Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

Features & Reviews

Conspiracy 365: January – March by Gabrielle Lord

by

For 2012, the three of us at Triple Take have decided to focus on YA fiction from Australia and New Zealand. First up is the first volume (January) of Gabrielle Lord’s Conspiracy 365 series, in which a teenage boy named Cal must survive attacks on his life for the next 365 days whilst investigating his father’s mysterious death. The publishing schedule was pretty nifty for this series, with the first twelve books (named after the months of the year) coming out throughout 2010 during the month reflected in their title. The thirteenth book in the series, Revenge, was published in Australia in October 2011, but hasn’t made it to the US yet.

Because I couldn’t read just one, please enjoy the first three books in the series, with more to follow!

Conspiracy 365: January
Fifteen-year-old Callum Ormond thought his father’s death six months ago was due to illness, but when a crazy-seeming figure (in requisite billowing black cloak) accosts him on New Year’s Eve and tells him his father was killed over something called “the Ormond Singularity,” he begins to wonder. Initially downplaying the warning that he himself should hide out for the next year, he is soon plagued by perils including: nearly drowning in a storm at sea, sharks, a sneaky uncle, foreclosure, fire bombs, kidnappers, criminals, and life as a fugitive. Aided by his friend Boges (no clue how to pronounce that), he tracks down some drawings his father made in his final days (which are reproduced in the book) and attempts to decipher their meaning, all while hiding out from the bad guys, the authorities, and his family.

It’s hard to really know what to say about January, since it’s almost entirely action. “Fast-paced but really kind of… empty” is a phrase from my notes that seems to sum it up best. That’s not to say I disliked it, because it was pretty entertaining. Okay, yes, already the repeated kidnappings are wearing thin, but it really does feel a bit like a 24 for teens, with Boges filling the role of Chloe to Cal’s Jack Bauer. This is aided by the way the story is written, noting the date and time for each first-person entry (though sometimes these occur during moments when one generally wouldn’t pause to describe what’s happening, like when trapped in the trunk of a car) and counting down the days until safety. The pages are numbered backwards, as well, which is a neat touch.

In addition, Cal seems like a pretty good kid. (You know you’re old when, instead of being fully swept away by the adventure, you’re thinking, “Aw, he’s thinking about how worried his mom must be. What a nice boy.”) I genuinely have no idea how he’s going to get out of the situation he finds himself in at the conclusion of this installment, but that’s okay because I have February right here!

Conspiracy 365: February
The basic plot of the February installment of Conspiracy 365 can be summed up as: Cal hides a lot, and also runs a lot. Perils faced by the teen fugitive include nearly drowning in a storm drain, nefarious people circulating recent pictures of him, and a freakin’ lion, which I thought was going to be the most eyeroll-inducing part of the book until the final pages saw him trapped on the tracks while the driver of an oncoming subway train frantically applies the brakes.

A teensy bit of progress is made toward solving the Ormond Riddle, as it appears that one of the drawings Cal’s dad made references the statue of an ancestor who died in the first World War. But that’s it. There’s no real change in Cal’s situation or his goals, unless you count the introduction of Winter Frey, ward of one of the guys out to get Cal. She proves useful, but may not be trustworthy.

Like January, this is a fast-paced and decently enjoyable read, eyerolling aside, but it’s difficult to find much of anything to say about it beyond that. I predict this will be the case for the next handful of volumes until some answers are actually forthcoming. I further predict that the answers will be rather lame, but I still intend to persevere.

Conspiracy 365: March
At first, I thought I was going to need the next batch of three installments immediately after finishing these, but now I’m ready for a break. It’s not that this series is bad, because it isn’t. But it is very repetitive, and the format enforces some implausible behavior on to the characters.

In support of the “repetitive” claim:
• In volume one, Callum has a wildlife encounter with a shark. He ends the volume in mortal peril.

• In volume two, Callum is rescued by a stranger, who becomes somewhat of an ally. Callum has a wildlife encounter with a lion. He ends the volume in mortal peril.

• In volume three, Callum is rescued by a stranger, who becomes somewhat of an ally. Callum has a wildlife encounter with a venomous snake. He ends the volume in mortal peril.

It’s probably not a good thing when your readers burst out laughing when the protagonist is bitten by a death adder! This makes me wonder what creatures will appear in later volumes. I am thinking there will be a bear. Are there bears in Australia? And there’s gotta be a dingo!

Regarding the implausible behavior… back in volume one, Callum discovered a slip of paper with two words on it, possibly the names of places in Ireland, where his dad discovered the details of this big family secret. Since that time, he’s been in internet cafés a number of times but only now, two months later, does it occur to him that he ought to look them up online. He also tries a couple of times to contact a former coworker of his father’s by calling the office, only to find the guy is out on sick leave. Why doesn’t he, say, find a phone book and try looking up the guy’s home number? Maybe we’ll have to wait until May for him to think of that.

More reviews of this series will follow eventually. In the meantime, feel free to make predictions for future wildlife encounters in the comments.

Additional reviews of Conspiracy 365: January can be found at Triple Take.

The Earl & the Fairy, Vol. 1

by

By Ayuko, from the light novels by Mizue Tani. Released in Japan as “Hakushaku to Yousei” by Shueisha, serialized in the magazine The Margaret. Released in North America by Viz.

Generally I try to give most Volume 1s a big review here, rather than pouring them into the ‘quick paragraph’ reviews I do with my colleagues for Bookshelf Briefs. That said, some Vol. 1s give me more to talk about than others. Let’s see what I can get out of The Earl & the Fairy, Viz’s new romantic fantasy shoujo?

3

The thing that struck me most while reading this first volume was how surprised I was that the author was Japanese. This reads like one of the Harlequin manga adaptations we see so much of on JManga these days. Pretty, spunky heroine abducted by handsome guy, rescued by another handsome guy, both linked by tragic, dark secrets… and fairies. OK, I admit, the fairies would probably be vampires if this were a genuine Harlequin adaptation. But still, there’s very much a sense of ‘romance novel’ in this series, as even the names are Western (which is a given, since it takes place in England.) This actually works quite well, giving it some variety that’s a long way from ‘girl in high school is trying to win over the boy she likes’ that tends to pigeonhole so much shoujo.

That said, while I’m not sure I’d go so far as my colleagues in calling it ‘a bit of a mess’, I do agree that the plot and characterization can be fairly unfocused at times. There’s a lot to lay out here involving Lydia, her family and her strange abilities, who Edgar is and his own past, the twin servants he has, who Huxley is and what his part in all this is, and still find enough time to have the heroine start to fall for the hero. Not to mention her magical animal familiar. (Oh please don’t let her power up into a magical girl, I beg you.) The pace is fast – some might say breakneck – but we haven’t really had time to breathe, and I sense that this volume will be best appreciated after the other three are out.

The author has done her research, though. There’s some interesting fairy lore here, and I liked the fact that the heroine considers her red-haired, green-eyed looks to be plain and unattractive – it’s the mid 19th century, when that type isn’t in style the way it is today. She manages to walk a fine line through the volume, being a damsel in distress much of the time, but manages to try to be independent anyway, and I like her banter with Edgar.

This manga is not really going to be much of a surprise to anyone who’s read Barbara Cartland or Amanda Quick. That said, it is somewhat of a change of pace for shoujo manga we’ve seen here (at least aside from the Harlequin adaptations of Western romances), and promises some intrigue in future volumes. I do worry that the twins will turn out to be evil, because that’s what tends to happen in these sorts of things. Still, a decent first book, and recommended for those who kept waiting for Edgar to be more of a pirate.

Manga the Week of 3/21

by

After a somewhat sedate 2nd week, things heat up once again thanks to our friends at Kodansha, Seven Seas, Viz and Yen. And wait, could Yen have a SPOILER on their cover? (Well, yes, but I think we can blame Shodensha for that.)

First off, Kodansha has a new volume of Sailor Moon. Last we left our heroes, Mercury and Mars had been abducted by the enemy! Can Jupiter and Venus avoid the same fate? And what of Chibi-Usa? We also see what I believe is the final volume of Ninja Girls, which no doubt will end with our hero making a definitive choice of one girl and the series having a nice, definitive ending. (attempts to control laughter) Lastly, there’s another volume of Phoenix Wright, which is still only for fans of the games, but if you are a fan of the game, there’s plenty here for you to love.

It may not be there if you look under the ‘manga’ category at Midtown, but Young Miss Holmes has been misplaced under Independents! No doubt due to the title – I told Seven Seas they should keep calling it Christie High Tension! Wait, that might have been misplaced as well. In any case, the first omnibus of this Comic Flapper series collects Vols. 1 and 2 from Japan. Even if it wasn’t about Sherlock Holmes’ niece solving mysteries (which it is), it’s a Comic Flapper title, so deserves all our love. Seven Seas also has the 4th Gunslinger Girl omnibus, for those who are looking for something with a few more guns with your lolis.

Viz is down to just one Signature release a month, it seems lately. This month sees the 6th volume of House Of Five Leaves. The plot may move at the pace of a turtle who’s broken both legs, but if you can cope with that there’s some gripping drama here.

At the end of my review of Vol. 4 of Bunny Drop, I asked if Vol. 5 would bring something new to the table. And behold! Everyone’s favorite warm and fuzzy single dad series is moving onward. Will it still be able to carry the same heft with the heartstrings? Also out from Yen this week: a new Bamboo Blade (sports manga 4tw!), the 3rd volume of Bride’s Story (so pretty…), the 5th volume of wacky 4-koma antics of Haruhi Suzumiya-chan, the 9th volume of Pandora Hearts (can I take a series with the name Alice Baskerville seriously?), the 6th volume of economic dissertation Spice & Wolf, an 11th volume of Korean manwha 13th Boy for my fellow Manga Bookshelf colleagues… (sigh) and yes, the first volume of harem crossdressing comedy Is This A Zombie?, which does not get the cover pic this week as I have some self-respect left.

So what’s appealing to you?

Combat Commentary: One Piece Ch. 656

by 1 Comment

Warning: Spoilers follow for the more recent chapters of One Piece, published in Weekly Shounen Jump Alpha. Proceed at your own discretion.

click image to enlarge

Is there a minimum length for a fight? A character getting knocked out in one panel hardly counts, but how many panels are necessary for something to qualify as a real fight? How many pages are needed? Is a quarter of a chapter the minimum? Half a chapter? Maybe an entire chapter is the bare minimum for something to qualify as a fight. Of course this is mostly semantics, and everyone will have his or her own opinion. But opinions are nothing without evidence, so here is a piece of evidence that a fight can, in fact, be just one chapter long.

What Happened?
After leaving Fishman Island, Luffy and crew make their way to the surface of the New World to find the sea around them aflame. Through the flames, they see a burning island. Luffy picks up a distress call from the island, naming it “Punk Hazard.” The person calling for help says they are being attacked by a Samurai, and strangely complains about how cold it is. Luffy, Usopp, Zoro, and Robin draw the short straw and are chosen as the ones to go and find that person. They make their way onto the island, and after a bit of searching (somehow avoiding being set on fire) they find themselves face-to-face with a Dragon.

(click images to enlarge)

What Happens?
At first, the Dragon is too strong for Luffy and Zoro to fight it. Its scales are too thick to be cut, and too hot to even touch. The dragon’s breath keeps the two fighters at bay, and it seems like the dragon can shrug off any of Luffy’s blows. Even stranger, the dragon seems to be talking!

The dragon takes to the air, and Luffy jumps up to knock it out of the sky so that Zoro can finish it off. While on the dragon, Luffy sees that there are a pair of legs sticking out of the dragon’s back. The dragon tries to bite Luffy, but ends up biting its own wing. As the two fall, Zoro uses one of Usopp’s plants to jump into the air, and finishes off the dragon.

What Does it Mean?
First off, the appearance of an actual dragon in the manga makes the Apis Filler Arc in the anime look absolutely ridiculous now. Those dragons were feathery pussies. This dragon—now this is the real deal. Too bad for it, Luffy and Zoro are beyond overpowered now.

It's still badass, it just had the misfortune of living in a time where Skyrim taught us not to fear dragons.

Out of all the fights in shounen manga, this one stands out for not only its brevity, but for following all the required phases of a shounen fight. Just like Toriko’s battle against the GT robot, the heroes go from being unable to defeat their opponent, to figuring out how to do it and winning—the difference being that rather than changing tactics, it is just a matter of time before one of them lands a solid hit and finishes the dragon off.

The problem is, that though the first half of the fight sets the dragon up as a legitimate threat, the ease with which it is finished off ruins that. Luffy and his crew are in the strange position of essentially getting to experience the beginning of the series all over again. One Piece started off with fights that were no real challenge—that served the purpose of showing off the characters’ strength. As the series progressed, the opponents got harder and harder to beat, and the Strawhats had to struggle more and more to win. But at this point, after the two year training period, there will be fights like this one, where the opponent seems dangerous, but in reality are no match for any of the Strawhats.

Except for some.

With the exception of the ending being a disappointment, this is still a fun fight to read. Not only is there the novelty of seeing our heroes fight a mythical creature, but it bodes well for the rest of the series. If the creatures found here are so badass, what does that suggest about future villains?

That they're out of shape astronauts?

This fight currently holds the honor of being the shortest fight ever covered in this column. And yet it still works. Oda shows that he knows not only how to be entertaining, but how to fit as much entertainment value as possible into each of his pages. Unlike some creators who waste their pages with white space, Oda fills every panel with as much detail as possible. Though this may come across as cluttered for some, it provides the most content in the least space. And while this is not a column about One Piece in general, it still bears noting that out of all the manga series available weekly, this remains one of the most satisfying reads around.

All images from Shonen Jump Alpha, © Eiichiro Oda/SHUEISHA Inc. Chapter available in full at vizmanga.com.

Twin Spica, Vol. 12

by

By Kou Yaginuma. Released in Japan as “Futatsu no Spica” by Media Factory, serialized in the magazine Comic Flapper. Released in North America by Vertical.

In Japan, this was released in two volumes, but it’s probably best for my heart that they came out here in this thick book. After seeing these characters bond and grow over the course of the series, we finally get the fruits of all their labors. After so much tragedy and blame and heartbreak… Japan is returning to space, and our heroes are graduating.

So much of this volume deals with the joy and sorrow of parting – even though they know that they’ll always be friends, the nature of the space school, and the fact that there will be only one student advancing to the final year, means that the idyllic school life that brought them all so close together is gone. We see everyone – even Marika – struggle with this, and trying to see how to go forward in life while still treasuring what they have. This includes, of course, Asumi, who is the student that gets chosen. (Sorry if that spoils you, but come on – she’s the heroine.)

This is not to say that Marika, Kei and Fuchuya don’t get a lot of attention. Not getting one’s dream does not necessarily mean abandoning it, and they all need to find a way to move forward on different paths while still remaining true to their desires to go to space. Whether it be Fuchuya’s preparing to take over the family business and trying to find ways to do fireworks in space; Kei’s love of photography and her pictures of the stars; or even Marika simply trying to find a cure for herself and others like her, this is a cast that has grown tremendously since we started. (The teacher talking about how much Kei’s enthusiasm meant to the class was possibly my favorite moment of the entire volume – that ogre!)

And so Asumi goes to space. And it’s as amazing as it sounds, so I won’t dwell too much on it. Surprisingly, the manga does not end there. Or rather, it’s not that surprising after all – the emotional climax of this series has never been ‘will Asumi get to space’, but about the relationship between Asumi and Mr. Lion. And now that she’s returned and has decided on a teaching career while waiting for the next mission (it’s not like they send a rocket up every 2 weeks, you know), Mr. Lion has realized that at last, there’s nothing really keeping him here. It’s a tough realization – we see a lot of Mr. Lion just sort of bumming around aimlessly here, even more than usual. But he says goodbye to Asumi, and it’s as heartwrenching as it sounds. But beautiful. Like the majority of this series.

In the end, things don’t necessarily end happily ever after for everyone – because this isn’t an ending, their lives will continue. Marika is still struggling with her illness, and we’re not sure if she’ll be able to discover a cure. Fuchuya still hasn’t really confessed to Asumi (who, as a time capsule towards the end reveals, was pretty much hung up on Mr. Lion anyway) so there’s no romantic resolution. But it’s still a great ending. In this cast we have hope not just for their own futures, but for the children of Japan. Seeing all the kids wanting to join the school after seeing Asumi go to space just puts a big grin on your face.

Twin Spica has been quite the journey, and I’ll miss it. Combining realistic depictions of what a space school might be like with the fantastic realism that comes with Marika and Mr. Lion (well, OK, Marika is merely sci-fi extrapolation, but…), and of course the gut-wrenching emotional tugs that are the core of this series. Every time you read it, you want to tear up – both happy tears and sad tears. It’s wonderful to see a series this affecting in North America. I wish Asumi and her friends the best on their outward journeys.

Bookshelf Briefs 3/12/12

by , , and 1 Comment

This week, Michelle, Kate, MJ, & Sean take a look at new releases from VIZ Media and Vertical, Inc.

Arata: The Legend, Vol. 9 | By Yuu Watase | VIZ Media – By now, I should probably be immune to such shounen staples as “hero’s weapon gets larger to signify an increase in power,” but I still always find it cool, and when it happens in this volume of Arata, it’s no exception. The first half of the book is mostly fighting, with a little bit of heartstring-pulling thrown in that is still affecting, even though it felt like Watase was ticking things off a checklist in a very business-like manner. The relationship angst ramps up a little in the final chapters, as Arata learns that not only is he the successor to a powerful king, but also that he will create a new world with a “chosen woman” by his side. I really like the overall tone of this series, and though it offers few surprises or innovations, it still consistently entertains me. – Michelle Smith

Blue Exorcist, Vol. 6 | By Kazue Kato | VIZ Media – There’s a lot going on in this volume, despite it being mid-arc. The plot regarding the stolen eyes, and the revelation about a traitor in the cast. Shiemi’s inability to get past her knee-jerk reaction to Rin’s background, which is contrasted with a cute short story showing how well the two work together with Yukio, both in exterminating evil and in being his conscience. But mostly this volume is about Bon, and what it means to have a father that you can’t respect. Or rather, Bon *wants* to respect his father, but everyone else’s attitude, plus his father’s own ambiguous attitude, make it next to impossible. This is the meat of the story, and makes the conflict with Rin (who also has father issues) very powerful. This is an excellent manga, even if you aren’t a Jump fan. – Sean Gaffney

GTO: The Early Years, Vol. 11 | By Toru Fujisawa | Vertical, Inc. – The first volume of GTO: 14 Days in Shonan was a pleasant surprise, a raucous comedy about an earnest but slightly dim homeroom teacher who wants to make a difference in his students’ lives. Given how much I enjoyed my introduction to the world of Great Teacher Onizuka, I thought volume 11 of GTO: The Early Years would deliver more of the same. Alas, I found it a crude cousin to the later series, with rough, uneven artwork and jokes that repeatedly fell flat. Vertical, Inc. has done a better job of packaging this series than Tokyopop did back in the mid-2000s, with a snazzy cover and a snappy translation that conveys some of the sexual chemistry between the characters, but even Vertical’s first-rate presentation can’t transform this sow’s ear into a silk purse. -Katherine Dacey

Kamisama Kiss, Vol. 8 | By Julietta Suzuki | VIZ Media – I want to like Kamisama Kiss: it’s got a memorable hook, an appealing cast of supporting characters, and enough yokai intrigue for two Shojo Beat series. As I’ve dutifully read each volume, however, I’ve come to the conclusion that Julietta Suzuki has no real plan for how her story will end. Nanami doesn’t seem wiser or stronger than she was in the very first chapters of the book, while her relationship with Tomoe, the crotchety shrine guardian, has fallen into an irritatingly predictable holding pattern that offers few rewards for the loyal reader. Volume eight does little to dispel the sense of futility; even a detour into the underworld seems more a demonstration of how inept Nanami remains than an inspired subplot. Strictly for fans of supernatural romance. -Katherine Dacey

Kimi ni Todoke, Vol. 13 | By Karuho Shiina | VIZ Media – While Kazehaya and Sawako remain the stars – and seeing her meet his family is probably the cutest part of this volume – this focuses more on the group, which I appreciate now that the main romance has moved from ‘will they or won’t they’ to ‘so what now?’. Chizu is dealing with a rather attentive Ryu, who’s becoming more obvious – possibly by design. Meanwhile, Ayane is not only dealing with Kento finding her interesting (something which she seems to be ignoring, possibly as she doesn’t understand him as easily as she does everyone else), but with her own ideas of what love and dating are, which are not as ‘pure and innocent’ as her two friends. She agrees to go out with a guy who confesses to her near the end of the book, but I honestly can’t see it ending well. Also, terrific cover art. – Sean Gaffney

No Longer Human, Vol. 3 | By Usamaru Furuya | Vertical, Inc. – Though it’s no secret that I’ve been a fan of Usamaru Furuya’s inspired adaptation of Osamu Dazai’s classic novel from the beginning, as the rather unrelentingly optimistic type that I am, even I find this a bit surprising. Hopelessness has been assured far before cracking open Furuya’s final volume, yet it’s impossible to resist the need to follow Yozo’s journey to the end. Though this heartbreaking volume is remarkable on both dramatic and artistic levels, what I found perhaps most compelling were Furuya’s own notes at the end, describing his personal connection with Dazai’s work and how he came to write the adapation. Complete in three volumes, this series is a must-read for any grown-up manga fan. Highly recommended. – MJ

Oresama Teacher, Vol. 7 | By Izumi Tsubaki| VIZ Media – Another highly variable volume – I love this series, but the author still has issues with focus and pacing. At its best, we get chapters like the first one, where we learn about Takaomi’s motives. It’s good to see his character gain some depth, and you really begin to see how driven and goal-oriented he is – and how that inspires Mafuyu. Meanwhile, the ‘summer vacation’ chapters get progressively worse, with Mafuyu’s festival with Sakurada being quite funny, but the ‘haunted house’ chapter being possibly the worst we’ve seen this series – so confusing I had trouble telling who was who from panel to panel. Ah well. Hopefully she’ll get that out of her system soon and we’ll be back to school, where Mafuyu fares much better – as does the mangaka. At least we get plenty of silly faces. – Sean Gaffney

One Piece, Vol. 61

by

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

There was a joke going around fandom when Chapter 597 first came out in Japan that on the last page it would say “One Piece – end of Prologue.’ It’s not quite that ridiculous, but the timeskip we see does give us a lot to talk about – and finally, FINALLY reunites Luffy with his crew and his ship. It is appropriate that the cover of this volume is a mirror to Volume 1’s cover.

Before the timeskip comes some nice stuff, though. Having seen the crew bolt from their rescuers in order to reunite with their captain and console him after Ace’s death, it’s somewhat odd to see them immediately turn around and go back. It’s handled beautifully, though, with each crew member getting a flashback that shows just how much Luffy impacted their lives. They really would do anything for their captain, and it shows. Luffy, meanwhile, gets to train with Rayleigh on the island of amazingly dangerous animals, and we learn a little bit more about haki – though really, it still amounts to ‘magic charisma’ when you get right down to it.

(I was vaguely irritated that, in the shot of the Supernovas all encountering danger in the new world, Bonney is the one that’s captured and subdued (twice!). Oda is miles ahead of other Jump authors when it comes to his female characters, but they still tend to get into peril when the situation calls for it. Still, I suppose Akainu and Blackbeard menacing, say, Apoo wouldn’t have had quite the same feel.)

Then, as noted, we jump forward two years, and see what our crew is up to as they reunite on Sabaody. This leads us, inevitably, to the Fakehats. It’s not particularly surprising that someone would be trying to imitate Luffy and friends given their amazing reputation – in fact, it’s a wonder we hadn’t seen it before now. But I wasn’t expecting it to be as funny as this is. The Fakehats are gloriously awful, amounting to not even a bad parody of the people they’re trying to imitate. (Naturally, Luffy, Usopp and Chopper are taken in right away – just because there’s a timeskip doesn’t mean that the characters are THAT different. Everyone keeps their comedic flaws.)

As for the actual crew, so far they seem mostly the same. Which is reassuring. Franky has modified his body to look even more ridiculous. Zoro is missing an eye. Luffy has a scar on his chest. Nami has long hair. Usopp is more muscular. Robin has a new hairstyle. And then there’s Sanji. Who now has his hair… covering his other eye! Oda is delightfully deadpan about this in comments, but it’s also a good sign that he’s still enjoying One Piece more than anybody else.

As the Straw Hat Pirates prepare to go to Fishman Island at last, the Marines are coming out in force to stop them. But hey – allies of the pirates (many of whom are former enemies) come out to help, as we get some more great cameos. Hancock was a given (and is still a glorious parody of shippers – Luffy’s constant “I’m not marrying you” is a stitch), but it was a surprise to see Perona show up to lead Zoro to his crew. And hey, she is all grown up! (I totally ship Zoro/Perona, in a ridiculous way.) Luffy and company are ready to pave the way for a new age of pirates – and everyone wants to see them to it. It’s very heartwarming, especially when compared with Rayleigh’s flashbacks of Gold Roger.

And so – at last – we’re headed for Fishman Island and a new arc. Will it top Impel Down and Marineford? Probably not. But that doesn’t really matter. Just having the crew back together again is enough. We’ve seen how Luffy survives without his crew. Now we’re ready to see them work as a unit again. Bring on the next 60 volumes.

Is This A Zombie?, Vol. 1

by

Here’s a tip for aspiring manga artists: if you’re going to spoof a genre, your jokes should be poking fun at said genre’s conventions, not slavishly adhering to them. Is This a Zombie? wants to be a send-up of magical girl manga and harem comedies, but focuses so heavily on panty shots, “accidental” nudity (of the “whoops, my clothes disintegrated!” variety), and girl fights that it’s easy to forget that the story is supposed to be a cheeky riposte to Cutie Honey, Sailor Moon, Love Hina, and Negima!

The other great problem plaguing Is This a Zombie? is focus. From the opening pages of volume one, a reader might reasonably conclude that the main plot revolves around teenager Ayumu Aikawa’s quest to find out who killed him. The sudden arrival of Haruna, a self-proclaimed “magikewl girl” who wears a maid’s costume and carries a pink chainsaw, complicates the picture, however. By means never fully explained, Haruna’s powers are accidentally transferred to Ayumu, who undergoes a full Sailor Moon-style transformation into a dress-wearing, weapon-wielding magical girl in the presence of other supernatural beings.

If Haruna’s arrival provided genuine comic relief, or advanced the plot in a meaningful way, the resulting horror-magical girl mishmash might not seem so incongruous. The lame cross-dressing jokes, however, do almost nothing for the story except reveal Shinichi Kimura’s steadfast belief that if a man in a frilly dress is hilarious, then a male magical girl in a frilly dress is exponentially funnier. And if the guy-in-a-dress gags weren’t tired enough, Kimura gives Ayumu a full-fledged harem that includes Eu, a necromancer, and Sera, a vampire ninja. True to harem comedy form, the three girls live with Ayumu, clamoring for Ayumu’s attention, bickering with each other during meals, and seeking his approval on outfits. Whatever “comedy” results from their competition is of a meager sort; Kimura seems to think that that the girls’ catty put-downs have sufficient zing to generate laughs. (They don’t.)

The artwork does little to enhance the story’s comedic tone. Ayumu is as generic a hero as they come, with a carefully tousled mop of hair, a standard-issue high school uniform, and a nose that’s ever-so-slightly larger than the female characters’. Of the three magical girls, only Sera is drawn as a mature teen; Eu and Haruna each look about ten or eleven years old. The girls’ youthful appearance would be less unsettling if they kept their clothing on, but Haruna’s frequent costume failures put an icky, exploitative spin on a sight gag that’s clearly meant to be sexy.

The backgrounds and action scenes have the same perfunctory quality as the character designs. All of the settings — cemeteries, schoolrooms, apartments — look the same, a collection of simple, square shapes that barely establish the location. And while that means the fight scenes are lean and mean, unburdened with excessive detail, it also means that the combat seems to be taking place in an alternate universe from the main story, one that lacks any meaningful visual continuity with the other scenes.

I wish I could find something to like about Is This a Zombie?, as the story wants to be the Naked Gun of manga spoofs, a naughty but good-natured comedy that invites readers to laugh at tired tropes. The resulting story, however, feels a lot more like Epic Movie, a scattershot, semi-exploitative grab-bag of superhero jokes, Pirates of the Caribbean gags, and sword-and-sandal send-ups; substitute “zombie manga,” “harem comedies,” and “magical-girl manga” for the aforementioned genres, and you’d have Is This a Zombie? in all its awfulness.

Review copy provided by Yen Press. Volume one will be available on March 27th.

IS THIS A ZOMBIE?, VOL. 1 • STORY BY SHINICHI KIMURA, ART BY SACCHI, CHARACTERS BY KOBUICHI – MURIRIN • YEN PRESS • 172 pp. • RATING: MATURE (NUDITY, LANGUAGE, VIOLENCE)

Comic Conversion: Soulless

by 2 Comments

Soulless | Novel: Gail Carriger / Orbit Books | Manga: REM / Yen Press

Twenty-five-year-old spinster Alexia Tarabotti has a a few problems. First, she’s a spinster, and being a half-Italian in Victorian England isn’t helping. Second, she’s a preternatural, a human without a soul. And third, a vampire has just died–and it might be her fault! Alexia finds herself in the middle of a mystery involving vampire hives, royalty, and scientists, as rove vampires and lone werewolves are disappearing. In the midst of it all, Lord Maccon, the werewolf pack leader and head of the Bureau of Unnatural Registry, is taking a decided interest in her, and not just because of her preternatural powers. It’s enough to overwhelm any lady–but Alexia is out to prove that she’s much more formidable than that.

Soulless, written by Gail Carriger, is the first novel in the Parasol Protectorate, a paranormal romance/mystery series from Orbit Books. The story takes place in a Victorian England where werewolves, vampires and ghosts are not only real, but are a part of every day society. Last July, Yen Press debuted the manga adaptation of this series in Yen Plus magazine, and has just recently released the first volume in the series, trusting the artist REM (Vampire Kisses) to bring Carrriger’s steam punk supernatural romance to life.

Two pages into the Soulless novel I found myself utterly delighted with the prose. Taking on a distinct Victorian tone, Carriger uses the slight sarcasm you get from a Jane Austen novel to describe a surprise vampire battle. This creates some hilariously fancified lines (“For his part, the vampire seemed to feel that their encounter had improved his ball experience immeasurably.”) and amusing quips (“to put the pudding in the puff”) that plastered a grin on my face from the start. Of course, it pretty quickly feels like Carriger’s laying it on too thick, but luckily she seems to find a happy medium, and the tone evens out.

Soulless is a pretty steamy book, and while like most romances the “amorous activities”, as Alexia calls them, can get out of hand (making out in a jail cell? Really?) the love story never completely overshadows the mystery. The characters themselves are a treat: Alexia is smart and sharp-tongued, and despite the historical and cultural hindrances is a pretty inspiring female character. Lord Maccon is a little more one-dimensional as a gruff werewolf with a soft spot for a certain spinster, but it’s adorable to watch him fumble with human vs. werewolf courting. Members of Alexia’s immediate family fall flat: her sisters are foolish, her step-father is disconnected, and her mother is arrogant (by the end I don’t see why she would stoop to marrying an Italian in the first place). But other side characters liven up the story, with the flamboyant-but-formidable vampire Lord Akeldama, Alexia’s mildly eccentric friend Miss Hisselpenny, and Maccon’s perceptive Beta Professor Lyall, allowing our main pair to vent their thoughts while still showing plenty enough personality to make them interesting on their own.

The characters are just as appealing in the manga, with REM’s art style helping to enhance that. Akeldama is still exceptionally flamboyant, with outfits and mannerisms just as fancy and theatrical as I imagined. His exuberant, italicized dialogue is cut down a bit, but his sly smiles and occasional shift to a super-deformed look gives him the energetic feel of a mischievous child. Lord Maccon maintains his roughness in dialogue, though REM gives him a cleaner look than I would have pictured. Still, his care and interest in Miss Tarabotti is both more amusing (an arrow leads his gaze right down Alexia’s cleavage), and more endearing. REM also seems to know enough not to let text boxes overwhelm the art. Because of this, the occasional heavy-handedness of Carriger’s Victorian prose is eliminated, leaving us only with the delightful bits (“I say!” says Alexia as a vampire tries to kill her. “We have not been introduced!”).

The pacing of the comic is generally very even, with a good balance between the supernatural mystery and the romantic plot. On a couple of occasions REM chose to cut scenes out. Much of the deletion has little affect on either the flow or understanding of the story, like when Alexia’s mother and half-sisters return from a shopping trip: while it’s interesting in that it deepens the reasons for Alexia’s dislike of her own family, all this scene does is emphasize her sisters’ frivolousness and her mother’s condescension, things we’ve picked up on well enough. This scene is not missed, but another, when pudgy scientist Mr. MacDougal takes Alexia on a carriage ride, is a little more noticeable. While the book has him taking her around town as he explains his scientific theories, the comic only shows the end of the ride, when he drops Alexia off, and she merely comments that he had some “interesting theories on the soul.” Readers may be able to guess the conversation based on the dinner from a few pages earlier, but the main problem lies in the abruptness of the scene, giving the distinct feeling of something having been hacked out.

Both versions of Soulless had a couple of missteps in pacing that momentarily jarred me out of the story, and the romance scenes didn’t always have the best timing, considering the other tensions going on. But I easily jumped right back into the flow, and the romance is sexy enough to make up for the occasional poor placement. Soulless could have gone the route of many a paranormal romance novel, making the supernatural plot nothing more than a cheap gimmick, but Carriger manages to create not only an enticing romance but also an engrossing mystery and a fleshed out, believable fantasy world. REM’s art style and sense of panel layout gives us an adaptation that’s just as enjoyable, so in this case I say pick your favorite medium – you can’t go wrong either way.

Adventures in the Key of Shoujo: Codename: Sailor V, Vol.1

by 1 Comment


Codename: Sailor V, Vol. 1 | By Naoko Takeuchi | Published by Kodansha Comics USA | Rated: T, Ages 13+

“Champion of Justice! The Pretty Guardian in a Sailor Suit! Sailor Venus has arrived!!”

Did you ever have that dream with the sensation that you’re falling, but you’re just not sure in which direction, and yet you’re perfectly safe doing so? The is the feeling I get from Codename: Sailor V, coupled with a curious feeling that I’m being led somewhere familiar, yet I’ve never been there. After diving into Pretty Guardian Sailor Moon, I also picked up Codename: Sailor V as well, as I had heard it was a prequel to Sailor Moon. But while it was published at roughly the same time as Sailor Moon and it IS set in the same universe, tonally, this is a different tempo.

First of all, while it does have a girl becoming a magical champion of justice, the difference here is that Minako Aino is on her own. She has a familiar (a male cat named Artemis) and she answers to someone called “Boss.” However, there is no team to help her, so Mina must face all the agents of evil alone. In many ways, that makes this first outing both flat and exciting. It’s flat because if you didn’t like the formula of “Girl gains magical powers, fights a villain every chapter, overcomes and adapts, then triumphs” espoused by Sailor Moon, this is more of the same. So we are there for all the blundering Mina does, every goofy joke, every stock bad guy, and every cliché. While this might be bad for some, I’m glad of it, as it means I don’t have to keep remembering every chapter and can focus on the narrative (Confession: as I recently came into Sailor Moon, a lot of characters’ names and faces didn’t stick right away, thus I have to keep rereading to imprint the important stuff).

Secondly, I don’t get a sense of an impending apocalypse with Codename: Sailor V that I got with Sailor Moon. In that, there’s a goal: finding the princess, finding the crystal. In Codename: Sailor V, there are the main villains (the Dark Agency) but we don’t know what they want, save to take over the world. And while we know the agency is being controlled by a higher intelligence, we’re just not told who that is. This fog is either Takeuchi being sly or she really doesn’t know what she’s doing. Now, I could buy that last point except both Sailor Moon and Codename: Sailor V were published at around the same time. I’d like to know what the frequency of the chapters for both were, but I don’t have that information. Since there are only two volumes of Codename: Sailor V and there are twelve plus volumes of Sailor Moon, I am curious to say the least.

Using Sailor Moon as a guide, while there are much the same types of characters, as there’s not such a large cast, I can focus on the them better. Mina’s relationship with Artemis is much more antagonistic than Usagi’s and Luna’s, but this is borne for the most part out of the fact that Mina is a complete slacker who does well in athletics but is poor at academics. Even her mother can’t stand the fact that she bunks off her responsibilities whenever she feels like it! Equally her friends, including her bezzie mate Hikaru, just roll with it. Though the background characters in this are so-so, I do like the police Inspector General who is in love with “V-Chan,” as she keeps calling her. If I had a gripe, it would be that the villains get whipped senseless in this. Unlike Sailor Moon, here the villains just turn up, take over and then get belted by Sailor V, who usually gets shoujo-medieval on their rump. Full marks every time Mina turns them into crispy critters.

Mina is even more of a girly-girl (is there such a thing, really?) than Usagi. She has all the problems that go with being a pubescent, amplified due to her identity as Sailor V. She wants her first love, first kiss, first crush, first holiday, and so on to be just so. But sometimes, I feel that she could do with someone like Tuxedo Mask in her life. Tuxedo gives Sailor Moon something to look forward to as a goal. And Mamoru gives Usagi’s heart a fluttery feeling whenever he’s around. Mina has no such person in her life. It would be interesting to see what she would do if such was the case. But that doesn’t detract from her character—far from it. It makes me wonder if she’s holding back her potential because she doesn’t seem to feel the same peril that Usagi and Co. get into. Would this make her a more flawed character, and therefore more sympathetic to us? Maybe, but I have a hunch that there’s enough of this coming down the pipeline for Sailor Moon, and if it happened to Mina in the same way, I would feel a cloning issue arise.

Artwork-wise, Takeuchi gives her characters an energy that is hard to define. If I had to place a finger on it, I would say they look alive in the sense that they are animated, lively and effervescent. Mina has a smile that goes through different stages. Her carefree one (used mostly for her friends), her dreamy one when she’s thinking about a boy, and finally her smile that only the readers get to see. This is a special kind of smile—one that shows the confidence of someone who could, literally, move mountains if she tried. The smile I refer to is the one she wears when she defends the characters and us, the audience, from all the nasties in the world, whether it be a sexist git who doesn’t want girls in his electronic man-cave or the Iago-like Dark Agency who would steal our lifeforce energy for its own nefarious uses. This smile will protect anyone or anything standing behind it. This smile would die rather than admit defeat. It’s amazing how much enjoyment you can derive from a smile. Maybe I’ve uncovered another of Takeuchi’s talents? Or is it one of Sailor Venus’?

Translation-wise, William Flanagan keeps it quick, coherent and easy to read. I’ve never read any scanlations or the first TOKYOPOP versions, so I will withdraw from speaking as to their accuracy. All I will say is Mr. Flanagan has a lot of text to deal with and manages to make sense of it and put it into a kind of literary tempo. He and Kodansha have their usual liner notes at the back of the book. Thanks are extended for the explanations.

As an aside, since I keep bringing up Sailor Moon in this review, I’ve got one or two wee problems. You see, in Codename: Sailor V, Mina runs by—is drawn running by or whatever—next to Usagi and Ami, leading us to believe that the events of Sailor Moon can’t be far behind. My confusion is that I don’t know within what time frame this story takes place. Is it at the same time as Sailor Moon? Before or after it? This perplexes me and I can only hope there’s some clarification soon. Another thing I’ve noticed is that the characters that Mina is friends with don’t get nearly enough time to develop on their own. I realise that Mina is the focus, but still I can’t help feel that I’m running out of time to get to know them. Other than that, this is a great first volume, and if you are wary of getting into Sailor Moon because of its length, there are only two volumes of this, so you should be fine.

This last point is also a source of sadness for me. In this single volume I’ve grown to like Mina, Artemis and even the Inspector General and the fact that the next volume will be the last that focuses on these characters is an unhappy one for me. Don’t get me wrong, I know that Mina plays a part in Sailor Moon but still, I’m going to miss them. Oh well, one more volume to go, I suppose. But knowing Takeuchi-sensei, she’ll have them go out in a blast. Oh, I cannot wait!

On a personal note, I wanted to say thanks to everyone who emailed me or left comments on Manga Bookshelf in regards to the column. I really appreicate the thoughts and suggestions and while I can’t say I will pick up all the titles suggested, I enjoyed getting such an enthusiastic response. Also, I wanted to thank MJ, Kate Dacey and all the people on their own blogs and on Twitter who mentioned the column.

Review copy bought by reviewer

Off the Shelf: A bit of a mess?

by and 11 Comments

MICHELLE: Hey, MJ! What did 0 say to 8?

MJ: I don’t know, what did 0 say to 8?

MICHELLE: Nice belt!

MJ: Buh dum dum *chick*

MICHELLE: Now that the obligatory bad joke is out of the way… read any good manga this week?

MJ: Well, yes… though not exclusively. I started the week with The Earl & the Fairy, a new shoujo title from Viz, based on a light novel series by Mizue Tani, with story and art by the single-named Ayuko.

Our heroine, Lydia, is a “fairy doctor,” which we don’t know much about yet, except that they seem to be humans who can see and communicate with fairies. Thanks to modern (Victorian England) skepticism, fairy doctors are a dying breed, but Lydia learned the craft from her mother and is determined to carry on the tradition, skeptics be damned.

On her way to London to visit her father, Lydia is kidnapped by two questionable personages in rapid succession—first, a good-looking man who may be a killer and whose name may or may not be Gotham (Or “Huxley,” depending on who you ask), and then a good-looking young man who may be a killer and whose name may or may not be Edgar (or “John,” depending on who you ask). Everyone wants Lydia to find a valuable fairy jewel for them, though supposedly nobody believes in fairies in the first place. And also, there have been some murders. Probably.

If this sounds like a bit of a mess… well, it is. And though I’ve never been opposed to messy manga, so far, Lydia is too generic a heroine to draw me in on just her own strength. Still, the art is pretty and Lydia’s fairy companion (who looks like a cat) is both cute and grumpy—irresistible qualities in a supernatural pet. So I’ll likely forge on.

MICHELLE: Oh, that’s disappointing. I always hate it when stories seem to have nothing better to do than employ multiple kidnappings. I’m reading a YA series right now with that same problem. But still, a cute and grumpy kitty pretty much guarantees I’ll at least give it a look.

MJ: Yeah, the “kitty” really is a pretty great hook, and I suspect you’ll have difficulty resisting it as well.

So, what have you been reading this week?

MICHELLE: Well, like you, I suppose I will start with a title I’ll probably continue with, even though I’m not particularly enthused by it.

This week, I read volumes one and two of Gate 7, the newest series from manga powerhouse team CLAMP. In a nutshell, meek, spazzy, and Kyoto-obsessed high school student Chikahito Takamoto travels to his favorite city, where he runs into an androgynous kid named Hana and Hana’s two intimidating attendants, who are doing… something in a shrine. Ridding it of evil spirits, perhaps? This is all fairly straightforward so far, but then we find out that they’re employed by a guy who is the reincarnation (maybe?) of an important figure from Japan’s history, that other reincarnations exist, that they all have a blood contract with an oni whose powers they borrow, and that Nobunaga Oda had the most powerful oni and everyone else in the present is trying to get it.

Again, like The Earl & the Fairy, if this sounds like a bit of a mess… that’s because it is. Many elements of the plot are vague. Plus, I feel like I’ve seen so much of it before. Young, androgynous-looking character possessed of great power? Check! Spazzy student who moves in with supernaturally gifted people and proceeds to cook for them? Check! There’s even another nursery school/kindergarten. And the things that make the series somewhat different—all the historical references—just zoom right over my head. More than once they’ll be talking to someone and then there’ll be a full-page close-up during which the person’s identity as a reincarnated historical personage is dramatically revealed. Maybe I’m a dumb American, but I just don’t know who Yukimura Sanada is and it doesn’t mean anything to me when he makes his appearance.

That said, the art is very pretty. I am especially intrigued by Iemitsu Tokugawa, a very lovely bad guy who visually reminds me a bit of Nokoru from CLAMP Campus Detectives. I hate the idea of abandoning a CLAMP series, but this one may have just one more volume to start making more sense.

MJ: I’ll admit I have a soft spot for exactly this kind of CLAMP, and you probably recall that Gate 7‘s first volume lured me in pretty well, but by the end of the second volume, I was certainly feeling skeptical. I’ll probably give it a few more volumes (I did say I had a soft spot), but I can’t blame you for feeing discouraged at this point.

MICHELLE: I will say that the notes do a great job of explaining who these people are and their significance both historically and in pop culture, but feeling baffled by dramatic twists is not really much fun.

Anyways, I hope your second read served you better!

MJ: It most certainly did, and I know you’ll be happy to hear it!

I also spent some time this week with the new Skip Beat! omnibus. It’s a series I’ve been interested in for a while, but the idea of trying to collect it from the beginning so many volumes in just seemed too daunting. Obviously, these new editions are a great opportunity for readers like me to start from scratch. And honestly, I think it was a far more compelling read for me in a three-volume chunk than it ever could have been otherwise.

As pretty much everyone already knows, Skip Beat! tells the story of Kyoko, a sweet, devoted teen who thinks nothing at all of following her childhood crush, Shotaro, to Tokyo (at his behest!), to work her butt off supporting him as he shoots for stardom as a pop singer. Kyoko gives up her own schooling to work multiple jobs in order to pay for Sho’s food and housing, enduring his moodiness and cold demeanor all the way. When she overhears Sho badmouthing her to his (apparently) real show-biz girlfriend, she’s understandably heartbroken. She’s also consumed by the desire for revenge—a motivation that fuels her every action from that point forward. In a bit of cracktastic shoujo plotting, Kyoko inexplicably decides that her only shot at revenge is to become a greater star than Sho is, thus beginning a tireless pursuit of show business success worthy of the likes of Stage Door or 42nd Street. Yes, “the calla lilies are in bloom again…”

I mentioned before that I think this was a better read for me three at a time, and I really think that’s true. Despite Kyoko’s awesomely fierce personality, I’m not sure I would have had the will to move beyond the first (or perhaps second) volume if I’d had to purchase them one at a time. And I think there are probably a couple of reasons for this. First, as a former actor, I deeply disagree with the author’s thoughts on what makes good acting (rather than a desire to be loved by an audience of strangers, I’d argue that it’s actually a willingness to let those strangers see the parts of you that they really might not love, which is much, much harder). Secondly, I really do hate seeing a heroine devote her entire existence to a man, and obviously that’s what Kyoko is doing, at least at this point in the manga.

Fortunately, three volumes was pretty much exactly the amount of time I needed to be completely drawn in by her, so in the end, I’m definitely hooked. I get the idea that she’s going to discover that she’s got real talent of her own, and that there’s more to life than chasing after a dream guy. Bring it on!

MICHELLE: I’m glad you liked it! I don’t want to tell you too much of what’s coming, but you’re absolutely correct: Kyoko will discover she’s got prodigious talent and will start to pursue acting for her own sake and not for revenge. And I, too, had issues with the whole “you have to want to be loved” thing, but I choose to think of it as just another peculiarity of Lory’s and not any big statement. In time, the story will focus more on Kyoko’s jobs with only an occasional return to the Love-Me Section plot line. In fact, Nakamura-sensei starts to use it as a springboard for more crackaliciousness, so it turns out to be handy.

MJ: So as to not make too much of my issues with the “love me” thing, I will say that regardless of all that, I really do appreciate the story’s thoughtfulness regarding the extensive damage done to Kyoko’s ability to trust by Sho’s heartless betrayal, and I do think that’s something she’d need to work through in order to be really vulnerable to an audience. So the acting stuff isn’t all a sham. And of course I’m all for crackaliciousness when it’s done right, so I will definitely look forward to that!

So, what else do you have for us this week?

MICHELLE: The third volume of Psyren, a Shonen Jump series from Toshiaki Iwashiro.

At first, I was fairly underwhelmed by this series, in which typical Shonen Jump protagonist Ageha Yoshina becomes involved in a game wherein he and various (and often unwilling) others battle in a harsh realm called Psyren for the sake of the world’s future. In particular, I objected to the haphazard effort Iwashiro had put forth to develop a consistent personality for the female lead, Sakurako.

Happily, by the third volume, the depiction of Sakurako has evened out (and she even gets a couple of major badass moments) and the mystery of Psyren has ramped up. I am a sucker for dystopic science fiction, and I can’t help but love the fact that the third volume is comprised almost entirely of Ageha’s second trip to Psyren and his attempts to navigate the game now that he knows more about it, while simultaneously burdened with a crew of newbies, scarcely developed psionic powers, and a foe that used to be the friend of one of his companions. It feels like a real problem-solving series this way, and the pace at which answers are forthcoming is really satisfying.

I still get a little bit of a Bokurano: Ours vibe from it, but with a real shounen flare that makes it exciting rather than gloomy. I’m actually a little surprised by how much I enjoyed this volume and how avidly I’m looking forward to volume four. If you were turned off by the execution of volume one but at least a little intrigued by the premise, you might want to give the series another chance. I’m glad I did.

MJ: I’ll be honest, I haven’t had the slightest interest in this series, but you’re making it sound kind of intriguing. Hmm.

MICHELLE: Well, maybe it’ll eventually make its way to VIZManga.com (where so many of its Shonen Jump brethren are available) and you’ll be able to check it out for half the price.

MJ: That would be great!

Dengeki Daisy, Vol. 9

by

By Kyousuke Motomi. Released in Japan by Shogakukan, serialization ongoing in the magazine Bessatsu Comic (“Betsucomi”). Released in North America by Viz.

I haven’t done a full review of Dengeki Daisy in a while. It’s been a very rough stretch recently too, as Kurosaki’s past has finally come out and things have taken a relatively dark turn. It may be disquieting for those who were enjoying this manga for its wacky romantic comedy and physical and verbal abuse of the leads. Luckily, this volume not only wraps up the dramatic arc (while leaving room for more in the future, of course), and gives us plenty of laughs.

Sticking with the dramatic for a moment, I liked how this was resolved. The dramatic thrust wasn’t “how will Kurosaki stop the bad guys all by himself”, it was “how will everyone get Kurosaki to stop destroying himself with guilt”. I was therefore not particularly surprised when I saw that a deus ex machina (or rather, deus ex Akira) had taken care of most of what they had to do. This allows Kurosaki and Teru to return to some form of normalcy. In particular, their reunion is pitch perfect, bringing some comedy back to the series at last, and giving some real heart – you really wish Teru was older so that these two lovebirds could finally get together.

As Teru notes, she *can’t* forgive Kurosaki – because right now, he can’t forgive himself, and as long as he can’t, there’s no point in other people doing so. However, he at least now knows that separating himself from everyone is not the answer, and if anything his love for Teru is even stronger. (In a purely platonic sense, of course – this is lampshaded by Riko, who tells him to give Teru physical comfort without giving her physical comfort, if you know what I mean.)

This leads to the second half of the volume, which might be fairly frustrating for those who were expecting that we were nearing the end of the series. After a brief fight/misunderstanding regarding Teru’s emails, the two decide that they will email each other as themselves from now on, and ‘retire’ Daisy – while at the same time realizing what Daisy did for both of them. It’s really sweet. However, when Riko notes that Kurosaki still hasn’t confessed to her, he notes that after everything that happens, it feels like they’re starting over, and he wants to take his time and get closer to her again. This is known as the “your series is very popular, let’s find some new subplots to add” syndrome. Still, I’m not opposed to it when the cast is as fun as these guys are.

I’ve occasionally compared this series with Black Bird, which also features a heroine who seems to be in constant peril, but could not be more different from Teru. Here in North America, you’d have to actively seek out both series to compare and contrast them, so the chance of a crossover audience is smaller. In Japan, though, both run in the same magazine – Betsucomi. This might make it easier to read both of them – you get Black Bird’s sensuous guilty pleasure for 40 pages or so, then you can flip to Dengeki Daisy’s more dynamic heroine as an antidote. (And then they can read We Were There for crushing despair! Though that ended this month.)

Dengeki Daisy is a riveting romance, with lots of emotional rollercoasters, a great sense of humor, and a heroine who rises above her peril to be strong and likeable. Not to mention a handsome, admirable (if grumpy) hero, who is only called a lolicon about 6 times in this volume, which may be a record low. (It’s in fun, trust me.) Highly recommended.

Manga the Week of 3/14

by

After an insane week this week, the manga world has decided to take pity on us. Well, mostly. Except for this giant pile of BL. Let’s start with that.

There’s a bunch of stuff from DMP out next week. There’s a volume of short stories by prolific artist Minase Masara, released under the title Ambiguous Relationship. Beast & Feast has smoking hot police officer on yakuza love (or is it the other way around?), as well as a great title. Blue Sheep Reverie hits Vol. 5. (It used to run in Betsuhana! Honest! Can you picture it next to Otomen? Well, yes, actually…) Depression of the Anti-Romanticist also has a great title, and I think that it needs to have a cage match with Beast & Feast to see who’s best. Lastly, we have another volume of the novel series Yashikiden Demon Princess, which I know little of except it’s by the Vampire Hunter D author.

Kodansha Comics wraps up a series, as we get the final volume of Monster Hunter Orage, from the Fairy Tail creator. We also get the 18th volume of Fairy Tail, which I hope to like more than the 17th.

Vertical has a final volume as well, with Vol. 12 of Twin Spica. This contains Vols. 15 and 16 of the Japanese series, and means I finally get to decide once and for all if it’s heartwarmingly uplifting or crushingly melancholy. I suspect I’m going to pick the former. If you don’t get this series, you missed out on something special.

Viz has two Pokemon volumes. I know I give these short shrift here, but… if you like Pokemon, get these! That’s about all I can say.

Lastly, in non-manga news, Fantagraphics is finally releasing the first in a series of collections of the comic strip Nancy, by Ernie Bushmiller. This isn’t the first chronologically – like Carl Barks, they’re picking and choosing what years to begin with – but that doesn’t really matter. The comic we all thought was even duller than Garfield as a kid turns out, when our parents were kids, to have a certain zen brilliance that’s hard to sum up in words. If you like classic comic strips, check this out and be amazed what one artist did with just minimalist art and vaudeville gags.

So what would Sluggo buy this week?

Psyren, Vols. 1-2

by

By Toshiaki Iwashiro | Published by VIZ Media

Ageha Yoshina is a first-year highschool student who channels his passion for fighting into helping people (for a fee). When classmate Sakurako Amamiya goes missing, he can’t just ignore it, particularly since she seems to know something about Psyren, a mysterious organization that recently issued Ageha a phone card when he answered a ringing public phone. The quest to find Sakurako leads Ageha to Psyren itself, which is not so much an organization as a place—a dangerous dimension where a chosen few (known as Psyren Drifters) brave the harsh landscape and murderous denizens to reach a particular gate, at which point they return home to be called again in the future, using the interval to learn more about Psyren and hone the psionic skills that Psyren’s atmosphere has infected them with.

I wasn’t sure what to think of Psyren at first. It starts slowly, and neither Ageha nor Sakurako are particularly distinct characters (Ageha because he’s so like every other shounen hero and Sakurako because Iwashiro-sensei is admittedly not aiming for any kind of consistency in her characterization). Once Hiryu—a formerly wimpy elementary school classmate who is now simultaneously hulking and thoughtful—arrives, however, things begin to improve. He provides a foil against which Ageha can be compared, which makes their psionic training sessions (in which Hiryu excels with concentrated effort and Ageha fails time and time again until he unleashes a powerful, uncontrolled burst) pretty fun.

It also helps that the concept of Psyren has elements that remind me of other series: the giant insectoid creatures and dire depiction of Japan’s future remind me of 7SEEDS, the cyborgish enemies remind me of BLAME!, and the contract by which unwitting participants are forced to risk their lives for some vaguely explained purpose reminds me of Bokurano: Ours. It remains to be seen whether Psyren will truly turn out to be as great as these other series, but it does have a dark edge—hinting that one’s performance in the game can somehow impact Earth’s future—that I appreciate.

To be sure, Psyren is not perfect. As mentioned, the main problem is Sakurako. She, quite literally, seems to change personality from panel to panel. At first, I thought that maybe this was happening because she’d used her psionic abilities so much that it had affected her mind, but after Iwashiro’s confession—“I was very careful when portraying [heroine of previous series]’s personality, but I’ve tempered that tendency, allowing for more of a kaleidoscopic view of Sakurako”—that doesn’t seem to be the case. Too, I feel like we’re supposed to find Matsuri-sensei, the concert pianist/biker chick who has beaten the Psyren game, cool and awesome, but she just makes me yawn.

Ultimately, Psyren is better than I thought it would be. It’s also, at sixteen volumes, not a sprawling epic that would require a huge commitment. At the moment, at least, I plan to continue for the long haul.

Psyren is published in English by VIZ Media. The third volume came out this week. The series is complete in Japan with sixteen volumes.

Review copies provided by the publisher.

Combat Commentary: Fairy Tail Vol. 11, Ch. 86-87 – Lucy & Juvia vs. Vidaldus Taka

by 2 Comments

The good thing about writing about fight scenes in shounen manga is that I will never run out of material. The bad thing is that I have too many to chose from. When considering which battle from Fairy Tail to write about, I had to eliminate several possibilities, though chances are they will all see the light of day eventually.

Let’s be honest, women get a raw deal in shounen manga. More often than not, the female lead is one of the least appreciated characters. Her prowess is constantly being compared to that of her male counterpart. And with almost no exceptions, she is found lacking by an incredibly picky fanbase.

I could go into detail about how it’s ridiculous to judge a character’s value based on her combat ability, but that seems a little counter–productive for a column focusing on nothing but fights. Instead, let us talk about a series that puts the women on the same playing field as the men, and gives them a fair shot at being just as formidable as the boys.

Erza Scarlet is one of the rare female characters who is consistently stronger than the male lead. But she is not the female lead—that falls on Lucy Heartphilia instead. At first glance, Lucy comes across as the basic female lead in a shounen manga. More often than not, she needs saving, and she’s consistently weaker than Natsu, the male lead. The difference between her and far too many other female shounen leads is that she consistently gets at least one fight per arc in the latter parts of the manga.

Compared to characters like Naruto‘s Sakura (who’s gotten exactly one fight over the course of years of publication), Lucy may not be the most powerful character, and her fighting style isn’t as direct as shounen audiences like. But at least she gets fights, and she usually wins them. On the other hand, she also tends to lose her clothes during the fight. You win some, you lose some.

(click images to enlarge)

.

What Happened?
Erza, in a rare case of damsel in distress, is kidnapped by former friends of hers. They take her to the Tower of Heaven, where she and they had been child slaves years ago. There, Erza discovers that an old friend of hers, Jellal, has almost finished the Tower of Heaven, and intends to use the R-System within it to resurrect the dark wizard Zeref.

Natsu, Gray, Lucy, and Juvia make their way to the tower and infiltrate it to save Erza. After meeting up with Erza, who had escaped captivity on her own—damsel in distress did not agree with her—they all split up to take down Jellal. Lucy and Juvia go together, and are confronted by Vidaldus Taka, a punk rocker with the ability to control his hair and make women his slaves.

Eeyup, no subtext here. Just unfortunate translations.

What Happens?
Vidaldus takes control of Juvia, and turns her against Lucy. Juvia beats on Lucy, but her real feelings manage to make their way through. Lucy then realizes she can use the water that makes up Juvia’s body to summon her strongest Celestial Spirit, Aquarius. Aquarius floods the room with water, and Lucy and Juvia combine their magic power into a unison raid to overpower Vidaldus.

What Does it Mean?
Last week’s column brought up the issue of using established abilities vs sudden power-ups in the middle of battle. This is an example of the latter. Lucy and Juvia somehow manage to combine their magic powers, an ability that is never foreshadowed, nor is it ever explained or brought up again.

Clearly, you are meant to know exactly what this prior unexplained phenomenon is!

For all of his ability to create entertaining manga, Mashima is bad at ending things. Whether it be fights, or an entire story. The reliance on a deus ex machina (sort of) power-up is lazy writing, especially when the proper groundwork hasn’t been laid. The difference between a satisfying climax and a deus ex machina is always in the preparation that has been done prior to the climax.

That being said, considering this is the eleventh volume of the series, it’s actually only Lucy’s second proper fight. Fairy Tail does an interesting thing with her character. She starts off as being the damsel in distress more than once, but as the series progresses she becomes more involved in fights and even starts to win them on her own. More or less. She never really fights on her own, much the way a pokemon trainer never really fights his own battles.

I choose you...Dewgong?

If Natsu, Gray, and Erza get the big cool moments, with epic powers clashing against mighty foes, Lucy gets the small cool moments—such as the moment she realizes she can summon Aquarius using Juvia’s unique body structure&mdashwhich makes the random power up at the end of this fight all the more a shame. Lucy is one of the characters who fights differently from the average shounen fighter. She has to use more strategy and take advantage of her surroundings and the unique abilities her Celestial Spirits give her. Generally, her fights are more interesting than most of the other characters,’ which isn’t too shabby at all for a member of a demographic too often neglected in shounen manga.

How about you? Is this shoddy writing at its worst, or an interesting start to a well-rounded character development? Best comment wins cake. Also, if you have any requests for future entries to this column, feel free to submit them here. If I’ve already read the manga, then the chances of it getting covered are much higher. Also, be sure to check out my blog at Burning Lizard Studios.