Features & Reviews

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

Hayate has reached the point now here, popular and enjoyable as it is, its cast is simply too large to use in one complete plot. So while I said last time that the cast was all going to wind up on a holiday in Greece, there are exceptions. And so Wataru, Saki and Sakuya end up in Las Vegas, which coincidentally has its own subplot waiting in the wings for them! This would be highly unrealistic and a detriment to any manga that is not as silly as this one, but (even after the Athena arc) the reader still has a tendency to say “Yeah, OK, whatever.”

The Las Vegas chapter introduces Wataru’s mother, who is… not a nice woman. Oh sure, on a scale of one to Hayate’s parents she’s still small time, but it’s clear she loves gambling and is not above humiliating her son and his friends just to show off how lucky and powerful she is. (You get a sense of where the manga is going with her when we see a flashback where Wataru hands her a doll he has made. It appears to be Nezumi Otoko from the children’s series Gegege no Kitaro. Oh kid, little do you know your mother is more like that doll than you think… In any case, the cliffhanger for this volume involves Wataru’s mother gambling with Saki (who doesn’t know how to play cards) for Wataru’s fate. It also includes Sakuya as a fanservice magnet, something that I think started in Japanese fanart circles and that Hata might have picked up on. Unlike those circles, Sakuya stays (mostly) decent, though.

Meanwhile, earlier in the manga, we get a chapter devoted to one of the Idiot Trio, Miki. She’s arguably the most intelligent and perceptive of the three (given she got a 36 on her most recent exam, this is very arguable), but that’s not really why we get this chapter. For a manga where every single woman seems to be in love with the hero, it is refreshing to see someone who isn’t. And, Ayumu’s teasing of Hina aside, we haven’t really had any yuri in this manga to date either. Now we get both – Miki is not interested in Hayate, mostly as she has her heart set on someone else. It can be a bit disheartening to hear Miki say she knows she’ll be rejected so has no plans to confess… but, knowing Hinagiku like we do, Miki’s probably correct. Oh well. Maybe she’ll get lucky if Hayate ends up with someone else! (By the way, notice how Hayate immediately makes the connection between Miki’s vague allusions and Hina. He’s very perceptive in anything not involving himself.)

Other than that, well, there’s plenty of humor in this volume. Which is good, as folks read Hayate for the gags. For those who worried that we’d be returning to the mood of the previous 2 volumes, that’s not happening right away. Of course, not much else is happening right away either. By the end of the book, half the cast are either in Greece or Vegas, but our hero and heroine are still stuck at home. The main flaw of this book is that, for everyone except maybe Maria fans, very little happens in this volume. We left off with the cast getting ready to go to Greece (where Athena awaits, let’s remember), and we’re still waiting here. Ah well. At least we haven some ominous foreshadowing with Hayate’s ‘King’s Jewel’ given to him by Nagi’s jerkass grandfather. Foreshadowing of dark, terrible events is always welcome in comedy gag manga.

By Miyoshi Tomori. Released in Japan by Shueisha, serialized in the magazine Margaret. Released in North America by Viz.

I must admit, when I first started reading A Devil and Her Love Song, I wasn’t quite sure what to make of Maria. Sure, she was blunt, and I quite like blunt heroines, but she seemed just a bit too stoic for me. Was she really going to be able to carry a 13-volume shoujo manga. Also, the genki blonde male co-star was really getting on my nerves. Then within a couple of pages she shows us how much of that ‘get on my nerves’ attitude was a facade (hint: all of it), and does a head tilt that must easily be seen to be believed. You’d think she was totally mocking him if she weren’t so deadly serious and incapable of understanding sarcasm. That was when I began to love Maria Kawai.

Speaking of those two guys, there not nearly as reverse harem as I might have expected. Shin is likeable right away, especially for long time readers of shoujo manga, and I’ve a feeling that he and Maria will be the main couple. Yasuke is perhaps more interesting to me personally, however. I noted that he annoyed me at the start, and that really didn’t precisely go away as the volume went on. I did like the growing sense of unease that he feels, especially as Shin notes that his act isn’t really working as well as he thinks. Maria is simply the only one willing to call him out on it. His best moment is right at the end, where he opens up to Maria and reveals how much of his life is a deliberate lie. Usually the “broken bird” type in manga like this is someone like Shin – grumpy, cynical, worn down by past events. It’ll be interesting to see what happens with Yusuke in future volumes.

Back to Maria for a bit, as I wanted to discuss something else that separates this series from most other generic shoujo mangas with a blunt, in your face heroine – her faith. Japan has a very casual relationship with Catholicism, and its depictions in shoujo manga tend to simply involve the Catholic School as a setting – the strict nun teachers, praying to the Virgin Mary about someone’s love life, etc. Maria, however, seems to have a genuine faith. Not in an active, religious sense, but more a faith in the good in man, and belief in oneself. It’s a very personal faith, and one I can easily identify with. Of course, that faith also brings with it a great helping of sin, and Maria certainly seems to have a low opinion of herself – something that’s helped along by everyone around her.

For Maria is highly empathic. Which unfortunately, combined with no social filters, leads her to tell everyone exactly what she thinks, and point out the obvious walls that everyone puts up to protect themselves from being hurt. Maria has no such walls, and so is hurt all the time, to the point where she almost seems dulled to pain. Almost, but not quite – her “date” with Shin not only shows us that she can be passionate about something (even if it’s goth-loli shoes), but that she is aware of how she is to other people. She holds herself to impossible standards, and when everyone around her says she’s a horrible person (usually for calling them on their shit), it only reinforces her lack of belief. Back to faith again – Maria wants to believe in herself, in a Maria Kawai who she can love and be proud of. But since she hates herself, this faith has nowhere to go. Except into singing “Amazing Grace”.

The old hymn appears a few times throughout this volume, sung by Maria, who has a beautiful angelic voice. When I grew up, I didn’t realize that I was taught a “censored” version of the song – the lyrics in the 2nd line that I learned were “that saved and set me free”. The original, of course, carries a far greater sense of self-loathing – “that saved a wretch like me”. It is this version that Maria sings. She believes herself unworthy of being saved, but desperately wants to be. (I will note that this manga does feature a cast of female classmates who all hate the heroine, a peril in many shoujo manga. But Maria doesn’t exactly warm the heart. I’m hoping as the series goes on, we’ll get her some female friends.)

I could keep writing – I found a lot to talk about with this series. Probably a sign of how good it is. Go and get the first volume.

By Toru Fujisawa. Released in Japan by Kodansha, serialized in the magazine Weekly Shonen Magazine. Released in North America by Vertical.

In the beginning, there was Shonan Jun’ai Gumi, a 31-volume series about the adventures of two young delinquents in the Shonan area, and their amusing attempts to try to lose their virginity and change their ways. (Only one succeeded, and he’s not the star of this manga.) Then we had a 1-volume prequel, Bad Company, showing how Onizuka and Danma (the stars of SJG) first met in middle school. Following this came the most popular entry in the series, and the ones most North American fans know about, Great Teacher Onizuka. The ‘delinquent/gang leader becomes a teacher and teaches students to stand upright and be proud’ type of series is its own genre in Japan, but Onizuka took this to new heights of comedy, outrageousness and heartwarming.

When GTO ended in 2002, after 25 volumes, Fujisawa tried various other series that were unrelated to the Onizuka saga, for better or worse. (Some of them came over here via Tokyopop: Rose Hip Rose/Zero, Tokko…) There was even a series about a mysterious masked teacher that looked very much like GTO with the serial numbers filed off. But apparently it was impossible to stay away for too long, as in 2009 Fujisawa decided to take Onizuka back to his roots.

This 9-volume series is what’s awkwardly known as an ‘interquel’, which is to say it takes place entirely within the GTO series proper, during the time that Onizuka recovered from the gunshot wounds he received from insane stalker Teshigawara. Of course, mere bullets are not enough to stop our hero, whose ability to take fatal blows and still laugh is something you’re just going to have to accept. Unfortunately, after accidentally bragging about nearly killing one of his students on live television, Onizuka’s in a lot more trouble than usual, and he has to try to stay low. (This, by the way, gives the regular cast of GTO a chance to make a cameo, including Urumi, the aforementioned student who was almost killed. For those wondering about the bizarre translation ‘mate with me’ and ‘I want your seed’, no, that’s really how she talks.)

So Onizuka has to lay low for the next 2 weeks, and decides to go back to Shonan and hang around with his old gang members. This leads to another old GTO gag, where Onizuka brags about how his old gang are still brothers who’d make any sacrifice for each other, then finds reality is not so bright. Luckily, he’s taken in by a young woman who recognizes him; she’s a friend of his fellow teacher and not-quite-love-interest Fuyutsuki, and wonders if he can so something about the kids she has at her local boarding house…

And so we prepare for Onizuka to do what he did in GTO, only with a different group of kids. Let’s not mince words: there’s not a lot of originality here. But Kodansha didn’t approve a revival because they wanted to see something different. Onizuka changing the hearts and minds of troubled youngsters is what people want, and this series gives it to them. The beauty of GTO is the way that it combined comedic juvenile gags, gang violence, and heartwarming scenes to give an overall impression of “the world is not as unfair as you think it is”. And since he’s only got 9 volumes this time round, he makes an impression right away, winning over the eccentric and somewhat suicidal Sakurako and punching the lights out of her abusive father. Onizuka tends to believe in the powers of “I will change your mind with my fists if necessary”, and his defense of Sakurako (which earns the approval of her abused mother) is beautiful.

For those worried that they won’t understand the series without having read GTO or SJG, don’t worry about it. The GTO cast appear for about 6 pages and then are gone, and Onizuka’s type of teaching is pretty universal. There’s a few anachronisms (Onizuka draws Haruhi Suzumiya at one point, which is rather prescient given that GTO is supposed to take place in the late ’90s), but nothing game breaking. I will note that Onizuka can be crude, and talks a lot about finally getting laid. (It’s not going to happen.) And for those who hate cockroaches, a scene towards the end may freak you out. Otherwise, GTO: 14 Days in Shonan does exactly what we wanted it to do. Onizuka is back, and he’s redeeming the souls of rebellious teens through sheer force of personality – and sometimes just force. Welcome back.

By Koji Kumeta. Released in Japan by Kodansha, serialization ongoing in the magazine Weekly Shonen Magazine. Released in North America by Kodansha Comics.

Once again, I don’t really have much to talk about with this excellent volume of Zetsubou-sensei except a string of random observations. Which seems somewhat fitting, given this series.

As I’ve noted before, Zetsubou-sensei has acquired a reputation of burning out translators, with each one before Joshua Weeks lasting 4 volumes. I’ve no idea if this is Joshua’s final volume as well, but it wouldn’t surprise me: this one was an absolute nightmare to adapt, I imagine. The first chapter is an entire chapter based on “explain the Japanese pun”, the final ‘extra’ makes no sense unless you read the weekly Magazines, and another chapter is based around Rakugo. Certainly this is why, after doing notes for Vol. 10, *I* gave up. Still, an admirable job, even if I once again feel there’s too few endnotes. But that’s just me.

Most of the cast of high schoolers tend to have lousy lives in general, but at least can sometimes have a default of ‘happy’ most of the time, even if it’s a psychotic sort of happiness. Manami, though, who graces the back cover with her debt book… wow, her life is simply brutal. Married at the age of 16 to a philandering husband who appears to use her as a name to saddle all his debt on to, she’s also hideously unlucky and tends to get herself into more debt through sheer gullibility. In Volume 11, after hearing some of her complaints, her teacher decides to simply ignore them to save his sanity. Really, we should do the same here. Her face in Chapter 119 as she talks about realizing her husband is the one for her speaks of horrible illicit affairs gone wrong. Luckily, this is a gag manga, so we’ll never have to worry about it.

I also noticed a couple of chapters showing Maria at the receiving end of some of the unfortunate gags, which surprised me. Generally the cast divides into “people bad things happen to” (Manami being an excellent example), and “people who blithely walk through the chaos” (Kafuka is a prime example here). Usually Maria is one of the latter, so seeing her two falls here is rather unusual. Still, no one in the end is safe from a gag as long as it’s funny. Well, except for the aforementioned Kafuka. I think even if a meteor destroyed the Earth, she’d be blithely smiling in her space bunker somewhere else…

The ‘hot or not’ chapter really worked much better in the anime. Probably due to the chilling chirpiness of Chiri’s ‘ari ari ari ari!’ in the original Japanese. Speaking of Chiri, she seems now to be committing murders on an almost daily basis, judging by her having to hide from police disguised as tree bark. And yet she still has a rival: Mayo’s face as she demonstrates the blowtorch is absolutely beautiful. (It was an inspiration for her appearance in the ending to the 3rd season.) And I love Kiri and Matoi sniping at each other as usual.

Then there’s Kiyohiko’s Night. Oi. The folks who watch the anime have an advantage over others, as they’ve actually seen the sequence in question, but here goes: Weekly Shonen Magazine has a special issues with one-shots and short special versions of regular comics that comes out on holidays. For one of these, Kumeta released a 4-page comic that involved a pun on the Japanese version of ‘Silent Night’ and a bizarre man named Kiyohiko. As viewers of the anime can tell you, it was not particularly funny. What’s more, the magazine it appeared in had to be pulled due to a controversy surrounding another artist’s work so very few people got to read it anyway. It was presumably supposed to be in this volume, but Kumeta, realizing it wasn’t that funny, pulled it and instead drew 4 pages of the cast complaining. So now you know! (You can see Kiyohiko on the swing by Maria at the back of the book, if you’re curious.)

Also, Kiri is changing into her sweats for her “don’t open it”, and you can see her semi-naked. I therefore conclude the missing Kiri from Vol. 10 was indeed the usual poor quality control rather than any censorious reasons. (Quality control seems better here.) Lastly, we have some of the Japanese fanart. One piece of which made me absolutely boggle. It involves Kafuka ogling her teacher’s ass. You really should see it for yourself.

And now I’m caught up! Roll on Vol. 13!