaoru Mori’s A Bride’s Story, beautifully produced and packaged in hardcover by Yen Press. I know I brought up Yen’s production values when I discussed the series’ first volume, but it just has to be mentioned again. This is a gorgeous book, and that alone gives it an air of gravity. Still, there is a lightheartedness here that makes this a really smooth read.

Things take a dramatic turn in this volume, when Amir’s clan returns again to take her back with them in order to remarry her into another tribe. It’s an ugly scene, and not lacking tragedy, but the real outcome of all of it is that Amir begins to view her very young husband as a man, which, interestingly, is more uncomfortable for her than it is for the reader.

Despite the characters’ jarring age difference, the author is clearly allowing them a romance, and is executing it so deftly, it actually doesn’t feel jarring at all. Amir’s new feelings for her husband are really… sweet. It’s quite lovely to watch their relationship grow, and I found that surprising.

The author also has a real gift for teaching us about the story’s setting without becoming didactic or distracting from the story in any way. There is a lovely section in this volume that is entirely about the importance of cloth and embroidery in the lives of the tribe’s women, and it may even be my favorite part of series so far.

Though we’re not allowed into the mind of any one character, there’s an intimacy with the tribe as a whole that reveals the author’s affection for them and helps to draw us in to their lives. Despite the distance in our POV, this is probably one of the warmest comics I’ve read, and more compelling in its quietness than I would ever expect.

Really, I love this series.

MICHELLE: That sounds so lovely. Maybe over Christmas break I’ll actually have the opportunity to read these two volumes, which have been sitting here beside me for ages now. And I definitely think it’s worth mentioning when a publisher has excellent production values; they should be praised for doing something well that other entities (*cough*Kodansha*cough*) can’t seem to manage.

MJ: It’s nice when a beautiful package like this is just as beautiful inside as well. A Bride’s Story was the perfect choice for this kind of treatment.

MICHELLE: Indeed!

Manga the Week of 12/21

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Looking for a last-minute gift for that special someone before the holidays? Why not get them some brand-new manga? There’s a number of titles out this coming week for any type of fan.

Remember Del Rey? When Kodansha split off, for contractual reasons the xxxHOLIC books stayed with the parent. And now we get the penultimate volume in the series, which… well, honestly, it’s lost me by this point. But I’m sure other Watanuki fans ill love it to bits!

As for Kodansha itself, there’s always the third volume of Mardock Scramble. Which is unusually resistant to my glib jokemaking, but possibly I’ll think of something by the time the fourth volume comes around.

Midtown Comics is apparently running late on its wine manga, as they not only have the second volume of international sensation The Drops of God, but also the first volume as well. Sounds like a gift set to me!

Yes, I want to have this be the image for Dorohedoro 5, which is awesome and highly underrated (stop looking for the plot – just let it wash over you), and you should all be buying that. But I just have to give prime position to the 27th and FINAL volume of Fullmetal Alchemist. The whole series has been building to this volume, an it absolutely does not disappoint – one of the best endings to any shonen series in North America. And if you’ve somehow missed the previous 26 volumes, Viz is kindly selling all 27 in a giant box. In fact, the box came out before this individual volume. Lastly, there’s the 7th and 8th volume (or 4th omnibus) of boobs and fights manga Tenjo Tenge, which if nothing else reminds me I still need to read the 3rd.

So what’s in your stocking?

Game Review: Hanabi

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Playing with fireworks is fun!
Bits & Blips: Manga Bookshelf Edition

French designer Antoine Bauza made a name for himself with big hits such as Ghost Stories and 7 Wonders, the latter of which netted him the 2011 Kennerspiel des Jahres, the German award presented for the Enthusiast Game of the Year. However, the lesser known but highly praised card game Hanabi originally published by Les XII Singes and later published in a different format by Asmodee and Cocktail Games is every bit as good as its two siblings. The original edition that I’m using for this review also includes a second game called Ikebana playable with the same components, but I will only be covering Hanabi.

Hanabi (花火, flower fire) is the Japanese word for fireworks. In this game, 2 to 5 players will be working together as a team of inattentive pyrotechnics experts who accidentally mixed up the components of a large fireworks display and must help each other try to create a spectacle which will be judged by the International Federation of Pyrotechnics Experts. Succeed and render the crowd speechless. Fail, and you might be booed off of the stage!

Hanabi is a cooperative card game which means everyone will be playing together to try and get the highest score possible for the team. The catch? You can see everyone else’s hands of cards, but you can’t see your own! Players will be holding their cards facing outward and may not look at the cards in their own hands.

Gameplay:

The deck consists of 50 cards in five colors (red, orange, blue, black and green). Each color consists of the following cards: 1,1,1,2,2,3,3,4,4,5. At the beginning of the game, the cards are shuffled together and a hand of either 4 (4 or 5 players) or 5 (2 or 3 players) is dealt to everyone. The cards are picked up by each player with the backs facing them so that they cannot see their own hands but may see everyone else’s. The game also includes colored tokens. 8 blue tokens are placed on the table in the box cover and three red tokens are placed next to the box cover on the table.

The goal of the game is to build five complete fireworks displays. This is accomplished by making five stacks of cards (one in each color) that go from 1 to 5 in sequential order. On your turn, you must take one of only three possible actions:

  1. Give information to one of the other players
  2. Discard a card to discard area
  3. Play a card to the display area

Giving information to another player costs one blue token which will be removed from the box cover. If there are no blue tokens available, then you cannot give information and must perform one of the other two actions; you may not pass. When giving information, you are allowed to tell one player about the quantity and location of all cards that are the same color, all cards that have the same value, or the absence of a card of one color or value in that player’s hand. For example, you could say “You have two green cards; here and here,” or “You have three 2s; here, here, and here,” or “You have no blue cards.” No one else may say anything and you must give information about all of the cards that match. So if you are telling a player about red cards, you must point out all of the cards which are red.

When discarding a card, you will simply declare that you are discarding a card and then place that card in the discard area. This card is out of play permanently, but it will now be visible to everyone including yourself. You then draw a card from the deck so that you have the same number of cards that you started with. But more importantly, you may return one of the blue tokens to the box cover. This is how you “recycle” the blue tokens so that more clues can be given. Remember, you only start with 8 blue tokens and no one knows anything about his own hand!

Finally, you may play a card to the display area. To do this, you need only declare that you are playing a card to the display area. You do not have to state what the card is or on which firework you are playing it. If the card may be legally played as the start of a new firework or on an existing firework, hooray! You place the card in its proper location in the display, draw a replacement and play passes to the next person. If the card was a legally played 5, then as a reward for completing the firework you get to return a blue token to the box cover. But be careful; if the card was not a legal play (e.g. you played a blue 4, but the top card on the blue pile was a 2, or you played a red 1 but there was already a red firework started) then you cause an explosion! You place one of the red tokens in the box cover. If you place the third red token, the game ends immediately. Your display goes up in flames and the team loses the game!

Play continues until either the third red token has been used, all 5 fireworks have been completed, or the draw deck runs out. If the draw deck runs out, players continue with the cards remaining in their hands until the person who drew the last card gets one additional turn.

Those are all of the rules. The rules are easy, but the strategy is the fun part.

Scoring:

At the end of the game, the top cards in each stack will be added together. The higher you score, the more impressed the crowd is and the better your rating.

Strategy:

Players have to work together to figure out which cards they are holding. Information is very limited, so frequently players will need to infer additional information from the information they are given. For example, if the blue firework display is currently at 3, and someone tells you “you have a blue card; here,” did she tell you that because it’s a 4 and you should play it? Probably. Other times it will take information from more than one player to narrow down a card. Remember, you’re not allowed to give advice to the other players.

The card distribution is also important to remember. There are three 1s in each color, so losing one of those will probably not be a big deal. But there are only two of the 2 through 4 value cards and only one of each 5. If someone discards a blue 3, the other blue 3 will suddenly be very important because if it gets discarded, the blue firework display will never be able to reach completion.

Giving other players information about what card or cards they can safely discard will also help the team regain valuable blue tokens. For example, if all of the fireworks have been started, then all further 1s will be useless.

Memory is very important since each player will be getting information about her hand that may or may not be immediately useful. I often find myself thinking things, “Okay, this is a 3, these two cards are blue, and this card is black. Do I know anything about the other cards? Well I guess I know they aren’t 3s, blue, or black, since I haven’t played any of these cards yet” Yes, it’s deliciously tricky!

Drawbacks:

The biggest drawback to this game is in the cards themselves.

In the original edition the art is simple yet attractive, but the colors are very hard to discern even under the best lighting conditions. The blue and black cards especially are very difficult to distinguish. Colorblind players will have an exceptionally hard time playing the game because the card suits are only differentiated by color.

In the second edition, the problems with the colors were fixed and symbols were introduced on the cards making them colorblind friendly. However, the art is somewhat more garish and the cards were made in a large square format. Since this game requires you to be holding a hand of cards up visible to all players for the entire game, anything that makes the cards more cumbersome, like an awkward shape, is just unnecessarily complicating things.

Finally, it’s a card game. Sometimes you get a bad shuffle. But that’s always the case with card games.

Conclusion:

Hanabi is a simple game to play with rules that can be learned in just a few minutes, but that doesn’t mean it’s an easy game by any means. Good strategy and teamwork are required to get high scores. This game has been a big hit with my gaming group as well as non-gamers. A frequent problem with cooperative games is that one person gets bossy and essentially plays the game by himself. That can’t happen in this game by its very nature.

The rules are in French, but translations are available at BoardGameGeek in several languages.

Now for the bad news: this game is pretty hard to find in the US. Your best bets are the Canadian store Le Valet d’Coeur or the French store Ludibay. Shipping from Canada to the US is usually not bad but shipping from France can be quite expensive. It retails for around $15.

If you can find a copy, I highly recommend Hanabi.

Age: 8+
Length: 20-30 mins
# of players: 2 to 5
Designer: Antoine Bauza
Artist: Albertine Ralenti
Pubishers: Les XII Singes (Hanabi & Ikebana); Asmodee, Cocktail Games (Hanabi) (France)