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By Izumi Tsubaki. Released in Japan by Hakusensha, serialization ongoing in the magazine Hana to Yume. Released in North America by Viz.

In the last volume of Oresama Techer, it was non-stop wall-to-wall delinquency. Here we get a change of pace, and we see a few chapters of Mafuyu managing to deal with life as herself. Although, being who she is, delinquency is never all that far away…

The cliffhanger kiss from last volume is rightly tossed away quickly. Despite a bit of tease, this is not particularly a romance manga. Instead, we start off with our two leads showing us once again that they completely fail at anything resembling normal in their life. Mafuyu’s idea of beach couple fun is straight out of shoujo manga (old-school shoujo, not the modern HtY-style), and Takaomi is far more interested in working off steam and starting fights. He’s always been menacing in a comedic way in the prior volumes, now we get another glimpse of the sort of beast lurking within – Mafuyu is awestruck, and she should be.

Takaomi actually gets a bit of backstory here, though its presentation is fairly elliptical. Given the author’s style, both here and in The Magic Touch, her previous series, I’d say it’s 50-50 whether the subtlety is deliberate or accidental. Tsubaki-san is fantastic at basic gag comedy – even more here than in her prior series – and her pacing has improved monumentally. But plotting is still a weakness, and it’s noticeable even in this volume, which is a collection of ‘breather’ anecdotes. No one is reading this series to discover Takaomi’s past, or to see which guy Mafuyu will hook up with. (Contrast this with The Wallflower, another gag manga, where people *are* reading it for the romance – and thus are far more annoyed.)

Still, you can get away with this as long as the book is funny. And it’s funny. I read this while I was depressed over having no power this week, and it managed to buoy me right up. There’s facial expression comedy – the entire sequence with the ninja boy, and the contrast between his stolid expression and his actions, capped by Mafuyu and Takaomi’s stares. There’s character-based comedy – the entire sequence with the rich girl and her butler, typing in with Takaomi’s past and featuring him being both brutal (he carries the heiress around like a sack, as he’s used to doing with Mafuyu) and touching (his yelling at the butler to step up and not be satisfied with what little he has). And there’s the purely random “what the hell” style Osaka comedy (the entire sequence with the flower arranging club, or Sakurada imagining Mafuyu revealing that she’s really an alpaca wearing a human skin).

This volume was not as strong as previous ones – the extended 4-koma series at the end reeked of filler – but it’s still great fun. And now that Hayasaka has managed to tick off another villain with his sheer denseness, I expect things to get even worse for the public morals committee. Perhaps we may even need to see the return in Volume 6 of… SUPER BUN!

By Mitsuru Adachi. Released in Japan in 2 separate volumes by Shogakukan, serialized in the magazine Shonen Sunday. Released in North America by Viz.

At last, we can now talk about the big secret that comes halfway through Cross Game. Well, after we finish up the big game, of course. It’s an 8-volume series, and we’ve still got four to go. Will our team manage to defeat their rivals and go to the Koshien in their second year, and first with Ko and Azuma?

Hi, spoiler on the cover, thanks for ruining everything as always. In any case, no, of course they don’t. Sports manga have to follow a certain pattern, after all. Ko and Azuma and company have no had to experience the harsh realities of competition nearly enough. And Ryuou is a very good team. We really know that they’re going to win when we’re introduced to the likeable players they have behind the two supposed “superstars” – calm and patient Mishima to contrast with overhyped slugger Shimano, and cocky yet analytical phenom Oikawa replacing the cool – perhaps too cool ace pitcher Matsushima. It’s no coincidence that both replacements mirror Seishu’s own Ko and Azuma.

So yes, Ryuou wins and goes to the Koshien, and Ko and Azuma get a reminder that they’re not perfect yet – but also that they have another year to go. There’s lots of the usual Adachi touches here. Ko’s apology to the third years who will be graduating, and their hug. Ko’s fatigue and injuries, and his pitching through them. Aoba, once again, asking what Wakaba would be like were she there. (Her sister’s reply is both accurate and eerie foreshadowing.) Half the enjoyment of this manga is re-reading it and picking out little subtle bits you missed the first time around.

As for what Wakaba would be like were she around, well, one merely needs to look at the cover, which clearly shows Aoba standing next to a teenage Wakaba… oh, wait, no it isn’t. Instead, it’s Adachi using one of the hoarier cliches in fiction – the lookalike of the dead romantic interest. There’s a new soba shop in town, and their daughter, Akane (come on, he HAS to be trolling Takahashi here, even if it is a common Japanese name) is a dead ringer for a 17-year-old Wakaba… well, at least that’s what everyone isn’t saying. There’s a lot of stunned gazes, a few muttered asides, and some discussion of “ghosts growing older”, but mostly what we see here is Ko and Aoba trying to deal with her mere presence. They both, typically, share the same reaction – they’ve no idea if she looks like Wakaba as a teen or not, as Wakaba is still 12 in their heads.

As with the previous section, the second half of the volume is rife with fantastic character moments. Azuma’s quiet happiness at seeing his brother being cheerful, and his needling of Ko about fulfilling Wakaba’s dream – and Aoba’s, since she can’t participate. Mizuki doing his best to be nice and helpful to Aoba, but never quite getting the hang of it, mostly as he tries hard to do what Ko does naturally by being a brat towards her. Aoba’s detailed research on Akane, and Ko’s annoyance that everyone seems to assume that he’ll end up with her the moment she arrives. (Clearly they read the same big book of cliches Adachi did). And of course Akane herself, mostly still a nice, polite cipher, but her increasing puzzlement at everyone staring at her as if she’d grown a third head is apparent.

I remain ecstatically happy that Viz picked this series up. I do hope they do more Adachi in the future (digital?), but for now I will enjoy this, a release once again appropriate for the season – baseball is wrapping up, time to move on.

So, due to power outage, these aren’t on the regular Manga bookshelf site with last week’s briefs, and the MMF is actually long over. So just pretend this is still relevant.

The Manga Movable Feast dealt with horror, but most of the titles I’m about to talk about fall more under the realm of ‘supernatural’. They’re shonen and shoujo titles that deal with friendship, romance, etc., but happen to feature monsters, demons, or yokai in some way. This is, of course, not to say that they don’t all have the ability to scare in some way.

The one with the least horrific content here is likely Kamisama Kiss 5, which continues to be about a young girl who finds herself the god of a local shrine, and her vaguely romantic relationship with her familiar, sexy fox creature Tomoe. This particular volume in fact, is about removing the terror – no one goes to the shrine due to its reputation, so Nanami decides to hold a festival to entice people to notice the shrine is no longer run-down and creepy. There is a mysterious chapter where Nanami thinks that Tomoe has abandoned her and the shrine (which looks like a pit again), but it turns out to be a trick, and the majority of the volume is devoted to showing Nanami as plucky and never-say-die, and Tomoe as being aloof yet caring. The supernatural mostly is a spice here.

Much more scary, or at least with a vague tinge of unease hanging around it, is Natsume’s Book of Friends 9. The series is about a young man with the ability to see and control yokai thanks to his grandmother, and his attempts to balance out a normal school and family life with his desire to help free (and to a certain degree befriend) the yokai in his book. The stories tend to be drenched in yokai lore, and sometimes need a footnote or two, but generally dealing with monsters tends to be universal. We all know when a monster demands something or else she will do harm, and then gets what she wants, harm is going to happen anyway. There’s less school antics here and more of Natsume working with his own familiar, Nyanko-sensei. Who, thank goodness, is not a sexy fox creature. Things can get scary here, but this series gives more of a feeling of melancholy than terror.

Nura also deals with yokai, and is a Shonen Jump manga, so is not concerned so much with cute romance or finding friends as it is with awesome fights. Rikuo is still having issues with his leadership skills, and a lot of this volume continues to deal with the takeover of the town by a rival gang of yakuza… um, yokai. This volume in particular is very good at contrasting Rikuo’s caring and accepting nature, even of those who can’t stand him, with that of Tamazuki, who callously destroys his closest allies with a cruel word and a wave of his hand. It’s the difference between ruling by loyalty and ruling by fear, and this being a Jump manga, we know what will eventually win out. There are several good scary moments here, but I’d read it more for the Friendship, Training, and Victory myself. (Also, the Rikuo/Tsurara shiptease is really getting hammered on here.)

Lastly, there’s Vampire Knight 13, which despite the presence of vampires and demon hunters, is not so much horror in this volume as the political intrigue that it’s excelled in ever since Yuki came into her heritage. I’ll be honest, I think I preferred Yuki in the earlier volumes – despite trying to balance being prudent with becoming her own person, she still comes off as awfully passive here. There are a few scattered bits of action, and a scene or two of blood and gore (tastefully and sexily done, of course – this is LaLa Magazine, after all), but this is horror in the same way that Wilkie Collins was horror – romantic suspense horror with twists and turns and fitting into society turning out to be far more important than the number of people you kill. Normally I enjoy it, but I admit I found this volume a bit boring.

So, to sum up, it’s November 5th. Happy Halloween! Dress as Guy Fawkes!

For those who note that very little happens in Kaoru Mori manga, I must inform you that there is a pitched battle in the second volume of A Bride’s Story (Yen Press). Normally, this would be confined to Mori’s bonus comics and consist of a hyperactive, hilarious difference of opinion with her editor, but it actually happens in the narrative here.

Amir’s relatives try to reclaim the young woman, hoping to offer her in marriage for a more valuable alliance. But Amir is very taken with her young husband, as he is with her. The lesson here is to never underestimate a group of determined villagers with a big pile of bricks. The lesson is also that Mori can really stage an action sequence when she puts her mind to it. In addition to being exciting, these sequences shine with character-driven moments and really give you a sense of Amir’s new community.

Of course, me being me, I’m equally taken with the very long sequence where Amir’s sister-in-law teaches her daughter about embroidery and the family’s traditional designs. What can I say? I’m probably even more partial to scenes where next to nothing happens as I am to ones where lots does.

It’s a little hard to come up with anything new to say about a given volumes of Mori’s manga, because she’s so consistent. Her art is lovely, her attention to detail verges on hypnotic, and her clear fondness for her subject matter is infectious. I just love A Bride’s Story, maybe even as much as I loved Emma (CMX).