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My Week in Manga: January 9-January 15, 2017

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My News and Reviews

Last week at Experiments in Manga I posted the Bookshelf Overload for December. It includes a pretty big list of things, in part due to massive holiday sales, so hopefully future months won’t be quite as ridiculous. Another thing that happened last week that was kind of cool was related to a post that I wrote back in 2014. My Spotlight on Masaichi Mukaide is probably one of the most noteworthy things that I’ve ever written and it actually got quite a bit of attention when I posted it. Well, Masaichi Mukaide himself apparently came across it recently and even left a comment.

Probably the biggest manga news from last week was the slew of licenses and other announcements made by Seven Seas. Here’s the list of manga:

Absolute Duo by Takumi Hiiragiboshi and Shinichirou Nariie
Alice & Zouroku by Tetsuya Imai
Captain Harlock: Dimensional Voyage by Leiji Matsumoto and Kouichi Shimahoshi
The Count of Monte Cristo by Moriyama Ena
Cutie Honey a Go Go! by Hideaki Anno and Shinpei Itou
Devilman G by Go Nagai and Rui Takatou
Dragon Half by Ryusuke Mita
Hatsune Miku: Bad End Night by Hitoshizuku-P x Yama and Tsubata Nozaki
Hatsune Miku Presents: Hachune Miku’s Everyday Vocaloid Paradise by Ontama
Magical Girl Special Ops Asuka by Makoto Fukami and Seigo Tokiya
Sleeping Beauty by Yumi Unita
Spirit Circle by Satoshi Mizukami
The Testament of Sister New Devil Storm by Tetsuto Uesu and Fumihiro Kiso
Unmagical Girl by Ryuichi Yokoyama and Manmaru Kamitsuki
Wadanohara and the Great Blue Sea by Mogeko

Seven Seas is getting back into translating novels and has a deluxe edition of Ryo Mizuno’s Record of the Lodoss War: The Grey Witch with illustrations by illustrations by Yutaka Izubuchi in the works, too. Also announced was a full-color edition of Madeleine Rosca’s Hollow Fields and five more illustrated literary classics. (I found Seven Seas release of Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass to be quite enjoyable.)

It’s a pretty interesting group of announcements with a fairly wide range of titles to choose from. There’s even a manga from the late ’80s (Dragon Half), and not many of those are licensed any more. I’m particularly curious about Moriyama Ena’s adaptation of The Count of Monte Cristo (the cover art is gorgeous), the josei manga Sleeping Beauty by Yumi Unita (whose Bunny Drop left me with extremely conflicted feelings), as well as the number of titles which are part of classic franchises.

Quick Takes

Devils' Line, Volume 1Devils’ Line, Volumes 1-2 by Ryo Hanada. I actually didn’t realize it at first, but Devils’ Line is the second work by Hanada to be released in English. The first was the doujinshi Good-bye Geist which overall I enjoyed. However, Devils’ Line is Hanada’s first professional series. In general, I’m liking it, too, except that the artwork is terribly inconsistent. At times it’s absolutely spectacular (the cover illustrations are especially great) but within a few panels it may have lost all sense of scale an anatomy. I can’t quite tell if this is mean to be deliberate or not; if so, the execution is unconvincing. The story isn’t as tight as it could be, but it does have a nice blend of genres, including romance, horror, action, crime, and thriller. And, like Good-bye Geist, the series has a marvelously ominous atmosphere. The plot centers around Tsukasa, who unfortunately seems to be a magnet for both vampires (or “devils”) and sexual assault, and Anzai, a half-vampire working for the police in a unit specializing in devil-related incidents. Vampirism in Devils’ Line has an intensely sexual component to it; the eroticism often associated with vampires in other stories is in this case incredibly dark and violent.

The Ghost and the Lady, Volume 2The Ghost and the Lady, Volume 2 by Kazuhiro Fujita. Admittedly, The Ghost and the Lady is kind of a strange manga series. In part historical fiction and in part supernatural drama, the manga’s disparate elements don’t always perfectly mesh, but I still enjoyed the series a great deal. In The Ghost and the Lady, Fujita mixes together historical facts and legends, reimagining the life of Florence Nightingale and her accomplishments during the Crimean War with a distinctly supernatural flair. It’s clear that Fujita has done a tremendous amount of research for the series; and as the afterword by the series’ translator Zack Davisson points out, more or less every named character in the manga has a historical counterpart. There’s Nightingale herself as well as the people she knew, Grey is based on a famous ghost of the Drury Lane theater, and even historical figures like the Chevalier d’Éon have prominent roles to play. (Speaking of whom, I really need to find a good biography of d’Éon to read.) Despite the presence of the ghosts, the supernatural aspects of The Ghost and the Lady seem to come and go; I do wish that the eidolons had been utilized a little more in the series’ second half because it’s great when they are.

Holy Corpse Rising, Volume 1Holy Corpse Rising, Volume 1 by Hosana Tanaka. As can be safely assumed by provocative cover art, Holy Corpse Rising is a manga series that includes a fair amount of nudity and scantily clad women. However, despite the occasional ridiculousness, the fanservice is largely keeping with the style and tone of the series as a whole, so it doesn’t feel out-of-place; a significant portion of Holy Corpse Rising is intended to be titillating. In general, Tanaka’s artwork is quite attractive, though the women in the series are the most beautiful. They’re also by far the most powerful characters, both in ability and status. The first volume of Holy Corpse Rising serves as an introduction to the war between the Credic Church and the witches. Nikola, a monk who is a specialist in witch lore, is charged with securing the aid of the coven of first witches in the Church’s fight against their descendants. But first Nikola must resurrect them and in the process manages to put himself in some rather compromising situations. So far the first witches each seem to gain their power from a different bodily fluid (tears, blood). And since there are twelve of them, Holy Corpse Rising has the potential to enter some pretty kinky territory.

The One Hundred Nights of HeroThe One Hundred Nights of Hero by Isabel Greenberg. I don’t recall exactly what it was that brought The One Hundred Nights of Hero to my attention, but I’m so glad that I read it because it is marvelous; I loved the comic. Greenberg takes inspiration from existing stories and even provides retelling of folktales over the course of the graphic novel. The framework is deliberately similar to that of One Thousand and One Nights and there are stories within stories within stories. In fact, The One Hundred Nights of Hero is about the power of stories and storytellers. It’s also about love and “brave women who don’t take shit from anyone.” At the center of the comic is Cherry and her maid Hero, two women who love each other dearly. Night after night, Hero spins tale after tale in an effort to save their lives. The world of The One Hundred Nights of Hero is an incredibly misogynistic one. While different from our own, in some ways it is also tragically reminiscent. The One Hundred Nights of Hero isn’t always particularly subtle and can at times feel somewhat heavy-handed, but it’s a wonderfully powerful and unabashedly feminist work. I definitely plan on seeking out more of Greenberg’s comics.

Moshi MoshiMoshi Moshi by Banana Yoshimoto. Despite being an extremely prolific author and one of the most well-known Japanese novelists translated in English, I haven’t actually read any of Yoshimoto’s works until now. The story of Moshi Moshi is told from the first-person perspective of Yoshie, a young woman whose father has recently died. A successful musician, the circumstances surrounding his death are somewhat unclear, but it’s believed that he committed double suicide with a woman who neither she or her mother knows. The novel follows Yoshie as she tries to come to terms with the unexpected loss of her father by reinventing her life in the chic neighborhood of Shimokitazawa. Her mother joins her there, feeling that the ghost of her husband is haunting the family home, and Yoshie herself is plagued with recurring dreams in which her father appears, searching for his phone. Though Moshi Moshi does tend to drag a little in places, I really liked how Yoshimoto handles the themes of love, loss, and the inevitability of change in the novel. I suspect that Moshi Moshi likely isn’t the best introduction to Yoshimoto’s work, but for the most part I did appreciate it.

Bookshelf Briefs 1/16/17

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Arpeggio of Blue Steel, Vol. 9 | By Ark Performance | Seven Seas – As this series has gone on, we’ve been introduced to more and more mental models, to the point where it can be hard to keep track of everyone. I have some bad news for you, but we get even more showing up here. My favorite was Ashigara, who is very much of the “I love combat and BEING LOUD!” sort of Japanese manga stereotype, and her battle goes about as well as you’d expect, which is to say not at all. Meanwhile, we find that not only can Iona do a good verbal impersonation of Gunzou, but she does a fair job of impersonating his captain skills as well. As we gain more cast and more subplots, it’s going to be important to be able to remember who they all are, and thankfully Arpeggio does its best. Solid. – Sean Gaffney

The Black Museum: The Ghost and the Lady, Vol. 2 | By Kazuhiro Fujita | Kodansha Comics – This story wraps up with this volume, though there is more Black Museum out in Japan (and not yet licensed). It’s actually rather interesting to see how well Florence Nightingale’s life works as an action manga and/or medical drama. There’s no shortage of villains, and I’m not even talking about D’Eon. We even get endnotes reminding us that these are based on real people. Still, the fun in this series is to see Florence’s never-say-die pluck, watch Gray be cool, and see the occasional swordfight or spirit battle. Oh yes, and the museum curator, who remains hilarious. Also watch for the cameo by characters from a manga by the creator of Rurouni Kenshin. Well worth the hardcover price. – Sean Gaffney

The Demon Prince of Momochi House, Vol. 7 | By Aya Shouoto | VIZ Media – I never thought I’d say this about an Aya Shouoto title, but this was a great volume of manga. It was always fairly obvious that Himari’s school project researching a local ghost story with a group of classmates would tie in to what happened to Aoi when he was a kid, but the reveal of exactly why and how he ended up at Momochi House was handled with a creepy atmosphere and suspenseful, engrossing pacing that made for a highly enjoyable read. Plus, although some major, game-changing things happen, the essential threat to Aoi’s humanity remains. If you’re curious about Shouoto and wondering which of her series to try, let there be no doubt: it’s this one. – Michelle Smith

Haikyu!!, Vol. 7 | By Haruichi Furudate | Viz Media – As with the last volume, this is entirely about all volleyball, all the time. Unlike the last volume, there’s lots to talk about, as the series goes from good to great. The way that Sugawara works to bring out the best in his team, the way that Kageyama is showing he can learn and evolve, and the communication that develops between everyone—even cranky Tsukishima—are a joy to see, and really drive the series. We must also be getting near the end of the game, as we get tragic backstory for one of the opposing players. And of course there IS lots of volleyball lecturing and discussion, as well as cool action poses. This is one of the most Jump manga ever, and if you don’t read it you’re missing a treat. – Sean Gaffney

Haikyu!!, Vol. 7 | By Haruichi Furudate | VIZ Media – I always love when characters who had previously been in the background get their turn to shine, and there is quite a lot of that in this volume of Haikyu!!. After Kageyama loses his cool and gets benched, Sugawara finally gets to play for the first time in the tournament. Although his skills are average, the way he communicates with his teammates brings them together and calms their nerves, showing Kageyama some ways in which he’s clearly lacking. When he returns to the game, he takes Sugawara’s advice, and finally starts interacting with prickly Tsukishima and figuring out how best to utilize him as a hitter. It means a lot to see that he’s actually willing to listen for the benefit of his team, and his later, awkward attempts at congratulatory high-fiving are fairly amusing. As ever, I eagerly await the next volume! – Michelle Smith

My Monster Secret, Vol. 5 | By Eiji Masuda | Seven Seas – Still hilarious, still has touches of harem romance, but this volume also shows that My Monster Secret can be quite touching when it wants to be. Mikan is on the cover, and much of the latter half of the volume focuses on her, as she gradually realizes that she’s in a school of monsters. Luckily, not only does she have her own monster issue with her possessed glasses, but an accidental trip to the future allows her to confess to Asahi. Now, he loves Youko, so that’s not going anywhere, but it’s good to get off her chest, and maybe it helped him to finally confess to Youko? That’s the cliffhanger. There’s also plenty of hilarious gags—this is a funny manga. But it’s also got great characters. Best ‘monster girl’ manga right now. – Sean Gaffney

Nichijou: My Ordinary Life, Vol. 6 | By Keiichi Arawi | Vertical Comics – This is a more hit-and-miss volume of Nichijou than before, but the hits are hilarious. Nakamura-sensei trying to find out what makes Nano tick, and ending up at her house and meeting The Professor is just one great visual gag after another. Speaking of The Professor, she’s horrified to find Mai coming over “to play,” as she knows her as the girl with the vicious biting dogs. Luckily, Mai’s art skills are more valuable than Mai’s sense of what’s interesting or amusing, so she manages to mollify her. As for Mio, she gets a lot of dream sequences here, be they her own or Yukko’s, and they’re all hysterical, as is her “running away from reality” rampage across town, which the anime animated flawlessly. Good stuff. – Sean Gaffney

That Wolf-boy Is Mine!, Vol. 3 | By Yoko Nogiri | Kodansha Comics – I’m usually dubious when a series gets compared to Fruits Basket, but here it’s more justified than most. Not only are there hot boys who transform into animals and a girl who knows their secret, but now we’ve got a figure filling the Akito role. Yata-sensei was the one who taught the boys to transform in the first place, and makes sure they are able to pass as humans, and when Komugi’s presence (and the tension it causes between Yu and Rin, who both have feelings for her) creates an unnecessary disturbance, he tries to get rid of her. First, he warns her off, suggesting she return to Tokyo to live with her mother, but by the end of the volume, he’s opted for more drastic measures. Exactly what those are, we’ll have to wait for the fourth and final volume to find out. I’m really enjoying this series! – Michelle Smith

Attack on Titan, Vol. 20

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By Hajime Isayama. Released in Japan by Kodansha, serialization ongoing in the magazine Bessatsu Shonen Magazine. Released in North America by Kodansha Comics. Translated by Ko Ransom.

(Note: this review contains large spoilers for the whole volume)

In the last volume we finally got back to a lot of Titan fighting after several volumes of political intrigue. That doesn’t let up here, as this book is about humanity’s desperate fight to stop the titans. It’s also about death – at the start of the series, a lot of characters we briefly knew well died, and Levi’s squad was killed off several volumes later. Now the reaper has come calling again, and it’s uncertain who’s actually going to survive by the end of it. Is Armin really dead? Well, we thought Hange was dead last time, but here she is, looking battered but alive. This series has always had an underlying question of “how depressing is the ending going to be?”. Will the author and editors really kill off most of the likable main cast for good? Will the Titans win?

Speaking of Armin, a lot of this volume focuses on him, particularly on his loss of courage in the face of disaster. This is actually done quite well, showing that the horrible slaughter of war does not automatically make anyone a badass, particularly if your soldier skills are mostly confined to tactics, as with Armin. Seeing him falter gives us extra frustration and sadness, and helps to make the end of the volume, where he snaps out of it, comes up with a plan, and seemingly sacrifices his life for the others’ sake, even more impressive. Speaking of impressive, I must admit I’ve never really warmed to Jean before now, a character who has always been very confrontational and obnoxious. But he’s fantastic here, taking over when Armin falters and thinking of good short-term plans that will help them escape, while admitting that long-term tactics is not something he is designed for. Great job.

Armin is, of course, not the only casualty here, as Erwin takes all the rookies who are watching the Beast Titan and company destroy everything on a suicidal charge in order to give Levi time to make a sneak attack. As one recruit points out (and oh what irony that he seems to be literally the only recruit to survive after this debacle), Erwin is asking them to go out and die, and Erwin responds bluntly that yes, he is. And they do just that. Naturally the reader focuses on Marlowe, whose shift from reluctant MP soldier to raw recruit has gotten quite a bit of focus, and he even got some rare Titan ship tease with fellow MP Hitch. Now he thinks of Hitch, who did not join the Survey Corps and is thus likely asleep, right before his head is blown apart. War is hell. And in war, the good die. A lot.

And that may also include Erwin, whose frustration that they’re almost but not quite able to get to Eren’s father’s house is palpable. He’s leaving everything to Levi and Hange, but like Armin, his fate is not quite confirmed at the end of this book. Will they both end up like Marlowe, Petra and Marco? Or will this be like Sasha or Hange, where we’re sure they’re about to die but they somehow escape? In any case, a good solid volume, and I can’t even complain about the mediocre art too much this time.

Manga the Week of 1/18

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SEAN: Mid-month, and it’s a mostly quiet time in manga land. Some series end, but others carry on regardless. What’ve we got this time around?

ASH: Wow! It’s been a while since we’ve had a week this quiet.

SEAN: Kodansha has a 2nd volume of Interviews with Monster Girls, whose first volume I found pretty good. It’s more on the ‘cute’ than ‘sexy’ end of the spectrum.

ASH: Hopefully the recent anime adaptation will encourage people to try the manga, too.

SEAN: And there’s an 18th volume of The Seven Deadly Sins.

One Peace gives us an 8th volume of yuri trap manga Maria Holic.

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Seven Seas has one of my favorite horrible guilty pleasure series come to an end with the 4th and final omnibus of Franken Fran. I understand it wasn’t a big seller, which is a shame, but its over-the-top horrible horror and humor always tickled my funny bone. Or made my jaw drop.

ASH: I’ve been thoroughly enjoying Franken Fran. It’s sad to hear it hasn’t done especially well, but I’m glad to have it on my shelves.

SEAN: How to Build a Dungeon also made my jaw drop, but not in a good way. Vol. 2 is out. Buyer beware.

My Girlfriend Is a T-Rex also has a 2nd volume, and I found the first, like Interviews with Monster Girls, cute and ‘pretty good’. This is a mild recommendation.

And Non Non Biyori’s 6th volume, a series that takes slice of life to such extremes you may fall asleep just reading the synopsis.

Vertical gives us a 7th volume of Ninja Slayer, which has ninjas, who possibly slay.

Viz has the 20th volume of Dorohedoro, and I could not be more delighted. I look forward to this series every time a new volume comes out.

ASH: Yes! I love Dorohedoro.

SEAN: And there is a 16th Terra Formars as well.

Lastly, Tokyo Ghoul has a 2nd novel based on the popular series, this one called Void.

MANGA? It’s what’s happening. What are you getting?

MICHELLE: Uhhh… nothing, apparently.

KATE: That makes two of us, Michelle! There’s a whole lotta “Whoa!” and “No!” in this week’s shipments as far as I’m concerned.

MJ: Same! Is it sad that I’m somewhat relieved to finally have disembarked the Seven Seas train? Sorry, Seven Seas.

ANNA: There is nothing that appeals to me this week, which is good because I can hopefully get caught up reading other things!

I Saved Too Many Girls And Caused The Apocalypse, Vol. 1

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By Namekojirushi and Nao Watanuki. Released in Japan as “Ore ga Heroine o Tasukesugite Sekai ga Little Mokushiroku!?” by Hobby Japan. Released in North America digitally by J-Novel Club. Translated by Adam Lensenmayer.

To a certain extent, a lot of light novels in Japan have a certain level of knowing irony built into their very frame. You don’t have a genre with that many long-winded over-dramatic series titles and not know that your tongue is planted firmly in your cheek, though by now, a few years out, I suspect many of the imitators may have bypassed the irony in favor of “long titles sell”. But if you do understand, and your audience does as well, there’s a lot you can make fun of. Especially in the so-called “harem” genre, something which has been around in North America since the dawn of manga here (see Ranma 1/2 for only one example) and is even more rife in Japan. Jealous childhood friends, wishy-washy male leads, cripplingly shy yet adorable girls who always enthrall the male audience yet never actually win… we all know the type. It’s ripe for being made fun of.

Our hero is a young man who only wishes to live a normal life. Sadly, Rekka is told by his father on his 16th birthday that he’s inheriting the birthright of being the “final hero” – i.e., when a crisis is happening somewhere and a hero is needed but has not actually materialized, died, or failed, Rekka will be called to action to get the girl, kill the baddies, and save the entire planet. The keywords here being “get the girl”. Shortly after this, a young girl from the future, R, pops up to tell Rekka that he made too many girls fall in love with him doing this, and his inability to settle down and pick one has led to a future apocalypse. R is here to help prevent this. And right after this, the hero stuff keeps pouring in. His childhood friend is secretly a mage, an alien princess wants to marry him, and a shy sorcerer needs hims help to defeat the Demon Overlord. The conceit is that this all happens at the same time.

I must admit, my expectations were somewhat low for this release. The dire but similar “My Little Sister Can Read Kanji” release by J-Novel was so bad I wasn’t even able to finish (or review) it. But it looked lighthearted at least, and I was in the mood for something that wasn’t just dour overpowered male leads staring at the charred remains of all they once loved. And luckily, this ended up being a quite readable treat. It’s not great art, and overstays its welcome (something that is worrying given how long the series is in Japan). But it knows what it’s mocking and does it very well. Some of the jokes actually made me laugh out loud, a rarity for light novels. Its one big drawback is that it peaks too soon. Rekka and Harissa battling the Demon Overlord, complete with “you fools! This isn’t even my final form!” is the absolute highlight of the entire book, and the rest couldn’t dream of topping it.

The basic premise is actually quite clever: Rakka would normally be taking care of these things one by one, and likely not doing a great job. But with them all happening at once, he’s able to use resources from one heroine route to fix another. And they aren’t necessarily easy fixes, either – I knew the moment that he left Harissa right after defeating the Demon Overlord handily that it wouldn’t be that simple, and sure enough she’s soon on the chopping block to be executed. As for Rekka himself, he’s amusingly dense, but he’s not an incompetent clumsy idiot like a lot of harem heroes – you actually get why these girls fall for him. The heroines themselves are all obvious types, designed to win over whichever pleases the reader best, and none are too annoying. Best of all is R, who is invisible to all but Rekka and is thus able to float around him at all times making dry, sarcastic remarks about his incompetence. “I now understand the difficulty of my mission in my heart and not just in my head” was wonderful. (I also hope that she does not become part of the harem in future books.)

Overall, I’m pleasantly surprised at what a light, breezy read this was. Don’t read it if you can’t tolerate harems, of course. And like many light novels, I suspect it’s something I’d find far more aggravating as an anime or manga with more visual fanservice. But if you want something funny and cheeky, this is a good series to get.

Bookshelf Briefs 1/9/17

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Cells at Work!, Vol. 2 | By Akane Shimizu | Kodansha Comics – Given that this is about anthropomorphic blood cells, it can sometimes be a surprise when the series packs an emotional and weighty punch. But that is, after all, the purpose of the anthropomorphism—Red Blood Cell and White Blood Cell are memorable because of their eccentricities and human foibles. Here we learn they’re apparently also forgotten childhood friends… sort of. There’s also discussion of Eosinophil, which is more specialized and therefore less powerful against things a normal White Blood Cell can do, and a surprisingly poignant treatment of a cancer cell, which is after all only trying to survive. A good second volume, and I like these cells. Are there ship wars yet? – Sean Gaffney

He’s My Only Vampire, Vol. 9 | By Aya Shouoto | Yen Press – The pieces begin to fall into place in this, the penultimate volume of He’s My Only Vampire. Unfortunately, Kana is thrust almost entirely into the background, despite a couple of revelations about her past (well, one is not entirely confirmed, but the hinting is so heavy-handed, it might as well be), as the looming confrontation between Aki and Eriya means the hunt for stigma is ramping up. Aki currently has three with a fourth at his disposal, once Jin deems the time is right, but Eriya soon claims his second. The cliffhanger ending involves the manifestation of the final stigma as well as a diary of significance. So far, this is hanging together better than Kiss of the Rose Princess, even if it isn’t 100% coherent. I’ll definitely be reading the conclusion! – Michelle Smith

Honey So Sweet, Vol. 5 | By Amu Meguro | VIZ Media – There are no fewer than five great big beaming smiles in this volume. Nao and Taiga plan to have a solo date on Christmas, but their friends quickly co-opt the evening for a party. This, in turn, leads to Nao meeting Taiga’s mom, who doesn’t seem to like her much, and then sleeping over and forgetting to notify Sou, who is very upset. Even though there is much going on here that is sweet and sunny—my favorite moment is actually Yashiro giving Valentine’s Day chocolates to Misaki—I actually really liked seeing Nao get angry for once and vow to be rebellious, and then seeing Tai lose his patience with the whole situation and intervene to get Nao and Sou reconciled. Like they themselves conclude in the story, it makes you closer with someone when you can be honest how you feel. And I honestly adore this series. – Michelle Smith

The Honor Student at Magic High School, Vol. 5 | By Tsutomu Sato and Yu Mori | Yen Press – My relief at the novels having caught up to the spinoff didn’t last long, as this volume of Miyuki’s adventures breezed through the third book in only 70 pages or so, leaving the rest of the plot as part of book four, not out here until April. So I’m spoiled by the spinoff again. There’s some good stuff here, in amongst the setup for the next volume or two. Shizuku in particular benefits in this book, becoming more than Honoka’s fiend and deadpan support and gaining character and awesome moments in her own right. As for Miyuki herself, I suspect she’s damaged by the aforementioned setup, as she doesn’t do quite as much here. Still good stuff. – Sean Gaffney

Of the Red, the Light, and the Ayakashi, Vol. 5 | By HaccaWorks* and nanao | Yen Press – Well, the story is certainly moving swiftly along! So swiftly, in fact, that the final four volumes of this series are certain to be action-packed. In this particular installment, we learn a little more about the meal, as well as the fact that Yue’s small and cute fox companion, Kurogitsune, is due a meal of his own and potentially thinks that Yue seems pretty tasty. Yue, for his part, is feeling disinclined to partake of a meal if it means one of his friends will disappear and is seeking a way out of the obligation, but the head honcho of the shrine aims to take the decision out of his hands and kidnaps Tsubaki when he has the opportunity. All sorts of forces are at play now, and I can definitely see the potential for a straight-through reread once the ninth and final volume finally arrives. – Michelle Smith

One-Punch Man, Vol. 10 | By ONE and Yusuke Marata | Viz Media – Tornado of Terror is on the cover, and she gets a significant chunk of the book as well. And you can see why—more than any of the other female characters we’ve seen in the series, she’s a match for Saitama, possibly as she’s also a lot like Saitama—she gets a lot of simplified faces, emotionless stares, and superdeformed art just as he does. Her sister also gets a nice chapter showing how difficult it can be to not worry about others when you’re constantly striving to get stronger than your betters. Among all that, the further adventures of Garo don’t pack quite as much of a punch—indeed, Saitama takes him out handily as always. This continues to be top-tier shonen and top-tier shonen parody. – Sean Gaffney

Yowamushi Pedal, Vol. 4 | By Wataru Watanabe | Yen Press – I was right that the second years were unable to beat out the first years, who are of course the protagonists so have the writer on their side. That said, I wasn’t expecting so nasty a finish, as they end up giving themselves significant injuries that will take them out of the action for some time. As for Onoda, he’s near his limits, and close to failing, but he gets another reward to give him even more speed—cleats—and that proves to be all the difference. So now we’re ready for the tournament itself, which promises to be grueling, and which features a flashback to the last one, which ended badly for all parties concerned. Is revenge in the offing? Excellent sports manga. – Sean Gaffney

My Week in Manga: January 2-January 8, 2017

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My News and Reviews

Last week at Experiments in Manga the winner of the Kuroko’s Basketball giveaway was announced. The post also includes a list of some of the tournament and competition manga that has been licensed in English. As per usual these days, there wasn’t much else from me, but there is some other very exciting Manga Bookshelf news: The Manga Critic is back! Be on the lookout for some great content from Kate Dacey. Last week I also read Makoto Yukimura’s eighth Vinland Saga omnibus which was, as expected, excellent. (I highly recommend the series as a whole.) However, you won’t find a quick take of it below because I’m going to try to write up a full-length review of it instead. We’ll see how it goes!

Elsewhere online, The OASG has started a new series called How Fans Can Help the Anime & Manga Industries Grow in which industry folk share their experiences an thoughts on the subject. So far, the responses from Charlene Ingram, Viz Media’s senior manager of marketing, and Charis Messier, lead translator at Cross Infinite World, have been shared. Another interesting read courtesy of Sakuga Blog is a translation of a roundtable with three manga editors (Tatsuya Kusunoki, Katsuyuki Sasaki, and Ryouji Takamatsu) discussing the growth of the yuri genre. As for boys’ love, Khursten at Otaku Champloo takes a closer look at the Dangerous BL Manga list for 2017.

Quick Takes

Firefighter! Daigo of Fire Company M, Volume 2Firefighter! Daigo of Fire Company M, Volumes 2-10 by Masahito Soda. I enjoyed the first volume of Firefighter! well enough to seek out the rest of the manga (while the entire series is now available digitally, most of the individual volumes are well out-of-print) and I am so incredibly glad that I did. I’m only halfway through, but Firefighter! is fantastic. It has exciting action, compelling drama, and engaging characters. The titular Daigo is a rookie firefighter who, although he seems to have good instincts, has a lot to learn. Each rescue he’s a part of is more audacious than the last and he frequently ends up in the hospital as a result. Daigo hasn’t lost anyone yet, but his unorthodox ways, disregard for direct orders, and tendency to go overboard puts his own life and the lives of other rescue workers at risk. It seems like it’s only a matter of time before tragedy will strike, but no one can deny that he has saved people who would have otherwise died. Firefighter! is intense and thrilling, but it actually has a fair amount of humor as well. (For all his bravery, Daigo is kind of a goofball.) I’m definitely looking forward to reading the series’ second half.

Horimiya, Volumes 2-4 written by Hero, illustrated by Daisuke Hagiwara. While I wasn’t quite as taken with these few volumes as I was with the first, I am still enjoying Horimiya a great deal. After accidentally discovering each other’s secrets, Miyamura and Hori have developed a close friendship which is slowly evolving into something more. It takes some time, but eventually they’re able to recognize their feelings and actually act on them. In large part, Horimiya is a manga about relationships of all types. Friendship and family are just as important, and are sometimes even more important, than the series’ romance. It’s also a manga which excels in depicting the characters’ multifaceted natures, showing how they behave differently depending on who is present. As more characters are introduced (including Hori’s father and some of Miyamura’s friends from middle school), the social dynamics in the series naturally change. Horimiya isn’t a manga that has me on edge desperate to know what will happen next, but the characters are tremendously endearing and I do want to see things work out for all of them.

Warning! Whispers of LoveWarning! Whispers of Love by Puku Okuyama. So far, only two of Okuyama’s boys’ love manga have been released in print. I had previously read and wasn’t overly impressed by the more recent Caramel despite liking some of the manga’s individual elements (in fact, overall I can’t really say that I enjoyed it much) but I already had a copy of Warning! so I figured I should at least give it a try. I’m happy to say that I enjoyed Warning! much more than I did Caramel. It’s a collection of rather silly boys’ love stories ranging from the subtly amusing to the overtly goofy. They tend to be fairly cute as well and generally any physical intimacy that is shown is limited to a few kisses and chaste embraces. Most of Warning! is devoted to the story of Hajime, a first year at an all-boys school, and the incredibly awkward relationship that develops between him and an upperclassman who seems to want nothing more than to clean the wax from Hajime’s ears. It’s easily the most ridiculous setup in the entire volume but it can be legitimately funny–all the boys’ love tropes and jokes that would typically be applied to sex are applied to ear cleaning instead and it’s surprisingly effective.

Wandering SonWandering Son directed by Ei Aoki. Takako Shimura’s manga Wandering Son is an incredibly important series to me personally, so I was greatly saddened when Fantagraphics stopped releasing it in English. Initially I wanted to read the entire manga before watching the anime adaptation but, seeing as the rest likely won’t be available any time soon, I finally gave in. The Wandering Son anime is a lovely series. It’s not an exact adaptation of the manga, but it is faithful to the original story and characters. In general, the narrative style of the anime tends to be a little more linear than that of the manga. However, both series provide an empathetic exploration of gender identity, following a group of middle school students who are learning who they are. It’s a fairly realistic portrayal, meaning that society isn’t always the most accepting which can be absolutely heartbreaking. However, seeing the characters become more confident in their selves even when that goes against what is expected of them is exceptionally validating. The anime only adapts a portion of the manga and doesn’t provide much of a resolution (though it does go beyond where Fantagraphics left off), but it is still very well done and well-worth watching.

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Is It Wrong To Try To Pick Up Girls In A Dungeon?, Vol. 7

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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?” by Softbank Creative. Released in North America by Yen On. Translated by Andrew Gaippe.

Writing books can be difficult. In addition to actually making sure that you have a decent plot, characterization, action scenes, etcetera, there’s always so much that can go wrong when your target audience is reading it. Maybe they don’t like a new character you introduced to be loved, or perhaps that scene you thought was really romantic is seen as a bit creepy when talked about by others on the internet. There is also page creep, a little-known malady that affects many long series, in which each successive book seems to get longer and longer, till you suddenly realize that you don’t so much have a book as you have a tome. That’s the case with the latest DanMachi, which is so long that you could fit three Kagerou Daze novels inside it. That said, it doesn’t feel all that padded or overdone. Sadly, it does have two major issues.

But first let’s talk about what did work. The new volume manages to build on the events of the last one while also undercutting it, as for a moment it looks like everyone wants to join the Hestia Family… till they hear about Hestia’s huge debt for the knife she bought for Bell, and all that just vanishes. Bell’s strength is less easy to hide, and things get even more difficult when Ishtar, the goddess in charge of the city’s prostitutes, discovers what Bell’s secret really is – she sees the stats on his back. Ishtar is a good villain, suffering from an obvious case of second best syndrome and overcompensating because of it. She’s second best here as well, as Freya simply wipes the floor with her. In fact, this book is packed with fights and chase scenes, and they’re all done quite well, and are what make the book so long. Mikoto finally gets a chance to shine, and she’s awesome, even if she reminds me a bit too much of Kyuubei from Gintama. And we also meet Haruhime, the newest addition to the cast, with her tragic past, terrible secret, amazing power, and self-hatred that’s more powerful than all of those.

I have two issues with this book, one small, one large. The first is more “I hate this cliche” than anything else: Ishtar’s prostitutes are all tall, strong, gorgeous Amazon warriors… except the strongest of them, who is a frog-faced crone who goes on about her beauty while making everyone around her shudder. Phyrne is a giant pile of “ugly = evil”, and that’s one stereotype I’d love to see end. The other is far more vexing. This novel revolves in many ways about prostitutes and virginity. Bell is, of course, a pure, virgin hero, and this purity is so blinding that he can even resist the charms of a goddess – in fact, it’s part of his basic nature. (This of course only makes them want him all the more.) And Haruhime tells Bell that she’s was bought and forced to work as a prostitute, and is therefore not worth saving. Bell rejects this, saying that even if she *is* a prostitute, she still deserves to be rescued as much as anyone. I liked this. It’s possibly the major theme of the book. So then WHY would you have the reader be told at the last minute “Oh, she was such a bad prostitute that she always fainted, so is still a virgin?” Why would you undercut Bell’s entire point? It is a really, really terrible moment.

But apart from those two things, this is a solid entry in the franchise. I believe that the next volume is short stories, so we may have to wait a bit to see what the fallout from this book is. Worth a pickup, but you may grind your teeth towards the end.

Sakura Hime Volumes 1-4

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Sakura Hime Volumes 1-4 by Arina Tanemura

One of my reading goals over winter vacation was to make some headway into some of the series that I’ve been hoarding but not finishing. The main ones I’ve had around the house are 07-Ghost, Magi, and Sakura Hime. Since Sakura Hime is the shortest, I decided to start with that. Also, for someone that genuinely loves Arina Tanemura manga as much as I do, it is just plain weird that I haven’t finished the series before now. I didn’t reach my goal of reading the entire series during winter vacation but I hope to whittle away at it over the next couple months.

Sakura is a 14 year old princess from the moon who is engaged to Prince Oura, the son of the emperor. She is extrmely unhappy about her upcoming marriage. Hanging out in a tree in protest, she falls into the arms of Aoba, a handsome and obnoxious emissary who has come to escort her to her new husband. They immediately start bickering in that “I hate you because I’m secretly attracted to you!” way that so often happens in shoujo romance. And in a not very great surprise, Aoba is actually Oura.

Sakura and Aoba are fighting from the start, as he thinks that she has the potential to turn into an evil demon due to her moon heritage, while Sakura is determined to protect humans. Demons called youko attack Sakura if she looks directly at the moon, and she is able to manifest magical girl powers when she calls on the somewhat cranky sword Chizakura. One interesting aspect of this manga is that each character has a unique soul symbol that defines their lives. Sakura’s is “Destroy” which highlights the tension between her otherworldly nature and her desire to protect humanity. It also feeds into Aoba’s worries that Sakura is dangerous.

A large supporting cast is introduced at a quick pace in the first few volumes, including the tiny mononoke Asagiri, who is a companion to Sakura. Sakura is also joined by a spunky ninja protector named Kohaku, who has a companion frog named Hayate who is actually a handsome ninja boy with an unfortunate curse. The Priestess Byakura serves in the role of mystical advisor. Lord Fujimurasaki shows up to hint at love triangle possibilities, and just be generally fabulous with a tendency to compose random poems as commentary on whatever is happening around him.

One thing I was surprised about as the story unfolded is that the relationship between Aoba and Sakura ends up evolving greatly in the first few volumes, as based on patterns in other Tanemura series, I expected the “I hate you, no I love you” dynamic to continue for at least 6-7 volumes. Sakura grows in capabilities and confidence as she continues to reclaim her heritage as a princess from the moon. It wouldn’t be a Tanemura series if the heroine wasn’t spending a great deal of time stressing out over a man so since the situation with Aoba is quickly resolved, Sakura’s long-lost brother Enju appears and takes her away.

Tanemura does a good job juggling the character relationships with such a large cast, and in the first few volumes she has moments of levity balanced with some serious mystical creepiness. The moon is a creepy, creepy place. Sakura’s good human companions are balanced out by Enju’s followers, and I’m looking forward to the coming conflict in the rest of the series. I had to laugh when I was reading one of the authors’ notes, as Tanemura commented that she was using less screentone, and I have to say I can’t see it. The combination of historical setting, magical girl hijinks, and moon people ensures that all the flowing ribbons and fluttering flower petals that Tanemura fans would expect are present in this series. After reading the first few volumes, I’m enjoying it very much.

Scum’s Wish, Vol. 1

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By Mengo Yokoyari | Published by Yen Press

I admit that I initially judged this book by its cover, assuming that it was on the smutty side and aimed at a decidedly male audience. While it is true that Scum’s Wish is seinen, the mangaka (Mengo Yokoyari) is female, and the end result (for me, at least) feels more like dark shoujo.

Hanabi Yasuraoka has been in love with Narumi Kanai, a family friend, since she was little. He was around when her mother couldn’t be (Hanabi’s dad is out of the picture), and promised to always be there for her when she’s lonely. Now, Hanabi is in her second year of high school and Kanai has just started his first teaching job… as her homeroom teacher. Pretty quickly, he becomes smitten with another young teacher, pretty Akane Minagawa, and Yokoyari-sensei masterfully conveys through facial expressions just what Hanabi thinks about that. Soon, she meets Mugi Awaya, a boy who is in love with Minagawa (she used to be his tutor) and they strike up an odd sort of friendship as they hang out together, pining for their unrequited loves.

Eventually, through boredom, loneliness, and hormones, Hanabi and Mugi end up making out, each envisioning that the other is actually the one that they love. While there are a couple of bosom closeups during this part of the story, there are such complex emotions being felt in the scene that it doesn’t feel at all salacious. Ultimately, they decide to publicly become a couple so that they can fulfill each other’s physical desires as needed, though one of the rules they establish is that they won’t be having sex, so I’m assuming this arrangement leads to a great deal of frustration.

The concept of a young couple in a purely physical relationship reminded me of A Girl on the Shore, but happily there’s no disturbing power imbalance between Hanabi and Mugi. No one is merely accepting what they can get from someone who belittles them. They have a lot in common and there’s an inkling, too, that something more might develop (even though they made a rule forbidding that, too), with Hanabi thinking that Mugi has never let her down, unlike Kanai, and feeling possessive of him.

As the scope of the story widens, we meet other characters who are in love with the leads. In addition to a boy who hasn’t received a name yet, Hanabi’s admirers include a girl named Sanae Ebato, who appears for the duration of one chapter and has yet to be mentioned again. Mugi’s overly enthusiastic admirer is Noriko Kamomebata, who has worked very hard to become a princess worthy of him, and gives the impression of a newly hatched chick who imprinted on him.

The introduction of Noriko—who prefers the name Moka, for “most kawaii”—does lead to my one complaint about this volume. Although I’ve presented the story of Hanabi and Mugi in a linear fashion, it’s actually largely told through flashbacks. I followed all of these fine until Noriko is introduced, at which point she refers to herself and Mugi as both being first years. In the first chapter, though, Mugi and Hanabi are both confirmed to be seventeen years old, they discuss their scores on a test, and Hanabi clearly mentions being in the second year of high school. So, is Mugi a second year like her or is he a first year? The timing of when Noriko arrives and objects to their relationship, therefore, is fuzzy and confusing.

All in all, though, Scum’s Wish was far better than I had originally assumed. I have no idea where the story will go from here, so I am very curious to see how it develops.

Scum’s Wish is ongoing in Japan and seven volumes are available so far. Yen Press will release volume two in English later this month.

Review copy provided by the publisher.

Sword Art Online, Vol. 9: Alicization Beginning

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By Reki Kawahara and abec. Released in Japan by ASCII Mediaworks. Released in North America by Yen On. Translated by Stephen Paul.

Here we go, ladies and gentlemen. This is it. This is the Big One. This volume of Sword Art Online begins the Alicization Arc, an arc that will not end until Vol. 18 rolls around in December 2019. And you can tell from the writing in many ways, as Kawahara is taking his time to set things up and carefully introduce things that will clearly have relevance later – not least of which is Alice herself, whose disappearance is one of the major plot points of the book, but it’s not resolved here. For those who love the main heroines of Sword Art Online, well, you may be in for some hard times. Asuna is here at the start, as well as Shino. We even hear about future plans, as Shino discusses the next Bullet of Bullets tournament and Asuna and Kirito make plans for going to college overseas. Unfortunately, life has other plans. Fortunately, we have a new heroine, in the best Sword Art Online tradition, to help Kirito with this crisis. He’s even on the cover. Wait, he?

Yes, that’s right, the author has finally realized that the occasional appearance by Klein isn’t cutting it, and gives Kirito someone who can be an equal as well as (sort of) a childhood friend. The conceit of this book is that Kirito is testing a new VR system that’s the most realistic one yet – unlike Aincrad and the other VMRROs we’ve seen to date, this new system is able to mimic things down to the last detail. It’s also, apparently, able to give you vivid backstory if need be – the first 60 or so pages of this book are Kirito, Eugeo and Alice as kids hanging around their medieval fantasy hometown and getting involved in things that they should not. Unfortunately, after an attack in the real world by an ex-member of Laughing Coffin (really, all of these guys basically got away scot-free, didn’t they?), Kirito now finds himself, grown up, in the same world, though he’s now himself and Eugeo doesn’t seem to know him. Now he has to a) find out where he is, b) find out how to return to Asuna, and c) join forces with Eugeo and rescue Alice, who was taken away years ago by Knights as a punishment for transgressing one of the many Laws..

The viewpoint here is, with the exception of the childhood prologue, 1st person Kirito as usual. I find it more tolerable than others do, I suspect, mostly as I think the best way to remind us that Kirito isn’t superhuman is by showing us his thoughts and fears. I also really like Eugeo, the new guy. He’s sort of bright, shiny and innocent, the kind of really good guy that the girls all think Kirito is but he’s never quite managed to pull off. He’s also surprisingly skilled with a sword, and Kirito wonders if more training might even make the two of them a close match. (I hope so. It’s always refreshing seeing Kirito not be the best at something.) When this book is telling Kirito’s story, it’s excellent. Unfortunately, there is one big weakness – Kawahara is fascinated by his invented technobabble (this is also an issue in his other series), and there is endless discussion of vitual reality and what life and a soul actually means. I’m sure it will be highly relevant later, but having it come out in the form of an infodump made things a bit tedious, which is a shame given it was our one big scene with Asuna and Shino.

In any case, though, overall this was a very good start to a very big arc, introducing a new (missing) heroine, giving Kirito a potential male best friend and partner, allowing Kawahara to try his hand at a “fantasy” setting with knights and goblins (who talk about sexually assaulting a young girl, something that apparently is so common in Japanese light novels with goblins that I’ve now run across it three times in less than a month), and setting things up for the next book. Will we be cutting back to the real world and Asuna at all, though? And will Liz and Silica ever get More Appearances? (The back cover of Book 10 may offer a clue there.) Let’s see if Alicization hits the ground running next time.

I Am a Hero, Vol. 1

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At first glance, I Am a Hero looks like a Walking Dead clone, complete with gun-toting vigilantes and hungry zombie hordes. Peel back its gory surface, however, and it becomes clear that I Am a Hero is really a meditation on being trapped: by a dead-end job, by thwarted expectations, and by fears, real and imagined.

The “hero” of Kengo Hanazawa’s series is thirty-five-year old Hideo Suzuki. Though Hideo tasted success with the publication of his own manga, his triumph was short-lived: Uncut Penis was cancelled just two volumes into its run. He now toils as a mangaka’s assistant, working alongside other middle-aged artists whose professional disappointment has curdled into misogyny and grandiosity.

Compounding Hideo’s problems is his fragile mental state. He hallucinates, talks to himself, and barricades the door to his apartment against an unspecified threat, in thrall to the voices in his head. Despite his tenuous grasp on reality, Hideo is the only one of his co-workers who notices the small but telling signs that something is deeply amiss in Tokyo. Hideo soon realizes that his long-standing fears might actually be justified, and must decide whether to hunker down or flee the city.

Getting to Hideo’s do-or-die moment, however, may be a challenge for some readers. The first act of I Am a Hero is a tough slog: not only does it focus on a cluster of strenuously unpleasant characters, it documents their daily routines in painstaking detail. The tedium of these early chapters is occasionally punctuated by vivid, unexplained imagery that calls into question whether the zombies exist or are a figment of Hideo’s imagination. What the reader gradually realizes is that Hideo’s paranoia makes him alive to the possibility of catastrophe in a way that his bored, self-involved co-workers are not; they’re too mired in everyday concerns to notice the growing body count, a point underscored by the banality of their workplace conversations, and their shared belief that women are the real enemy.

When the zombie apocalypse is in full swing, Hanazawa delivers the gory goods: his zombies are suitably grotesque, retaining just enough of their original human form to make their condition both pitiable and disturbing. Hanazawa stages most of the action in tight spaces–an artist’s studio, a pedestrian footbridge, a hallway–giving the hand-to-hand combat the stomach-churning immediacy of a first-person shooter game. Only when Hanazawa cuts away to reveal a fire-ravaged, chaotic landscape do we fully appreciate the extent to which Tokyo has succumbed to the zombie plague.

It’s in these final moments of the book that Hideo glimpses an alternative to his miserable existence–the loneliness, anonymity, and failure that, in his words, have prevented him “from being the hero of my own life.” How he escapes these emotional traps–and those pesky zombies–remains to be seen, but it seems like a journey worth taking. Count me in for volume two.

A word to parents: I Am a Hero is less gory than either The Walking Dead or Fear the Walking Dead, but contains scenes of disturbing violence and frank sexual content. Dark Horse’s suggested age rating seems appropriate for this particular title.

BY KENGO HANAZAWA • PUBLISHED BY DARK HORSE • RATED 16+ FOR VIOLENCE, GORE, LANGUAGE AND PARTIAL NUDITY

* This review originally appeared at MangaBlog on June 4, 2016.

 

Guardians of the Louvre

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One part Times of Botchan, one part Night at the Museum, Jiro Taniguchi’s Guardians of the Louvre is a stately, handsomely illustrated manga that never quite rises to the level of greatness.

The premise is simple: a Japanese artist lies ill in his Parisian hotel room, feverishly dreaming about the museum’s galleries. In each chapter, the hero is temporarily transported to a particular place and time in the Louvre’s history, rubbing shoulders with famous artists, witnessing famous events, and chatting with one of the museum’s most famous works–the Nike of Samothrace, who takes the form of a stone-faced tour guide. If the set-up sounds like The Times of Botchan, it is, though Guardians of the Louvre is less ambitious; Taniguchi’s primary objective is to celebrate the museum’s collection by highlighting a few of its most beloved works, rather than immersing the reader in a specific milieu.

The artist-as-time-traveler schtick is a little hackneyed, but provides Taniguchi with a nifty excuse to showcase the breadth of his artistry, offering the reader a visual feast of rural landscapes, gracious country manors, war-ravaged cities, and busy galleries. Using watercolor and ink, Taniguchi convincingly recreates iconic paintings by Van Gogh and Corot, effortlessly slipping into each artist’s style without slavishly reproducing every detail of the originals. Taniguchi’s characters are rendered with a similar degree of meticulousness, though their waxen facial expressions sometimes mar scenes calling for a meaningful display of emotion.

What prevents Guardians of the Louvre from taking flight is its relentlessly middlebrow sensibility. In one scene, for example, the Nike of Samothrace leads our unnamed hero through an empty Salle des États, home of the Mona Lisa. The artist examines the painting closely, musing about the tourist hordes that normally throng the gallery. “It’s not about art appreciation anymore. It’s wholly a popular tourist destination” he says wistfully. If his character was anything more than an audience surrogate, his comment might have registered as a thoughtful meditation on the commercialization of fine art, or the outsized fame of Da Vinci’s canvas. Absent any knowledge of who he is or what kind of art he creates, however, his remarks sounds more like a moment of bourgeois snobbery: don’t these peasants realize the Louvre is filled with other remarkable paintings?

A similarly pedestrian spirit animates the chapters documenting the 1939 evacuation of the Louvre. To be sure, the mechanics of packing and transporting the art are fascinating; Taniguchi’s expert draftsmanship conveys the complexity and physical demands of the task in vivid detail, inviting us to ride along with Delacroix’s monumental Raft of the Medusa on its perilous journey from Paris to Versailles. The dialogue that frames these passages, however, is rife with cliches. “They were ready to risk everything to evacuate the paintings,” the Nike solemnly informs our hero before implying that this operation was a little-known episode in French history–a strange claim, given the story’s romantic treatment in popular culture.

The manga’s most effective passages, by contrast, are wordless. We see our hero wander through a forest where Corot silently paints the undulating boughs, and a medieval town where Van Gogh sets up his easel in a sun-drenched hay field. In these fleeting moments, Taniguchi’s sensual imagery allows us to step into the artist’s shoes and relive the creative process that yielded Recollection of Mortefontaine and Daubigny’s Garden for ourselves. If only the rest of the manga wasn’t so insistent on telling us how to appreciate these paintings.

Guardians of the Louvre
By Jiro Taniguchi
No rating
NBM Graphic Novels, $24.99

This review originally appeared at MangaBlog on May 20, 2016.

Handa-Kun, Vol. 1

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By the time we meet Sei Handa in the first pages of Barakamon, he’s a twenty-something jerk who bristles at criticism, resents authority, and resists overtures of friendship. The tenth-grader we meet in Handa-kun isn’t as curmudgeonly, but he has a problem: he constantly misreads other people’s motives, whether he’s interpreting a love letter as a threat or perceiving a job offer as a “shady” attempt to unload stolen clothing. For all his weirdness, however, Handa’s classmates worship him, viewing his odd behavior and sharp calligraphy skills as proof of his coolness.

Author Satsuki Yoshino wrings a surprising number of laughs from this simple premise by populating the story with a large, boisterous cast of supporting players. Though the outcome of every chapter is the same–female suitors and male rivals alike profess their sincere admiration for Handa–the path to each character’s epiphany takes unexpected turns. Yoshino complements these humorous soliloquies with expressive, elastic artwork that sells us on the characters’ transformations.

In the volume’s best chapter, for example, Yoshino pits Handa against a bespectacled nerd named Juniichi. Juniichi’s entire self-image is rooted in his years of service as class representative–that is, until one of his peers nominates Handa for the honor. Yoshino makes us feel and smell Juniichi’s desperation by showing us how Juniichi sweats, grimaces, and paces his way through the vote-counting process, flagging or rallying with each ballot. By chapter’s end, Juniichi’s cheerful declaration that “Right now, I feel the best I have ever felt in my life” seems like the natural culmination of this fraught emotional journey–even though, of course, his feeling is rooted in a false sense of Handa’s moral rectitude.

My primary concern about Handa-kun is that the series will overstay its welcome. Handa seems fundamentally unable to learn from his interactions with peers, and his classmates seem just as clueless in their blind adoration of him. If Yoshino doesn’t take steps to change this dynamic–perhaps by introducing a character who is genuinely unimpressed with Handa–the series risks settling into a predictable routine. For a few volumes, however, the current set-up will do just fine, offering the same brand of off-kilter humor as Haven’t You Heard? I’m Sakamoto.

The bottom line: The first volume is funny enough to appeal to newbies and die-hard Barakamon fans.

Handa-kun, Vol. 1
By Satsuki Yoshino
Rated T, for teens
Yen Press, $15.00

This review originally appeared at MangaBlog on February 26, 2016.

Behind the Scenes!!, Vol. 1

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Behind the Scenes!! embodies what’s good–and not so good–about Bisco Hatori’s storytelling. In the plus column, Hatori has a knack for writing ensemble pieces in which the principal characters exhibit a genuine fondness for one another. The stars of her latest series are Shichikoku University’s Art Squad, a scrappy outfit that makes props for the Film Club–or, more accurately, clubs, as there are several students groups competing for the Art Squad’s services, each with their own aesthetic objectives. Ranmaru, the series’ protagonist, gets a crash course in film making when he stumbles into the middle of an Art Squad project: a low-budget horror flick. As penance for disrupting the shoot, Ranmaru joins the Art Squad and is quickly pressed into service painting props, folding paper cranes, and building a fake hot spring.

These scenes–in which Ranmaru and the gang tackle set-design challenges–are among the series’ most enjoyable. Not only do they give us a sneak peek at the movie-making process, they also show us how the club members’ friendly overtures embolden the timid, self-doubting Ranmaru to let go of his painful childhood and become part of a community. In one exchange, for example, Ranmaru tells a fellow squad member about a black-and-white film that made a powerful impression on him. Hatori cuts between scenes from this imaginary film and Ranmaru’s face, registering how powerfully Ranmaru identified with the film’s principal character, a toy robot who dreams of flying. The symbolism of the toy is hard to miss, but the directness and simplicity with which Hatori stages the moment leavens the breezy tone with a note of poignancy.

In the minus column, Hatori often strains for comic effect, overwhelming the reader with too many shots of characters mugging, shouting, and flapping their arms. The Art Squad’s interactions with various student directors give Hatori license to indulge this tendency; the auteurs’ snits and whims frequently force the Art Squad members to behave more like the Scooby Doo gang–or Hollywood fixers–than actual college students juggling coursework and extra-curriculars. (The Art Squad even has a goofy dog mascot.)

At the same time, however, these wannabe Spielbergs bring out the best in Hatori’s draftsmanship. Each one’s personality is firmly established in just a single panel: one looks like a refugee from Swingin’ London (or perhaps an Austin Powers film); another dresses like a Taisho-era author, swanning around campus in a yukata; and a third sports a shaggy mane, Buddy Holly glasses, and a female entourage. The efficiency with which Hatori introduces these characters, and the range of personalities they embody, demonstrate just how crisp and distinctive her artwork can be. That Hatori’s heroes are visually bland by comparison says less about her skills, I think, than it does her desire to make Ranmaru’s new “family” seem normal–well, as normal as anyone who specializes in making fake zombie guts can be.

The bottom line: Tentatively recommended. If Hatori can tone down her characters’ antic behavior, Behind the Scenes!! could be a winner.

Behind the Scenes!!, Vol. 1
By Bisco Hatori
Rated T, for teens
VIZ Media, $9.99

This review originally appeared at MangaBlog on February 8, 2016.