Features & Reviews

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.

By Satoshi Mizukami. Released in Japan as “Hoshi no Samidare” by Shonen Gahosha, serialized in the magazine Young King OURS. Released in the United States by Shonen Gahosha on the JManga website.

First of all, I should note that the JManga site lists this under its original Japanese title. Despite the fact that the English title is PRINTED ON THE FRONT COVER. Given none of Shonen Gahosha’s titles have been translated to date, I will assume this is some stupid business rule, but I wish it would change. In any case, when you look for this book, look for it as Hoshi no Samidare. And you definitely should look for it.

At first glance, this may seem no different from many other shonen titles. A young man, Yuuhi, it woken late at night by an animal mascot, who tells him that he must join with other allies to defend his Princess and protect the Earth. It almost sounds like it could fit right in with several Western-type superhero plots you’d see over here. Sure, the animal mascot is a lizard, but that’s probably just an eccentricity of the author. We’re in for rollicking action and fun times. Friendship, Training, Victory, right? Well, not quite. This manga isn’t in a shonen magazine, but a seinen one. The very eccentric Young King OURS, home of Excel Saga, Trigun and Hellsing. And Yuuhi is not your typical shonen hero.

I wouldn’t go so far as to say that Yuuhi is a nihilist, but certainly he is a young man who does not wish to interact with life. Likewise, the heroine, who is the aforementioned Princess, has declared that it is her desire to destroy the world – rather than save it. And it is *this* – the appeal of simply ending everything – that causes Yuuhi to suddenly gain a purpose in life and pledge his allegiance to her. It’s not really a stretch to say that the conscience of the manga, at least in this first volume, is the lizard (often horrified at Yuuhi’s thoughts) rather than the two leads.

Muxch of this first volume is setting up for what will no doubt be a larger cast – indeed, we see one of them, Hangetsu, show up in the final chapter, and he’s a complete contrast to the pessimistic and grumpy Yuuhi. Most of the time, though, we deal with Yuuhi and his own demons. Yuuhi spent most of his childhood being abused, mentally and emotionally (as well as physically, I’d suggest, given the chains). I would go so far as to say that he’s at his most tragic when he’s smiling, as it reveals to us the fragile facade he’s built up. In my favorite part of the volume, Yuuhi calmly relates the death of his father, his mother’s abandonment, and his grandfather’s abuse, and then simply grins. Neu, the lizard familiar, stares in horror, for he is able to visualize what it must have been like.

As for Samidare, we don’t get as much of a look into her own life – she blithely states she doesn’t want the world to survive after her own death, which is why she plans to destroy it, but that’s not really telling us motivation. After hearing about his past, we can see why Yuuhi wants everything to end. Indeed, he’s very matter-of-fact about it, telling Samidare (in a dream, which the two of them share almost from the start), that he’s binding himself to her so he can free himself from his grandfather’s chains – he’s still bound. It’s not all dark and tortured misery, mind you – Yuuhi’s meeting with his grandfather gives us some hint that there is still compassion inside of him, even if there is no forgiveness yet. What’s more, his determination to be someone who can protect his lady (Yuuhi is an unathletic normal guy, while Samidare seems to have super strength) is admirable, and reaches a peak towards the end in a fantastic action sequence against one of the golems sent to kill him.

The series is 10 volumes long, so we’ve only really just gotten started. It was a cult hit online, and while I had heard some companies making noise about licensing it (Dark Horse and Vertical both said they were aware of the title), the current market really didn’t seem to fit its tone. I’m very happy that Shonen Gahosha and JManga have brought it over. It isn’t perfect – the translation suffers from awkwardness at times, like many JManga titles, and the art style is best defined as ‘striking’ rather than ‘pretty’ – but it’s a fun, gripping read. If you like superhero comics with a kick to them – or you want shonen that’s a little more grown up – give The Lucifer and Biscuit Hammer a try. One of the best licenses yet from JManga.

By Toru Fujisawa. Released in Japan as “Shonan Jun’ai Gumi” by Kodansha, serialized in the magazine Weekly Shonen Magazine. Released in North America by Vertical.

It’s been a while, hasn’t it? Tokyopop released the first 10 volumes of the SJG omnibuses, but then stopped 3 years ago (they seem to have stopped before they folded, in fact, so we can ascribe it to mediocre sales more than anything else, I expect). Luckily, Vertical has picked up where they left off, and say that if sales are good they may go back and re-release the first 10. That said, this is not GTO: 14 Days in Shonan, where you can simply hop right into the story with minimal info. The series was up to Vol. 21 and 22 in Japan (the volumes collected here), and it shows. New readers are advised to go here to catch up on the characters so as not to be confused.

That said, it’a not impossible to read this without huge knowledge of what has gone before. I had fallen way behind in my SJG reading, but was able to pick up where I left off with minimal confusion, mostly as this is a delinquent manga, and so just expect lots of people hitting other people. When Onizuka was in GTO, and even 14 Days, he still gets into tons of fights, but at least there he’s slightly more successful at not wanting to get involved in them. Here, in high school, there’s simply not enough impetus (beyond “getting laid”, still his primary motivation) to not be the leader of a gang. Mostly as Onizuka and his best friend Ryuji are *really good* at being gang leaders. They don’t do evil stuff, they inspire loyalty, and they protect the weak. They’re the gang you only see in Japanese manga like this.

Of course, Onizuka is still recognizable even if he’s younger (though, being that it’s school, be prepared for everyone to say Eikichi more than Onizuka – it is his first name, after all). Mostly in his complete inability to score with the opposite sex. By now we’re far along enough in the series that his friend Ryuji is living with his girlfriend, the sweet (at least sweet NOW) girl Nagisa, but Onizuka still strikes out, for the exact same reasons as in GTO: he’s an absolute idiot about it. And just like in GTO, there are girls who are clearly in love with him and would be happy to be with him if he’d only get a clue. Chief among these being Shinomi Fujisaki, who clearly likes him but is also far too similar to him for things to work out. (It doesn’t help that he sees her as a little sister.) I like the girls in GTO, who come in many different types and varieties, and the gang aspect of the plot means we get a lot who can kick any guy’s ass. Shinomi is, along with Azusa and Urumi from GTO, one of the most important women in Onizuka’s life. Expect to see more of her.

There’s also some terrific comedy here – the author likes to break up all the gang fights with one-shot chapters that are hilariously silly. Here we have two opposing tough guys trying to outbluff each other, only to have everything completely ruined by the escalating war between their respective girlfriends. Possibly the funniest chapter, though, was seeing Golgo 13-esque huge guy Usagi and his family, who are all named after Sailor Moon characters – and all look like they stepped out of Fist of the North Star. Despite having a punchline that you can see from space, it still works beautifully.

Be warned – with GTO and 14 Days in Shonan, you can sit through the manga without necessarily being a fan of big, epic fights. (well, just about.) That’s not something you can do here. GTO The Early Years shows us how Onizuka came to be the guy we know, and that means a lot of gang wars, fights, and blood. No one is killed – this still runs in Shonen Magazine, after all – but it’s a manga about young kids who get into a lot of fights. If you can respect that, there’s a lot to love here. Well, except maybe Onizuka’s hair. He did himself a big favor when he lost the perm.