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The Full-Time Wife Escapist, Vol. 1

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By Tsunami Umino. Released in Japan as “Nigeru wa Haji da ga Yaku ni Tatsu” by Kodansha, serialization ongoing in the magazine Kiss. Released in North America digitally by Kodansha Comics. Translated by Rose Padgett.

It is a rare series that can immediately win me over within the first five pages. In fact, I’ve long been an advocate of giving series a chance beyond one volume, especially if they are of the “horrible person is changed by the plotline of the manga” type stories. But sometimes I start a manga and I know immediately I’m going to fall in love with it. This is that sort of manga – when I saw Mikuri being “interviewed” about the difficulties she’s having with her life, and realized that she was imagining this in her head, I grinned. And when I saw this would actually be a recurring thing, I cheered. Not only are these segments some of the funniest in the volume, but they also serve to help deepen the characterization of the main heroine, who is otherwise very matter-of-fact and calm. It’s a great device.

The premise is laid out right at the start. Mikuri kept doing college because it was hard to find a job, but now she’s post-grad and still can’t find work, and even temp agencies aren’t working out. She’s living with her parents as well, which proves to be problematic when they decide to retire to the country, meaning she needs work and a place to stay NOW. Luckily, she’s been doing a part-time job cleaning house and basically functioning as a wife-figure for Tsuzaki, an introverted guy who tends to say what he thinks and has minimal social skills. They get on fairly well (it helps that Mikuri’s degree is in psychology, so she’s much better at reading people than the average manga protagonist), and suddenly it becomes apparent that this is a solution to her problems. They could marry on paper, and she could function as a full-time wife (minus wifely duties, so to speak) and get health benefits and the like.

In case you hadn’t already guessed, this is a josei series. It is, in fact, the sort of josei we don’t usually see brought over here – a lot of the josei we’ve seen in the past few years I’ve defined as “shoujo with adults”, as you find the same love misunderstandings, fretting, and breakups that you would in a high school shoujo magazine. This seems more grounded in the real world – indeed, a big surprise for me is how little romance there is in this first volume. Clearly the endgame will be getting these two quirky kids together for real, but I like how it’s a slow burn, and that we’re starting to see it on his end but not on hers. In fact, it’s even bluntly laid out in their agreement that they can see other people as long as they’re discreet. That may be tested soon, as it appears that Tsuzaki’s co-worker may be starting to fall for Mikuri, and his other co-worker seems to have realized their marriage is not a genuine one.

The supporting cast is also good – I particularly liked Mikuri’s aunt, who shows that you can regret not having a romance when you’re in your fifties but still have a happy and fulfilling life. Tsuzaki’s friend Numata is also gay, and occasionally acts the stereotype, but even this is subtler than I was expecting. What I’m left with is a good story with great characters and an interesting style, one that I really want to see play out in future volumes. It also has a live-action series under its belt, so apparently did pretty well in Japan as well. Read this, you’ll love it.

Manga the Week of 3/8/17

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SEAN: There’s been a lot of digital-only releases lately – first from Yen, and now from Kodansha and J-Novel Club. Kodansha in particular is picking up a lot of old Del Rey series that I haven’t been mentioning here and finishing them in digital mode. For example, Gakuen Prince is getting a rush release of new volumes for fans of trash – um, I mean dramatic shoujo. I’ll try to keep up, but may forget – apologies if I miss your favorite.

Meanwhile, let’s talk new volumes rather than rescues.

Ichi-F: A Worker’s Graphic Memoir of the Fukushima Nuclear Power Plant is the important release of next week, being pretty much what its title says, though it’s a memoir of someone involved in the cleanup, not the initial disaster. It should be fascinating.

ASH: I got my hands on an early copy and it is indeed fascinating. Important, too, as you mentioned, and it strongly resonates with what I’ve heard about Fukushima and the recovery efforts from my friends who live in the area.

MJ: Wow, this sounds intense.

SEAN: Interviews with Monster Girls has become popular now that its anime is running, good timing for Vol. 3.

We also get a 4th volume of Ninja Slayer Kills!.

And a 2nd digital-only volume of fluffy Nakayoshi series A Springtime with Ninjas.

Kodansha finishes up with a 3rd volume of sports manga Welcome to the Ballroom. (Everything is sports manga if you squint enough.)

MICHELLE: I’m super happy that sports manga seems to be having its day, and I look forward to more Welcome to the Ballroom in particular.

ANNA: Me too!

MJ: When the sport is dancing, I’m always more interested.

SEAN: Seven Seas has a 5th volume of popular spinoff A Certain Scientific Accelerator, which features even more property damage.

And a 4th Masamune-kun’s Revenge, also the winner of the “it has an anime this season” sweepstakes.

More Nichijou from Vertical! A 7th volume that will make you want to draw sharks.

And now Viz. So much Viz. Starting with the debut of Anonymous Noise, a new manga from Hana to Yume by the author of Nosatsu Junkie and Monochrome Boys and Girls. I’ve heard it leans heavy on the drama.

MICHELLE: I haven’t read her other titles, but I’m looking forward to this one.

ANNA: The cover looks great. It is at the top of my to-read pile.

ASH: The cover is great and I can’t resist the music connection.

MJ: I’m very much on board with this.

SEAN: Bleach has a 69th volume, though any readers who might make a dirty joke have long since abandoned it, I suspect.

ASH: Heh.

SEAN: Bloody Mary recently announced it’s finishing in Japan. Here’s Vol. 6.

Everyone’s Getting Married has a 4th volume of no one getting married, or at least that’s my guess.

ANNA: I love this series, it is much more thoughtful than the title suggests.

MJ: Maybe I should check this out after all?

SEAN: Haikyu!! has a 9th volume. Expect grueling training montages.

MICHELLE: I’m always happy to get a new volume of Haikyu!!.

ANNA: Yay!

ASH: Woo!

SEAN: A mere three years after the last volume, we get a new volume of Hunter x Hunter. I try not to mock the mangaka as much, as I know he’s got tremendous back issues, but still. That’s a long time between volumes.

Kimi ni Todoke’s 26th volume. Will we approach a climax soon?

Naruto: Sasuke’s Story: Sunrise is another in the series of Naruto novels we’ve been getting.

Speaking of delays, it’s been over a year since the last Natsume’s Book of Friends, so this 20th volume is very, very welcome.

MICHELLE: Man, so much good stuff this week! I need a Natsume fix.

ASH: I really need to get caught up with Natsume.

SEAN: Nisekoi’s 20th volume is starting the climax, so we need to start letting down the other heroines gently.

One Piece has a 19th 3-in-1, and I think is reaching the three year time skip.

I’m torn. I love One-Punch Man, but am always bored by tournament arcs. Which will prevail with Vol. 11?

ASH: If nothing else, at least the artwork will be great.

SEAN: Platinum End has a second volume to try to convince me to read more of it.

ANNA: I will approach reading this cautiously.

MJ: Same. Ugh. I wish Takeshi Obata would pair up with someone new so I didn’t have to feel so sketchy about it.

SEAN: Skip Beat! has a 38th volume, which features, be warned, the dreaded “let’s explain why the parent was abusive” flashback.

MICHELLE: I’m still so happy to see it, and finally deal with this aspect of the story.

ANNA: Me too. Always happy to see a new volume of Skip Beat!

SEAN: Tegami Bachi finally comes to an end with the 20th and final volume.

Lastly, a title I sometimes forget, we have a 7th Yo-Kai Watch!.

Want a whole lotta Viz? Next week is your week. What’re you getting?

Editorial: How not to honor women in comics

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UPDATE: The CBLDF has since removed The Color Trilogy from its list.

It was a mistake. It was very obviously a mistake.

I’m always a bit leery of publicly criticizing institutions that generally deserve support. I’m aware of how damaging bad press really can be, and that mistakes are unavoidable when you’re running on a tight budget. So before I even state my complaint, I’d like to preface it with the fact that I know this was a mistake, and that nothing I’m going to say here is intended to undercut the importance of this institution and the work that they do. Are we clear on that? Okay.

So, when I say that I was thoroughly appalled to see the following in my Facebook newsfeed this afternoon, please remember that it is not my intent to belittle the Comic Book Legal Defense Fund or the important First Amendment work that they do.

I was thoroughly appalled to see the following in my Facebook newsfeed this afternoon.

Those who are regular readers of Korean comics will recognize immediately that this post, originally entitled “Fifteen Banned and Challenged Comics by Women,” is accompanied by the cover image from First Second’s publication of The Color of Earth, the first book in the series commonly known as The Color Trilogy by a male author, Kim Dong Hwa. That the CBLDF realized their mistake at some point is clear upon clicking the link, where the title has been changed to “Fifteen Banned and Challenged Comics by or About Women.” The mistake, perhaps, was made by a blogger unfamiliar with “Kim” as a common surname and perhaps, too, the fact that Korean names (when they haven’t been deliberately switched around for western readers) are written surname first. But hey, the series’ main characters are, in fact, women, so one could make an argument that it is, as the revised title suggests “about women.” “Good save,” one might say, and move on.

I’m having a hard time moving on. Yes, it was a mistake. But, wow, it’s an unfortunate one. The post is intended to honor Women’s History Month by presenting a list of comics by (or about) women that have been frequently banned or challenged. It’s a noble cause to be sure. And, in his own way, the author of the series I think does believe he’s honoring women. But he does so from a perspective so steeped in male fantasies about what is good and beautiful about women, and SO thoroughly rooted in the male gaze, that it is, in my opinion, nearly the worst choice possible to appear on a list like this, let alone at #1.

It was a mistake, but really so avoidable, as even a search in the CBLDF’s own archives reveals that at least someone at the organization already knows that the book was written by a man. And while the series has gotten a lot of praise in the general comics press, a little jaunt through the manga blogosphere (which historically tends to include more female voices) reveals a less universally enthusiastic view. Here are a few from Manga Bookshelf bloggers alone:

MJ (me) & Michelle Smith, Off the Shelf: MMF Edition

I think what you’re reacting to (and I mentioned this in comments, but I’ll reiterate it here) is not the story’s historical context, but the author’s own sexism which he reveals in the way he portrays the realities of the period. My immediate thought upon finishing the series was that I found it inexpressibly sad. Ehwa’s mother spends almost the entire series teaching her daughter about what a woman’s life is in their world and helping her learn how to endure a lifetime of waiting and heartache that can only be relieved by the companionship of a beloved man. And I suspect there is quite a bit of historical accuracy in this sense of utter helplessness and lack of worth placed on a single woman in that period.

But despite the bleakness of their circumstances, Kim portrays it all with a loving nostalgia. Even when expressing the sadness and longing felt by Ehwa and her mother as they wait for their men, he portrays it all as beautiful and even romantic. This isn’t matter of being true to the period. These are Kim’s own values being revealed here, and that’s what we’re reacting to. The same story could be told without that veil of fond nostalgia and it would read very, very differently. If this series had actually been written during that time period, that would be different matter as well, but Kim is a contemporary writer, and as such, he’s responsible to contemporary readers for the story he’s chosen to tell and how he tells it.

… while it’s true that coming-of-age stories do tend to revolve around sexual awakening, it’s notable I think that though we experience Ehwa’s sexual development in meticulous detail, there’s very little attention given to the development of her romantic attachments. In fact, I’d say out of Ehwa’s romantic episodes, the one that’s best-developed is actually her early crush on the young monk. That’s played out very realistically for a crush–all shy meetings with a heavy spark, leading to lots of mooning about. By contrast, her true love story with Duksam is barely developed at all.

I think it’s partially this strong bias towards Ehwa’s sexual development that leads me to distrust the author’s feelings about women. He’s quoted as saying (in an interview at Newsarama), “I consider the process of a girl becoming a woman one of the biggest mysteries and wonders of life.” But he appears to regard that process as being primarily about sexuality. Not only are we shown very little in terms of Ehwa’s emotional development, but she never shows interest in really anything besides learning about sex and men, though she carefully remains a virgin throughout. That seems like such an exclusively male fantasy.

David Welsh, Good girls don’t

I’m not a cultural historian, so I have no idea what things were like for women in pre-industrial Korea. I just know that I don’t really care for its portrayal of “good” women as passive and patient, no matter how elegantly drawn it is. “I think that the process of a girl becoming a woman is one of the biggest mysteries and wonders of life,” the creator said in an interview. I wish he had thought harder about that mystery and hadn’t imposed what strikes me as such a male notion of wonder upon it.

Young Ehwa lives with her widowed mother, who keeps a tavern in the countryside. Mom advises Ehwa on womanhood, pounding in the notion of the woman as flowering shrub, patiently waiting and gently blossoming until a male pollinating insect will deign to settle upon her, and all will be well. Just look at Ehwa’s friend, the porcine Bongsoon, who actually lets curiosity lead to action. Bongsoon is less attractive than Ehwa, and her mother clearly isn’t giving her the lecture on the botany of desire or instructing her that true love waits. You can be damn sure that, should Bongsoon find a man stupid enough to marry damaged goods, birds won’t fly from the trees and every bell in the countryside won’t ring when that marriage is consummated. Bognsoon is an object of ridicule and contempt because she has the nerve to act on her desires.

Erica Friedman, The Color of Heaven

Laced heavily with unrealistic platitudes that are increasingly heaped upon our heads, many of them about the “lot of women,” I began to find the dialogue burdensome. Women, we are told, are plain trees in the winter that wait for a butterfly man to alight on our branches to adorn us. Waiting is punishment for women’s love. Women are, in fact, nothing without men. While the language is beautiful, it fails the Bechdel Test completely. The women do nothing but discuss men. As David Welsh so cogently summed it up, “not a fan of the notion that the power and mystery of women lies in their ability to wait for men.” When I read a few of these “us poor women” lines to my wife, she asked quite sincerely, if the mother hated her daughter. It was depressing to tell her that she did not, she was just indoctrinating Ehwa into life as a woman …

The series has a happy ending, which redeemed much of the “woe is us” feel of the early pages, but I absolutely could not recommend this book to a young woman…

Most likely, had this series not been mistakenly attributed to a woman by the CBLDF’s blogger, it never would have appeared on this list at all, and rightfully so. Though it’s a work worth discussing for both its flaws and its merits (and certainly none of us would suggest that it should be banned), it honestly has no place on a list that is intended to shine a light on books by or about women. Yes, the artwork is beautiful. Yes, the author is well-respected. But, at its core, it’s a series dedicated to male fantasy, not unlike a million other comics, and for that, not particularly remarkable.

It was a mistake. And it’s too bad.

Wave, Listen to Me!, Vols. 1-2

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By Hiroaki Samura | Published digitally by Kodansha Comics

In the opening scene of Wave, Listen to Me! we meet Minare Koda, an attractive twenty-something drinking too much and pouring her heart out to a guy she just met forty minutes prior. She’s ranting about her ex, Mitsuo, and after a certain point, she has no recollection of events. To her surprise, when she’s at work the next day (as a waitress in a curry shop), she hears her own voice being played over the radio. Turns out, the guy she met was Kanetsugu Mato, who works for a radio station and recorded their conversation. (One of the things she’d forgotten was drunkenly giving her consent.) Minare is temperamental and feisty, so when she marches down to the station to give him a piece of her mind, she ends up going live on the air and impressing Mato with her facility for impromptu eloquence.

Bored with doling out radio spots to local idols and placating sponsors, Mato decides that he’s going to mentor Minare and turn her into a radio personality. Of course, the only shift on offer is in the wee hours of the morning once a week, so she can’t quit her waitressing job yet. (She’s always on the verge of being fired as it is.) Still, she begins to truly contemplate her future for the first time. Coworker Nakahara is interested in her, but more in the “one day I’ll have my own shop and I want you there beside me” kind of way. But after she witnesses him offering a new (female) hire a place to stay, her gaze turns ever more resolutely to her new gig.

Volume two is where things really get great. Mato has inventive ideas for Minare’s show, and I think I will let readers discover those for themselves. What I really loved, though, was the continued exploration of Minare’s personality. For example, when she has the jitters and receives reassurance, she cries, “I can feel it rushing back! My usual baseless, overflowing confidence!” She might have come off as an unsympathetic and abrasive character, but that line shows that she’s fully aware of her flaws. Later, after a brief (and awesome) reunion with Mitsuo, she displays a knack for more self-analysis, reflecting that while she usually doesn’t take shit from anyone, she has a certain weakness for pathetic guys who need someone to dote over them. I expect that this capacity for reflection will allow her to make the most of the opportunity she’s been given.

Her path toward achieving success and truly making a name for herself doesn’t proceed in a straight trajectory, especially with financial realities keeping her tethered to the restaurant, but it’s very satisfying to see a formerly unambitious character discover a goal to strive for. The second volume ends in the middle of a show designed to put thoughts of Mitsuo firmly behind her. I am very much looking forward to seeing what lies ahead!

Wave, Listen to Me! is ongoing in Japan, where it is currently up to three volumes.

Review copies provided by the publisher.

Occultic;Nine, Vol. 2

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By Chiyomaru Shikura and pako. Released in Japan by Overlap, Inc. Released in North America digitally by J-Novel Club. Translated by Adam Lensenmayer.

This volume of Occultic;Nine does what it needs to do, which is begin to draw together the many and varied elements of the first book and show they’re all part of the same main plotline. It does actually shift genres a bit, as signposted by the end of the first book; that one may have been a mystery, and there are certainly still mysterious elements, but this second volume crosses over into outright horror much of the time. Unfortunately, its faults are still carrying over from the first book as well. While it does begin to draw together said elements, everything still changes viewpoints and tonal shifts a bit too much for my liking. And it’s still left with Yuta Gamon as the protagonist, and he’s really, really aggravating – yes, it’s deliberate, but that doesn’t actually make it easier to take.

To be fair, he’s had a bad day – he’s right in that any sane police officer who has his presence in the room and his fingerprints on the murder weapon would have arrested him by now. Luckily we have another one of the eccentric cast members as the detective, and he enjoys playing with his food, I guess, preferring to torment Yuta with cryptic conversations. Unfortunately, Yuta’s coping mechanism is to double down on being obnoxious, something which is fine by Ryoka, who still gets nothing to do this volume, but is starting to worry his new friend Miyuu, who was already somewhat wary of him (her friend basically says he’s a creep and why do you care?), but he’s falling back into familiar behavior patterns to cope, even if they’re bad ones. Also, he clearly hasn’t read any genre fiction at all, or he’d know that introducing everyone to the mystery radio voice only he can hear was never going to fly.

As for the main plot, the corpses in the lake that were briefly signposted last time become a big deal when they’re discovered this time around, and the clever reader will start to realize what’s actually going on when it takes forever and a day to actually identify said corpses. There’s a lot of somewhat interesting talk about acceptance of the occult versus looking for an actual realistic reason for said corpses, but the fact that said reason also sounds ludicrous and the reader is also getting the mystery organization of evil talking about their corpse plans tends to ruin it. Again, as with the first book, the ending is the strongest part – first, the darkest and most horrible part of the book (which completely rips off the movie Se7en, but is still well written), and second, the final revelation that Yuta figures out when he gets all the names of the bodies in the lake. What will Volume 3 bring us?

Good question, but one we’ll wait a while to answer – the third volume is not out in Japan yet, and I suspect the author is concentrating on finishing the visual novel, which is due out this year. In the meantime, there are bits of good and bad here. I’d recommend it to fans of this creator.

Dissolving Classroom

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The title of Junji Ito’s latest work is a nod to one of his seminal influences: Kazuo Umezu, author of such bat-shit classics as Cat-Eyed Boy, Orochi Blood, and, of course, The Drifting Classroom. Using the same techniques as Umezu — shocking imagery, gross-out humor, and far-out plot twists — Ito spins an elaborate yarn about the mysterious Azawa siblings. Yuuma, the handsome older brother, seems like a model teenager: he strenuously avoids conflicts with peers, and is unfailingly polite to his elders. Younger sister Chizumi, by contrast, is a hellion. With her kohl-rimmed eyes and Cheshire-cat sneer, she looks like a junior Harley Quinn as she gleefully stalks classmates, harasses her brother’s girlfriend, and vigorously disputes her brother’s claims of parental neglect.

Each chapter of the Dissolving Classroom hinges on the discovery that Yuuma and Chizumi are not who they seem to be. In “Dissolving Apartment,” for example, the Azawas’ new neighbors are initially impressed by Yuuma’s composure and maturity, and are moved to intervene when they overhear nightly rows at the Azawas’ unit. Though appalled by Chizumi’s crude pranks and bizarre comments, the neighbors see her behavior as evidence that Mr. and Mrs. Azawa are abusing their children, an impression confirmed by the parents’ secretive behavior. Only when the neighbors interrupt one of the family’s heated skirmishes do they realize the true parent-child dynamic in the Azawa home — knowledge that comes too late to save them from a gory fate.

Other stories approach the question of false appearances from a different angle. In “Dissolving Beauty,” for example, Yuuma behaves like a teenage girl’s fantasy of the perfect boyfriend: he’s attentive and reassuring, always ready to declare, “Your beauty is exceptional.” What his girlfriend doesn’t realize is that Yuuma’s flattery is toxic — that in appealing to her vanity and insecurity, Yuuma’s words are warping her into a grotesque caricature of her former self. And when I say grotesque, I mean it; the poor thing resembles Margaret Hamilton in The Wizard of Oz, right down to the boils and pointy chin.

Although Ito’s scenarios lack the visceral weirdness of Kazuo Umezu’s, Ito’s superior draftsmanship serves him well in Dissolving Classroom. Yuuma provides an instructive example: as Ito draws him, he’s the epitome of the nice young man, a blandly handsome canvas onto which adults and teens can project their own desires. His exaggerated gestures — downcast eyes, supplicating posture — initially register as desperation, as if he’s apologizing for a political scandal or an international diplomatic incident. Look closer, however, and we see a note of eroticism in the way Ito draws Yuuma’s face; those rolled eyes are more expression of ecstasy than shame, hinting at Yuuma’s real reason for bowing and scraping.

Ito seeds the narrative with other visual clues about what’s motivating Yuuma: demonic eyes peering through a veil of fog, a clandestine animal cemetery. When we finally learn Yuuma’s not-so-surprising secret, Ito pulls out all the stops. The climax is a molten flow of brains, limbs, and entrails that’s amusingly reminiscent of the Ark of the Covenant scene in Raiders of the Lost Ark. The effect is less scary than preposterous, but suggests that we’re all too willing to believe that a grand display of manners is evidence of good character, rather than an effort to deflect attention away from egregious behavior.

It’s only in the bonus story “Children of the Earth” that we see Ito at his most Umezian — the Ito familiar from Gyo, Uzumaki, and Tomie. In this brief vignette, parents frantically scour the woods for a missing kindergarten class. What they discover is genuinely unnerving: their children have transformed into something not quite human, not quite animal, and not quite vegetable, sitting uncomfortably between these three planes of existence. Ito’s nightmarish imagery harkens back to the yokai prints of Tsukioka Yoshitoshi and Utagawa Kuniyoshi in which ordinary creatures — catfish, tanuki — became monstrous through the addition of exaggerated human features. But “Children of the Earth” also has affinities with Umezu’s manga; like Umezu, Ito is good at excavating the subconscious, making us confront our most disturbing thoughts and dreams in Grand Guignol fashion.

If the rest of Dissolving Classroom doesn’t quite reach the same Umezian heights — or is that depths? — as “Children of the Earth,” it still makes a fine introduction to Ito’s work. It’s coherently plotted, crisply drawn, and provocative enough to make all that gory excess meaningful. Recommended.

DISSOLVING CLASSROOM • BY JUNJI ITO • VERTICAL COMICS • NO RATING (SUITABLE FOR TEENS 13 AND OLDER)

Monthly Girls’ Nozaki-kun, Vol. 6

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By Izumi Tsubaki. Released in Japan as “Gekkan Shoujo Nozaki-kun” by Square Enix, serialization ongoing in the online magazine Gangan Online. Released in North America by Yen Press. Translated by Leighann Harvey.

In terms of the Nozaki-kun fandom, one of the fortunate things about it is that there really aren’t very many ship wars. For the most part, this is because the main pairings in the manga, even though none of them are actually romantically paired, are so blindingly obvious – Nozaki and Sakura, Hori and Kashima, and Seo and Wakamatsu. The one wild card has always been Mikoshiba, and it’s therefore no surprise that fan writers love him. I’ve seen him used as an alternate pairing with Sakura, just in case she ever tires of Nozaki (doubt it will ever happen, but hope springs eternal), and I’ve also seen quite a few Nozaki/Sakura/Mokoshiba OT3 fics. But the addition of Nozaki’s brother Mayu gave BL fans someone new to focus on, and this volume must have delighted them, because not only are Mikoshiba and Mayu comedy gold but they’re also very, very shippable.

A lot of the humor in Nozaki-kun relies on building from previous gags and characterizations, as you’d expect. Mikoshiba is the inspiration for the heroine in Nozaki’s manga, so when Nozkai discovers he’s getting cute texts from someone else, and that he’s responding as “Mamiko”, he gets fired up in the best Nozaki way. Meanwhile Kashima is having trouble dealing with her new role, which requires “wistfulness”, and when given the choice between Sakura’s practical advice and Nozaki’s romantic, thinking like a writer advice, she knows exactly who to turn to. Nozaki has the brilliant idea (no, really, it is this time) of having her avoid and not speak to Hori for three days. Sure enough, this nearly kills her just by the end of one day – and, even better, Hori is somewhat poleaxed by it as well.

Elsewhere, we get Wakamatsu’s amazingly inept acting, the dangers of playing a visual novel and not using the default names, and Miyako’s fellow mangaka relationship with Nozaki continuing to be misunderstood by the guy who’s crushing on her… who, because this manga is very close-knit, turns out to be Seo’s big brother. We also meet several other author’s in the magazine that Nozaki’s published in, and they all seem to have their own eccentricities, though they can all agree on one thing – Nozaki’s manga is generic and dull. Honestly, it’s something of a surprise it hasn’t been cancelld by now, but I think that the ‘Nozaki tries to find the idea for a new series’ plot is being saved for a rainy day – that and the tie-ins to real life are too much fun to drop. Possibly best of all, Mikoshiba needs to have someone pretend to be his girlfriend, and each of the three main options are hilarious.

Nozaki-kun remains hilarious, and the hilarity is because of its character-based humor. Unless you can’t stand anything to do with 4-koma or tsukkomi-0style humor, you should be reading this every time it comes out.

Very few tanukis this time around – we are running a tanuki defecit.

The Water Dragon’s Bride, Vol. 1

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The Water Dragon’s Bride Volume 1 by Rei Toma

I remember being delighted when I heard that another Rei Toma title was going to be released by Viz. Then many months passed between the announcement and actually getting the volume in my hand, I totally forgot about it and then was delighted all over again! I do enjoy fantasy manga and this volume was an excellent start to the series.

Asahi is a modern girl who has the misfortune of standing too close to a pond, where she is promptly whisked away to a village with no technology whose inhabitants don’t quite know what to make of her. A young boy named Subaru stumbles across Asahi and takes her home despite his sister’s protests. Unfortunately the village has a habit of offering up human sacrifices to the Water Dragon, and when Subaru brings home his new friend his mother decides that the odd girl will be a great way to ensure the prosperity of her family. Asahi is a bit stunned by being catapulted into another world and she doesn’t realize that she’s going to be a sacrifice until it is too late. Subaru tries to prevent the ritual but is unable to do anything to save his new friend.

Asahi finds herself in the Water Dragon’s realm. He’s a cold, stoic sort of god who says that he’ll wait to make Asahi his bride until she grows up. She asks him if he’s wearing cosplay and accuses him of being a pervert. The Water Dragon seems to find Asahi mildly entertaining, but he takes away her voice and then sits calmly while she starts to starve. Asahi finally realizes that the world she’s lost in is horrible. Other gods intervene to see some drama when Subaru and Asahi are reunited, but the humans in Subaru’s village prove to be even more terrible than the gods.

I think that Toma’s art, which was always good, has improved since Dawn of the Arcana. Her clear and simple style does a great job highlighting all the variants in facial expressions and reactions as the characters deal with the extraordinary. Subaru’s mother shows hints of evil in her smirk, and then devolves into full-out evil as she takes on the role of putting Asahi to trial for being rejected by the gods. Asahi’s personality is inherently bubbly and open, and it takes her a while to realize the truth of the world that she’s found herself in. Her body language completely changes after meeting the Water Dragon and the villagers. There aren’t a lot of detailed backgrounds in this manga, but the absence of setting is used to great effect when Asahi is in the Water Dragon’s world because the lack of detail in Asahi’s surroundings just makes everything seem even more surreal.

The inhumanity of the humans and the possibility that a god might change due to having to take care of a small girl are interesting themes for this manga to explore. This is a solid shoujo fantasy title and I strongly recommended it for fans of the genre.

A Certain Magical Index, Vol. 10

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By Kazumi Kamachi and Kiyotaka Haimura. Released in Japan as “To Aru Majutsu no Index” by ASCII Mediaworks. Released in North America by Yen On. Translated by Andrew Prowse.

This picks up immediately after the end of the previous volume, as befits a two-part arc. In fact, Kamachi helpfully provides a recap for anyone who may have somehow skipped the previous book. I had wondered if we’d get more athletic events for the festival, but no, sadly the festival is mostly offscreen for Touma, as he spends 4/5 of the volume chasing after Oriana Thomson, watching her nearly kill his friends, and arguing with her on the nature of doing good and how it’s impossible for everyone to share the same view, ethics, or religion – it’s all influenced by their own head. Luckily, the Roman Catholic Church is coming to the rescue to change everyone’s minds into their own! For some strange reason, Touma objects to this…

Introduced in this volume: no one! Given this is the second in a two-parter, we get no new characters. That said, Lidvia certainly gets a lot more to do here, and she’s really not a pleasant person at all, though when given Lady of the Tiger choice she at least attempts to do the right thing by choosing Lady AND Tiger. We also see Laura Stuart (or rather hear Laura Stuart) at her most devious and cunning – Lidvia has a long way to go to get to Laura’s level. Himegami also gets a larger role in this book, and it once again reflects on her status as a “failed heroine” – she wants to do romantic things with Touma, but he’s too busy saving the world, and in the end she ends up an innocent victim who Touma doesn’t even have the time to rescue – Stiyl and Komoe-sensei have to do it. (I will simply ignore the ship tease between Stiyl and Komoe in this book, because eurgh.)

Luckily she’s cheered up by Index, who also gets very little to do this book, but that’s by design, as most of the Magic Side know that Index is a plot maguffin and so they have to keep an eye on her to see what’s going to happen. Of course, finding out Touma is once again getting himself hospitalized without her knowing anything makes her grumpier. I find Index far more tolerable in prose form – no offense to Yuka Iguchi, but I think Index herself simply sounds less stupid in the books as opposed to the anime. She’s the emotional core of the series, and it’s her purity that inspires many other characters – most obviously Touma and Stiyl here. (She also gets a great line about Peter Pan when looking at the youthful looks of Touma and Mikoto’s mothers, which the anime sadly cut.)

The book itself does its level best to conceal its big secret: this entire runaround was pointless, and chasing after Oriana was meant to be a distraction. Luckily, like follows like, and pointless follows pointless – for all that Lidvia succeeds in her ritual, it’s useless due to Academy City’s fireworks show lighting up the sky. I think one reason Index is so upset is that she could have saved him a lot of running around and injuries by simply having hm ask her, but then when you’re a walking magic wikipedia… In any case, a good volume, and less magic theory than the 9th book (though we still get some, mostly related to astrology). Next time, Index Does Italy!

Bookshelf Briefs 2/27/17

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Anne Happy, Vol. 4 | By Cotoji | Yen Press – I am beginning to wonder if the goal of this class filled with luckless idiots is not so much to improve their bad luck as to simply get them to find joy in little things anyway, as this fourth volume mostly involves a school trip that ends up in a giant keep away gave of tag, with the losers sleeping outside and foraging for food. Take a wild guess which team ends up losing. There’s also Karaoke (Anne breaks the equipment by merely attempting to use is) and woodcarving (Anne is quite good, but it shatters fairly easily). In order to appreciate these sad sacks, one must turn the brain off, but if you do, it can be cute and adorable, and a culture festival sounds fun. Recommended if you like moe stuff. – Sean Gaffney

Fate/Zero, Vol. 4 | By Gen Urobuchi, Type-Moon, and Shinjiro | Dark Horse – One of the biggest reasons to read Fate/Zero is too see the contrast in heroes between Shirou, the naive, hardheaded yet lovable hero of Fate/Stay Night, and Kirutsugu, the cool, pragmatic, “greater good” protagonist of Fate/Zero. And while Saber falls pretty hard for Shirou, it’s pretty clear that Kirutsugu fills her with rage and disgust, which is very well drawn here by Shinjiro. I also enjoyed seeing Irisviel’s attempts at being his balance, which I suspect are doomed to failure, and was weirded out by Sola-Ui, possibly as she looks like Bazett and has a crush on Lancer like Bazett. Oh yes, and we have more lovingly detailed child murder. Fate/Zero is classic Gen Urobuchi, which is to say death and pain, but so well-written. – Sean Gaffney

Haikyu!!, Vol. 8 | By Haruichi Furudate | Viz Media – In general, most sports manga that revolve around “it’s our chance to win the big tournament” invariably involve losing in the first tournament they try to win, because otherwise the manga would be quite short. And so it is for Haikyu!!, as despite various stratagem, and almost having a shot, our heroes still go down to defeat. But they can learn from it and let that frustration fill them with the desire to improve. And the graduating teammates may stick around a little longer after all, if they get permission, because yes, college is important, but this is volleyball. All that and we get cool poses, facial grimaces galore, and so much sweat you could float down it in a boat. Haikyu!! is powerful and fun to read. – Sean Gaffney

Kamisama Kiss, Vol. 23 | By Julietta Suzuki | VIZ Media – I’ve always enjoyed Kamisama Kiss, but I was never particularly excited about it. That has officially changed with this volume. Suzuki-sensei manages to strike the perfect balance between action, plot resolution, and feelings. Instead of the focus being on Tomoe and Nanami’s relationship, it’s on the friendship Tomoe and Akura-Oh once shared and how both of them were able to change through coming to love and understand humans. It’s quite lovely, actually. Creepy Yatori, who still looks like a villain out of Basara, is still in play, though, so our heroes are not entirely out of the woods yet. Having a high-quality ending like this really bolsters my opinion of the series as a whole. – Michelle Smith

Kuma Miko: Girl Meets Bear, Vol. 3 | By Masume Yoshimoto | One Peace Books – Kuma Miko is becoming a lot less weird and a lot more moe. Unfortunately, this has the effect of also making it far less interesting, as the story beats it’s hitting are ones that we’ve seen done better elsewhere (albeit with fewer talking bears). It also means we pay more attention to the interpersonal relationships, which can be somewhat creepy (Yoshio towards Machi, which is thankfully called out by Hibiki) or disturbingly co-dependent (Machi and the bear). We do get an occasionally funny gag (“they’ll throw rocks at me!” seems like country naivete till it gets a callback. I’m beginning to be reminded of another series set way out in the country, Non Non Biyori, and am asking: is there a point to this? – Sean Gaffney

Kuroko’s Basketball, Vols. 7-8 | By Tadatoshi Fujimaki | Viz Media – The crushing defeat from last volume still weighs on both Kuroko and Kagami, and Kuroko in particular is finding it hard to move past and get to the next level. Luckily there are ways to fix that, such as INTENSE TRAINING. We get sand basketball, which is as rough as it sounds, and poor Kagami running and running and running and then running some more. And then we get to watch more of the winner’s in the tournament, as the battle between Aomine and Kise, which is incredibly badass, and also helps to show that yes, Kuroko and Kagami DO have a ways to go. Luckily, we’ve a number of volumes to go as well. Having this and Haikyu!! coming out at the same time means we’re hitting similar beats, but they’re both good. – Sean Gaffney

Magi: The Labyrinth of Magic, Vol. 22 | By Shinobu Ohtaka | Viz Media – The heroes of Magi are filled with shiny shonen idealism, and they run up hard against the cynicism of the real world in this volume. Even Sinbad, who’s been presented till now as at least a reasonable ally, is starting to show signs that he may be, if not just as bad, certainly just as problematic. Alibaba is not yet strong enough to refuse offers that he can’t refuse. To the rescue comes Aladdin, who gives everyone a giant flashback to show what happened in the universe he’s from, a parallel one where humanity is fighting evil Mr. Potato Heads, and we also get Solomon and Sheba, because I was wondering when they would show up in this manga clearly influenced by Biblical as well as Arabian Nights myth. Magi is terrific; you should know this by now. – Sean Gaffney

Maid-sama!, Vols. 13-14 | By Hiro Fujiwara | VIZ Media – Y’know, Maid-sama! is certainly not a great manga, but damned if it isn’t immensely satisfying when things finally happen! I suppose that’s owing to the fact that Misaki is a stubborn tsundere, which can be frustrating, but I cannot deny that her confession of love and Usui’s reciprocation, followed by their becoming an official couple and eventually revealing their status to the school is all the sweeter because it took so long. There’s plenty of other stuff in this volume, including a school trip with appearances by random supporting characters and more boring drama about Usui’s family background, but even the plot wherein he transfers schools for his final year is redeemed when Misaki is 100% not cowed by some rich girl claiming Usui is her fiancé. The endgame is afoot! – Michelle Smith

Monthly Girls’ Nozaki-kun, Vol. 6 | By Izumi Tsubaki | Yen Press – I suppose it might seem like an insult to say that this volume of Nozaki-kun is pretty much the same as the others, but I actually mean it as a compliment. Tsubaki continues to spin out amusing scenarios for her characters with no dip in quality. In this volume, Nozaki is doing a lot of research into horror themes, in anticipation of having to incorporate some into his manga, but there are other silly gags like Wakamatsu being transformed into a confident guy via an eye patch, doing summer homework at Nozaki’s house, and finding a suitable girl to pretend to be Mikoshiba’s girlfriend in order to persuade a persistent admirer to back off. Each new volume of this series is like the best kind of brain balm and I’m grateful for it! – Michelle Smith

My Week in Manga: February 20-February 26, 2017

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My News and Reviews

In a few more days and March will be here and in a few more days the winner of the Tokyo ESP manga giveaway will be announced. Never fear though, there’s still a little time left to enter for a chance to win the first omnibus in the series! Simply tell me a little about a favorite psychic/esper from a manga. (A quick note: Normally I announce giveaway winners on Wednesday mornings but, because I have an all-day job interview on the 1st, this time the announcement will likely be made sometime on Wednesday evening instead.)

As for some interesting things I came across last week: The National Museum of Modern Art in Tokyo has created an online archive of early Japanese animation. An English-language version of the site is currently in the works, but even if you can’t read Japanese if you click around enough you’ll find the some of the videos available for viewing. The University of Michigan’s Center for Japanese Studies recently hosted two master rakugo artists–Yanagiya Sankyo and Yanagiya Kyonosuke–and has posted a video of one of their events. The video includes a brief introduction to rakugo, a demonstration and performance, and a question and answer session.

There are also a few podcasts worth mentioning (though I haven’t actually had the opportunity to listen to most of them yet): The most recent episode of Comic Books Are Burning in Hell is devoted to the late Jiro Taniguchi. Tofugu started a podcast not too long ago and recently talked with Alexander O. Smith about What Makes a Good Japanese Translator? (Smith does a fair amount of video game translation but translates novels and manga as well. He’s also one of the founders of Bento Books.) Vertical Comics recently started a podcast, too, and the first episode of the Mangocast is now available for listening.

As for crowdfunding efforts for queer comics, the end of February has seen quite a few Kickstarter projects launch: The Husband & Husband campaign is hoping to publish the first volume of the cute and funny webcomic in print. The Dates anthology, which focuses on queer historical fiction, is back for a second volume. (Though I haven’t written a quick take for it yet, I have the first volume and it’s great.) The Go Get a Roomie! project is raising funds to print the second volume and reprint the first volume of the webcomic. And finally, Digital Manga’s most recent Kickstarter has launched–Juné Manga is working with Velvet Toucher, a Japanese artist living in the United States, to release Eden’s Mercy.

Quick Takes

Guardians of the LouvreGuardians of the Louvre by Jiro Taniguchi. I’ve read most but not quite all of Taniguchi’s manga that has been released in English, but his recent passing reminded me that I hadn’t yet read Guardians of the Louvre, the latest one to have been released. One of the most remarkable things about Guardians of the Louvre is its full-color artwork. The volume is actually part of the “Louvre Collection,” a series of comics commissioned by the Louvre that feature the museum and its collections. (Hirohiko Araki’s Rohan at the Louvre is part of the same series.) Taniguchi is an extremely versatile creator; while some of his manga are action-packed, others are more introspective. Guardians of the Louvre is definitely one of the latter. The story is a quiet and contemplative exploration of art and inspiration, following a manga creator who is visiting Paris on his own for a few days. He falls ill soon after he arrives but pushes through in order to visit the Louvre. And so when he seems to start slipping through time, meeting artists and historical figures associated with the museum, not to mention the embodiments of some of the works housed there, he’s never quite sure how much of his visit is based in reality and how much is a fever dream.

He's My Only Vampire, Volume 1He’s My Only Vampire, Volumes 1-3 by Aya Shouoto. While I don’t actively avoid vampire manga, I also don’t actively seek it out. Usually there has to be something a little “extra” to catch my attention. In the case of He’s My Only Vampire, I had decided to seek out more of Shouoto’s work available in English while waiting for more of The Demon Prince of Momochi House to be released. He’s My Only Vampire is kind of an odd series and at this point the manga doesn’t seem to have a clear direction. It’s as if Shouoto is either trying to do too much at once with the story or hasn’t quite decided where it should go yet. It can still be pretty entertaining from time to time, though. Shouoto’s artwork, even though anatomy seems to occasionally go out the window, can be lovely and sensual, too. So far the best part of the manga is the three main characters–Kana, the strong and spunky heroine, Aki, the titular vampire and Kana’s long-lost childhood friend, and Jin, a high-school delinquent who has recently discovered that he is at least part werewolf. Personality-wise and the relationship-wise they’re all sort of goofy and their interactions can be quite amusing. The story is taking some darker turns, but I think I prefer its humor.

Magi: The Labyrinth of Magic, Volume 1Magi: The Labyrinth of Magic, Volumes 1-4 by Shinobu Ohtaka. I know quite a few people who love Magi and have heard plenty of great things about the series but despite those facts it’s still taken me this long to finally get around to reading the manga. Magi more or less starts out as a dungeon crawl which, while highly entertaining, isn’t exactly the most compelling narrative for a series that’s already over thirty volumes and still ongoing. But after the first dungeon crawl (and I suspect that there will likely be more of those in the future) Ohtaka begins delving into the characters and their motivations while exploring the vast world in which the live. In part Magi is inspired by One Thousand and One Nights but Ohtaka does not strictly adhere to those stories and characters, instead creating a complex world that is reminiscent of but distinct from that work. Magi really is a great series, with plenty of magic, mystery, and adventure; I can easily understand why it’s so well-loved. The artwork is clear and attractive, the settings and characters are interesting and well-realized, and the story, worldbuilding, and action are engaging. I also particularly appreciate that the women can be just as badass as the men in the series and in some cases are even more so.

NewsPrintsNewsPrints by Ru Xu. My introduction to Xu’s work was through the beautifully illustrated webcomic Saint for Rent. However, NewsPrints is her debut graphic novel. Published by Scholastic the comic is aimed towards middle grade readers but it can be appreciated by older readers, too. NewsPrints, while still being very approachable, actually tackles some pretty weighty subject matter–war, propaganda, identity, and so on. The comic is about Blue, an orphan who is hiding the fact that she is a girl so that she can work as a newsboy for the Bugle, one of the only newspapers that actually reports the truth. The Bugle has taken in and cares for other orphans as well, but Blue is afraid that she won’t be able to hide her secret much longer and may lose her newfound family because of it. The city she lives in has very firmly entrenched ideas about what is and is not appropriate for girls to do. Blue is embroiled in an extremely dangerous situation when she meets and becomes friends with Crow who is also hiding a secret, one that could greatly influence the course of the war. Though NewsPrints tells a complete story the ending is left fairly open. Apparently a sequel is currently in the works; I’m very curious to see where Xu takes the comic next.

Hayate the Combat Butler, Vol. 29

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By Kenjiro Hata. Released in Japan as “Hayate no Gotoku!” by Shogakukan, serialization ongoing in the magazine Shonen Sunday. Released in North America by Viz. Translated by John Werry.

Hayate Ayasaki is a very good butler. That’s pretty much the premise of the entire manga. As a butler, he’s smooth, always knows what to do, and provides the girls he waits on with whatever they desire. I wouldn’t go so far as to say that’s why they fell for him, as in fact each of them has different, non-butler reasons for that. But it’s striking if only because in Hayate’s other role as a harem protagonist in a romantic comedy manga, he’s absolutely terrible. He’s very good in terms of what Hata needs to convey in the writing. But much of Hayate’s so-called “bad luck” can also be put down to wishy-washiness, cowardice, and the complete inability to understand the trembling of a pure maiden’s heart. It’s why we’re 29 volumes in and disasters keep piling up for him.

The disaster doesn’t happen in this particular volume, but we know that at some point in the near future, Ruka is going to discover that Hayate is a guy, and there will be hell to pay. Of course, this is played for max comedy – every time he thinks he can confess, she says the one thing that stops him from doing so – but it’s still a case where you want to put your face in your hands. She also, by the way, is trying to earn a large pile of cash to get herself out of debt because her parents are suckers – a similarity Hayate is quick to catch on to. It’s not the first time Hata has done this – Hina, too, has lost her birth parents due to “we abandoned you because of our debt” – but that at least had the excuse that it was part of his original outline for the series. Ruka’s past seems more like overegging the pudding.

The rest of the volume is for the most part a series of one-shots focusing on the cast, which I think Hata enjoys best. Alice talks with Hayate, and there’s some discussion of who she is, but not much – she says she’s lost her memories of Athena, but clearly knows she *is* Athena in some way. Also, don’t let dogs eat chocolate. Wataru and Saki also have money troubles, and even Sayaka literally loaning them a giant pile of money doesn’t help, particularly when Hayate gets involved. Speaking of Sayaka, she’s rather annoyed to find that the position of “Nagi’s (relatively) sane best friend) has been stolen by Chiharu, particularly since Chiharu is HER OWN MAID. As for Maria, well, she gets nothing to do except pose naked for the camera as pre fanservice, something Hata lampshades almost immediately. These are all pretty good chapters, not hilarious but quite amusing.

In the end, though, the plot will have to advance soon. Ruka will find out Hayate’s gender. Athena will eventually stop being a girl. And, one assumes, the manga will end. It’s coming to a close in Japan, but Viz still has a long way to go. See you in the fall for another volume.

Is It Wrong To Try To Pick Up Girls In A Dungeon? On The Side: Sword Oratoria, Vol. 2

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By Fujino Omori and Suzuhito Yasuda. Released in Japan as “Dungeon ni Deai o Motomeru no wa Machigatte Iru Darou ka? Gaiden – Sword Oratoria” by Softbank Creative. Released in North America by Yen On. Translated by Andrew Gaippe.

After a first volume that was good but a bit too much side story by the numbers, the second volume of Aiz’s book series ups the ante, and really shows us how similar and yet totally different Aiz and Bell both are. This is less tied into the main series than the first book was – we can tell it’s at the same time as Book 2 due to Aiz giving Bell a lap pillow (at the suggestion of her companion) when they find him collapsed. And that’s all for the best, as we begin to develop the rest of Loki’s badass crew, including Loki herself, who is allowed to become a bit of a detective as she tries to track down who’s responsible for the plant monsters we saw in the prior book. That said, the core of this book is all Aiz, as she finally finds someone she can’t defeat, and it nearly breaks her.

Frustratingly, at last for the reader, we never get a name for this mystery assailant, who is clearly set up to be an ongoing antagonist. She’s definitely in charge of the plant monsters, though, and is strong enough to take out Aiz, though to be fair she’s already injured when they fight. Their main battle happens barely halfway through the book, though, so it’s not the point. The point is not just that Aiz lost but that Aiz lost to someone who knows the name of her mother, Aria. Aiz’s past is a mystery to the reader, though we know she’s been dungeon crawling since she was seven. Here we see a flashback to happy family times before that, and can sense there’s a tragedy here we haven’t quite heard about. More to the point, that trauma combined with the loss drives Aiz to make a suicidal charge on one of the lower floor bosses, which she insists on taking out all by herself. It’s an absolutely brutal sequence, and it’s also fascinating to see Aiz actually struggle given how perfect she’s seen to be in the main series.

As for the rest of the cast, they all get their cool moments. Lefiya still has a tendency to need rescuing, but is less self-deprecating here, and helps out Aiz more than once. (She’s also still very gay for Aiz, something I doubt will ever go anywhere but I also suspect will continue as the books go on.) They have their own murder mystery to solve, but unlike Loki’s the murder is not that mysterious, just gruesome, and the culprit shows herself almost immediately. There’s also some nice little world building and ties to prior books – Hermes’ follower who pops up here as an incidental part of the murder investigation reveals that Hermes is having her hide her higher status, something that doesn’t surprise me at all knowing him, and we meet Ouranos, the God who rules the city, and he’s one mysterious character.

Honestly, not much else to say beyond this is a really good, enjoyable book from one of my favorite light novel authors. Also, lots and lots of cool fights. Fans of the series have to pick it up. It does have a typo in regards to Lefiya’s level at the very end (she’s a 3, not a 5), but I’m ignoring that because the book was so much fun.

Fruits Basket Collector’s Edition, Vol. 10

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By Natsuki Takaya. Released in Japan by Hakusensha, serialized in the magazine Hana to Yume. Released in North America by Yen Press. Translated by Sheldon Drzka.

Yen Press’ rush release of these omnibuses has been a bit disorienting at times, and because I’m giving each of them full reviews it sometimes feels like I was only just talking about the last book and here’s another one. (It’s been about 3 1/2 weeks since I reviewed Vol. 9). That said, one can never, ever run out of things to talk about when discussing Fruits Basket, so no worries on that end. As Takaya herself says, we’re beginning the home stretch here, and many mysteries are being cleared up now that the biggest of them all has been revealed. We see why Kakeru has been so on edge around Tohru, and finally meat his semi-mythical girlfriend Komaki (who for a moment looks as if she may stay with a ‘hidden face’ before getting revealed a bit later), and we get Kyo starting to explain exactly why he feels tremendous guilt and pain when he thinks about Tohru’s mother.

Speaking of Tohru, this volume is probably her low ebb. Her inability to reveal the fact that she loves Kyo is shown to have explicit ties to her idolization of her mother and the trauma of her passing, as well as a somewhat understandable complete misunderstanding of how loving someone actually works. Shigure, who in the past gave her nice, calm, friendly advice, is perhaps getting a bit too attached to her, as he now proceeds to slam at all of her buttons at once, trying to break past her traumas and get her to admit what she doesn’t want to. It hasn’t worked on Akito, and there’s no reason it’d work on Tohru, but it does show how he may feels about her now, and winds up with Shigure wondering, to the reader’s horror, what might have happened if he’d dreamt of Tohru rather than Akito.

As for Akito, well, much of the book is spent with her holed up and avoiding everyone, having a massive sulk after recent events. We finally get some backstory regarding his father (who reminds me of Yuki quite a bit, something I think Akito herself is also aware of), as well as, unfortunately, more insight into Ren, who we see Akito seems to get her selfishness and tendency towards insane tantrums from. Akito at least is seeing the cursed Sohmas gradually break away from her – more on that later – but Ren is given no real reason for her abusive nature beyond being a petty, selfish and violent person. Her attack on Akito is unfortunately, not so much for her as because it gives Akito a knife, which leads to bad things later on.

I’d mentioned two more curses break here, one right after the other – Momiji and Hiro’s. Hiro, possessing an actual warm and loving home life and with his angst over Kisa and Rin mostly being resolved, is not much of a surprise, and the revelation is quite heartwarming. Momiji is more startling, particularly in the somewhat unrealistic way he’s grown up and, frankly, become almost unrecognizable – I’ve talked before about when Takaya’s art morphed from its early Furuba faces to late ones, and despite her hurting her hand after Vol. 8, I think it’s more around here that we see it. Momiji is no longer cursed, but of course he can’t return to his family, and he already knows he’s not going to win Tohru’s love, despite his words to Kyo. So what’s left is a deep loneliness, but also a yearning to make a brilliant future for himself.

More to discuss, as always! Ayame angering an already angry BL fandom by admitting that Mine is his girlfriend, and showing off some casual cruelty towards a love confession when he was in high school that will make your jaw drop (Hatori is appalled, Shigure just amused). Kagura may barely appear in the series anymore, but she makes her appearance count, getting upset at Tohru waffling about her love for Kyo to the point where she belts Tohru in the head – which a) should give Tohru a concussion and possibly hospitalize her, given this is Kagura, and b) leads to a wonderful bit where Rin witnesses this and loses her shit, screaming that Kagura has no right to hit anyone. (Kagura, very pointedly, apologizes to Rin but not Tohru.)

And now everything is terrible, basically. (I didn’t even talk about Shigure’s scenes with Ren, in which acid meets… well, even more corrosive acid.) Kureno is stabbed (and hey, that maid wasn’t fired after all!), Akito is walking around town with a knife and not in the best frame of mind, and Kyo is telling Tohru that he a) thinks he killed his mother, and b) thinks he killed HER mother. Can things possibly get worse? Hell yes. In any case, Fruits Basket: still wonderful.

Psycome: Murder Maiden and the Fatal Final

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By Mizuki Mizushiro and Namanie. Released in Japan by Enterbrain. Released in North America by Yen On. Translated by Nicole Wilder.

The good news is that this is a much more tonally consistent book than the first two, and has a better idea – most of the time – as to when to be over the top funny and when to have the reader genuinely disturbed. Renko remains the best character, getting in so many hilarious lines I can’t even bother to count them but also getting a really surprising amount of character depth (though I could have done without the epilogue telling rather than showing us all that character depth). Eiri continues to be the girl that Kyousuke SHOULD end up with, and I am very happy to hear that she’s the focus of the next book. Maina was less annoying as well this time around, and though Shamaya is back she seems to have lost the unpleasant implications of the end of the last book and just become another garden variety psycho. What I’m trying to say here is that I enjoyed everything about this except for the two lead characters and the main plot.

I knew going in that I wasn’t going to warm up to Ayaka. The “little sister obsessed with her big brother to an unnerving degree” is something already greatly exaggerated and overused by anime in general, and so turning the dial to 11 is not as successful as I think the author wants it to be. We’re meant to be amused at first and then gradually horrified as we realize that Ayaka is far more mentally unbalanced than she really should be for a “comedy” light novel, but since she enters the book hitting the high note and then only gets higher after that, we’re merely exhausted. That said, the larger issue here is Kyousuke.

There are hints, particularly at the end of the book, that Kyousuke’s entire family is, shall we say, a bit unusual, but even so, his reactions to Ayaka’s behavior beggar belief. I could be wrong here by dint of being an only child, but I’m fairly certain even the most doting brother would have noticed what was going on with Ayaka long before he did. It’s one of those cases where the revelation can’t come until the climax of the book, and so the hero ends up being unnecessarily stupid. The plot – when it arrived – was actually quite interesting, involving Ayaka deliberately being recruited into the school by their teacher, who can see a future assassin in her no doubt, but the fact that we didn’t find out about that until 90% of the way through the book is frustrating. And the subplot – involving everyone studying for finals, which have awful punishments for the bad students and setups for the next volume for the good students – was simply dropped at the end, making the “Fatal Final” a giant anticlimax.

And so, having spent much of this review being annoyed, let’s return to my original paragraph. This is a better book than the first two. The writing is more consistent, and there were some nice heartfelt scenes almost despite itself. But I don’t think Psycome will ever stop teetering on the edge of being a flaming ball of disaster, as seen in the Kamiya Family this time around. As long as it teeters and doesn’t fall off, I’ll keep reading.