Features & Reviews

By Cotoji. Released in Japan by Houbunsha, serialization ongoing in the magazine Manga Time Kirara Forward. Released in North America by Yen Press.

There is a sort of subgenre of school life manga that flits across all genres, be it shonen, seinen or shoujo. This is the ‘separate class filled with special students’ genre. They can be special in the bad way, as with Assassination Classroom’s 3-E class of low-graders, special in a superpowered way, with both Medaka Box’s Class 13 and Class -13, or special in the doomed way, as with many a survival game manga where the class finds itself in a situation where they all die one by one (Battle Royale, Dangan Ronpa, etc.). And now we have Anne Happy, a mostly lighthearted comedy about a group of girls who are all ‘unlucky’ in some way, be it poor health, misdirection, or what have you. The title character (though not, oddly, the protagonist so far) is Anne, a girl whose bad luck is SO bad that it almost comes out the other side.

Our heroine is Ruri, who at first seems out of place in this class, till we realize that she has a fetish for the construction sign of a cartoon worker who directs you to move out of the area. I hesitated to reveal this, as honestly it’s the best joke of the volume, and it’s really the only thing keeping her in the class at all, as otherwise she’s a fairly normal, if dour, young girl. Anne is just like you’d expect from a series like this: overly upbeat and peppy to an unreasonable degree, whether she’s being picked as 49th most lucky in a class with only 40 people in it or accidentally falling into a river and almost getting mauled by a bear. There’s also Botan, who is the ‘calm airhead’ sort (apologies if I call her Mugi by accident) whose body is so fragile that a mild handshake can break all her fingers.

Everyone in this class has been put there supposedly to change their bad luck and find happiness, which mostly seems to involve a series of endurance tests given by their semi-sadistic teacher (who seems to have a split personality). There’s a sense that Anne is worse than the others – she is the title character, after all – and at one point she loses her hair clip and her luck turns to negative fifty zillion. Honestly, though, the plot is mostly an excuse for a series of school gags based around goofy, unlucky girls. We also meet Hibiki, a tsundere sort who seems to be in love with her Takarazuka-esque classmate Ren. I assume that everyone will get to know each other better in the 2nd volume.

This isn’t really a must-read, even for fans of comedies like this one. But it’s pleasant enough, and there weren’t many points where I was irritated or wanted to stop reading. And, aside from a few jokes about Botan’s chest, there’s less fanservice than you’d normally expect in a title like this, possible as Kirara Forward lacks that sort of thing in general. Anne Happy falls into the category of ‘Not bad, will try another volume’ for now.

By Ichigo Takano. Released in Japan by Shueisha and then Futabasha, serialized in the magazines Bessatsu Margaret and Manga Action. Released in North America by Seven Seas.

I’d mentioned while reviewing the first omnibus of orange that it wasn’t a slam dunk that Kakeru was going to be saved. Fortunately, the author agreed with me, and most of this 2nd omnibus shows us that trying to change the future is hard, especially when you’re dealing with someone who killed themselves – it’s not always something you can fix just by being really nice. Naho and the others don’t really screw much up here, and they try their hardest, but there’s a lot going on in Kakeru’s head, and even Future Vision can’t solve his own inner demons. This leads to a devastating chapter that is easily the best of the book, as we see from Kakeru’s POV the thoughts and actions that led to his suicide in the original world.

And there is, of course, the romance between Naho and Kakeru as well. I’m pleased that the future flashforwards we see here show that Naho and Suwa’s marriage isn’t an unhappy one – they’re two people who’ve led a good life, and even have a kid, but they’re both still devastated by the boy they couldn’t save. Perhaps this is why, despite all the suggestions and hints, the romance is mostly left on the back burner, and we don’t get a definitive “and they married and lived happily ever after” here. Much like A Silent Voice, this is a series that’s trying to be about friendship and overcoming difficulties. Because in the end, after everything they changed, and every way they tried to make Kakeru feel loved and welcome, he *still* tries to kill himself.

But they did make a difference – he pulls back at the last minute, realizing he doesn’t want to die. (Admittedly, Hagita breaking his bike helped – Hagita is mostly used as comic relief throughout, being the “friend nobody likes” sort, but he’s also quite clever and absolutely one of the gang here.) I was rather surprised that, in their tearful talk after his attempt, they all confess they got letters from the future, and show them to him. The science of how this happened is very vague, and I don’t think we’re meant to dwell too hard on it. In the end, appropriately, the six friends bury the time capsule we’ve seen before, only now dedicated to a new future.

There wasn’t quite enough orange to fill a 2nd omnibus, so we get a short multi-part romance from the same author, Haruiro Astronaut. It’s not as good as the main story, but isn’t too bad, and has some good twists – the romantic setup is theoretically between the cool guy and the sweet guy, but ends up taking a third option, and there’s some talk about actually trying to care about what girls think rather than just trampling all over them. It’s good, but the main draw of this collection is orange itself. It’s excellent, and both omnibuses are absolutely worth your money.

By Katsuhisa Kigitsu. Released in Japan by Akita Shoten, serialized in the magazine Champion Red. Released in North America by Seven Seas.

Franken Fran has many grotesque, nasty images throughout. There’s blood, gore, other bodily fluids, and truly disgusting things being done to the human body. And yet the most terrifying thing in the entire series is easily Fran herself, who is quite simply impossible to understand or empathize with, and whose concept of what life is does not remotely cross over with the majority of humanity. Fran is simply a force of nature, and this omnibus shows us several times when your jaw drops at what she carries out. Oddly enough, it’s Veronica, her sister the assassin who was introduced at the end of the last book, who ends up being the voice of sanity in the series (as well as the straight man).

This is not to say that Veronica is a good guy, of course. In one of the more touching chapters in this book, Veronica and walking organ bank Adorea go to a high school undercover to, theoretically, give Veronica “social skills”. (The fact that Fran is the one who says she doesn’t have these is one of the best jokes in the book.) Of course, veronica is a small, sullen, scarred girl, so naturally she proceeds to get bullies to hell and back, with only one other girl nice enough to be friends with her. And then, of course, everything goes even MORE horribly wrong, as we discover a slavery ring and Veronica has to clean house and chop up a few bad guys. If this were a normal, non-funny thriller series, Veronica might be the anti-hero.

And of course there are the plots of the chapters themselves. Franken Fran is to a large degree an anthology horror series, with Fran and her occasional cast dealing with tragic young love, evil matriarchs seeking immortality, and of course at least two chapters dealing with bugs, which are absolutely not for the squeamish. There’s even a cameo by a certain cult religious deity. The two best chapters in the book are two of the most touching (note that I’m defining touching in the venue of Franken Fran, not beyond it) – in one, a suicidal young man who changes his mind is given new life as a children’s mascot, and crosses paths with a young girl who’s being abused by her father. In the other, a young girl’s dog is killed by a truck, and it’s Fran to the rescue, though her new dog is, shall we say, not what you’d expect. The series even mocks itself by having a Hollywood movie made out of the latter chapter, with dire consequences. (“The bestiality was a nice touch.”)

In the end, Franken Fran is about the stories. They won’t make you feel good, they may gross you out, and one or two of them may give you nightmares. But they’re all stories that stay in your head. And Fran, being a protagonist (I refuse to call her a heroine) who is our guide through this twisted world, is just as memorable.

Story by Ryukishi07; Art by Hinase Momoyama. Released in Japan in two separate volumes as “Umineko no Naku Koro ni: Dawn of the Golden Witch” by Square Enix, serialized in the magazine GFantasy. Released in North America by Yen Press.

“Beatrice was dead: to begin with. There is no doubt whatever about that. The register of her burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. Lambdadelta signed it. And Lambdadelta’s name was good upon ‘Change, for anything she chose to put her hand to. Old Beatrice was as dead as a door-nail.”

OK, sorry, that just had to be done. Welcome to the new arc of Umineko, folks, and here’s 500 more pages of Rokkenjima antics. And yes indeed, Old Beatrice is dead, and won’t be returning. Luckily for us, Battler is a bit upset about that, and so we have new, Fledgling Beatrice. Sadly, new Beatrice acts meek and mild, and seems to regard Battler as more of a father than anything else. Yes, sorry to say, if you thought creepy incest themes were only in the third arc, guess again.

Battler understands how magic really works now, so recreating *a* Beatrice isn’t that hard. But this isn’t his Beatrice, as she has not experienced the thousand years of endless torture that turned her into the Endless Witch. As a result, Battler is a bit upset at her very presence, which is a shame as she really, really wants to be nice to him. Fledgling Beato (the translation does not use the term “Chick Beato” as the games did – I thank them for that) is, personality-wise, much the same as the Beatrice that Rosa found in the secret mansion back in 1967 or so. And Battler is, of course, very reminiscent of Kinzo lately. I don’t like where this is going.

Luckily there are many other aspects to this series, as always. Erika is back as well, and she’s naturally at her best when at her worst, destroying Maria’s concept of magic to such a degree that even Gertrude and Cornelia are calling it completely pointless. Erika is a villain you love to hate, and even though she is also part of the endless cycle of ‘bullied becomes the bully’ thanks to suffering at Bern’s hands, her total contempt for anything other than truth leads her to arrogance and scorn. Also returning, after an Arc’s absence, is Ange, somewhat surprised to not be dead. She’s here to investigate the supposed author of the 3rd-5th arcs, Tohya Hachijo – or rather to her true self, Featherine Augustus Aurora, who seems to be a Witch along the lines of Lambda or Bern, only infinitely more arrogant. (The connection to Higurashi’s Hanyuu, subtle in the VN, is made far more explicit here.)

And then there’s our romantic couples. It is rather sweet seeing Kanon finally work up the courage to confess to Jessica, and she does more happy blushing here than she has in the last five arcs combined. It is also somewhat interesting to see George confess to his past mindset and pettiness – honestly, the entire section makes teenage George sound a bit like an MRA, and I’m glad to see he has matured to a degree where he can confess to how stupid it is. The more interesting question here, though, is the need for magic in order to make them happy. Yes, the whole master/servant relatioship is a worry, but not a big enough worry to require a literal miracle. Why do Shannon and Kanon need magic for their love to be fulfilled? Why is Beatrice so determined to be with Battler even though she keeps calling him father? Why does Ryukishi07 feel the need to introduce a second Greek Chorus to expound just about love? And why does the manga always make Ange a giant brocon, something that isn’t in the VNs? Is it just for the lulz?

The art, by the way, is from the artist who did the Higurashi Massacre volumes, and it’s pretty good. Like several of the other artists, she knows when to emphasize the sauciness in ways readers will like – hence Fledgling Beato and Elder Beato crushing their chests together – but also to make fun of it in the 4komas later. If you enjoy Umineko, there’s nothing to worry about here, except more attention to incestual romances than I’d perhaps like.

By Gakuto Mikumo and Manyako. Released in Japan by ASCII Mediaworks. Released in North America by Yen Press.

You’ll pardon me if I find myself saying the same things I said in the first two reviews of this series. I have gotten to the point where I almost wish Strike the Blood was worse than it actually was, as that might actually make it slightly more surprising, even in a horrible way. But no, this is very much a series that fulfills its function. It has a lot of cool, well-written action scenes, the plot advances incrementally, the hero gets a couple of new girls who like him, and the heroine sees this and is cool and frosty to him for reasons he can’t quite figure out. It’s very well colored, but never goes outside the lines. Not once.

Oddly, you would expect a series like this to have varied covers, usually with the hero and a different girl on each of them. that is one thing Strike the Blood does do differently – each cover is Yukina posing for the reader, reminding readers that she is the main heroine whether they like it or not. And as a main heroine, she’s pretty good. The main reason I’m interested in her is that she seems to get frosty when the hero does something that implies he’s not attracted to her, rather than the usual punchy. Her overly earnest personality balances nicely against the more normal childhood hacker friend, the classic tsundere not-lesbian, and (introduced here) the shy princess and her sister, the teasing princess. Of course, the fact that all those are classic harem series archetypes also says something about what we’re reading here.

As for non-harem plot antics, well, trying to turn your adopted daughter into an Angel in order to make her happy is certainly not something you’ll see every day. I did appreciate that Kensei’s motives were given a bit of depth, showing off the somewhat misplaced love he has for her, even if his solution is appalling. It made a nice contrast with Beatrice, who comes to us right out of sneering female villains 101, and is such a cliche that it begins to verge on parody. Same with the elder princess, La Folia, who is noble and very royal, but also introduced to the reader by being found bathing in a stream, and also becomes the latest girl Kojou has to bite in order to release a beast monster to save the day.

I would ideally like something in this series to horribly offend or appall me, so that I could simply drop it and that would be the end of it. But no, Strike the Blood continues to be quietly competent and eminently enjoyable, provided you hate surprises. The hero is a nice guy, but if it weren’t for the illustrations provided throughout, I’d likely imagine him as looking exactly the same as Touma from A Certain Magical Index, a series which this has some similarities with. Index’s prose can be a bear to read, though, and it does throw the occasional curveball. Strike the Blood is batting practice. Straight down the middle, book after book.

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.

There’s not really much in the way of plot or character development in a series like Nozaki-kun (indeed, much of the comedy relies on everyone not growing or learning in any way), so when it comes to reviews such as this, I need to look elsewhere to find things to talk about. This is another great volume, and Chapter 27 is one of my favorites in particular. It’s a pitch-perfect example of how everything is about the gags, but it doesn’t overuse the same gag, and its comedic rhythms are highly suited to the 4-koma style. It bears examining, so let’s do so.

We begin with what is probable the ‘default’ gag in this series, as Nozaki and Mokoshiba show up pretending to be delinquents because Nozaki has to write in a rival character. They’re horrible at it, of course, so this leads to 2-3 pages of them doing something silly or out of place and Sakura giving her best tsukkomi comeback. She fulfills her traditional straight man role. However, we can’t forget that Sakura is in love with Nozaki. And, as we see when he attempts to climb a tree, fails miserably, and her heart skips a beat, she seems to especially be in love with Nozaki being an adorable loser. We then have 3-4 pages devoted to Mikoshiba and his issues, ranging from his embarrassment to simply being unable to climb back down the tree, and both Nozaki and Sakura serve as dual straight men. Finally, they leave and Seo shows up, being a genuine “delinquent”. Now it’s Mikoshiba who’s the straight man, observing Seo’s uncaring, oblivious antics. And Seo ends up getting the final punchline: “I’m late ‘cos a cute guy fell from the sky”.

In non-Chapter 27 news, Seo proves that she can use her obliviousness for good as well as evil when she buys a new exacto knife for Wakamatsu, and they also go on the worst date ever (at last from Wakamatsu’s POV); we see that everything horrible in Ken’s life is a result of Maeno’s very existence; While searching for a flaw that Suzuki could have, Nozaki misses the obvious, which is Kashima’s incredibly horrible singing voice; We find that Hori really is an excellent actor, but has trouble distinguishing between the actors and the characters they play, be it wanting to beat up Kashima or Miko-rin’s resemblance to a shoujo heroine; And Sakura’s attempts to show her affection fail miserably, be it old Valentine’s Day chocolate or someone mistaking her for the third wheel in a love triangle.

If you dislike standard Japanese comedy, this may not be as funny to you – much of the humor still relies on screaming “what the heck?” in disbelief. But for me, this is top drawer humor, and the 4-koma format means it doesn’t have to stop for pesky story development like Oresama Teacher, her other series. I love this series.

Also, though they aren’t as prevalent as before, the tanukis continue onward.