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Honor’s Promise

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Original text by Sharon Sala
Art by Esu Chihara
Harlequin K.K./SOFTBANK Creative Corp., 125 pp.
Rating: YA (16+)

Though still mourning the recent loss of her mother, Honor O’Brien strives to keep her mother’s memory alive by caring for the restaurant she started after the death of her husband. When a young man from Colorado sweeps into town and sweeps Honor off her feet, she’s surprised to find herself experiencing real happiness alongside such fresh grief. She’s even more surprised to discover that the man she’s fallen for so quickly is actually in town to deliver a rather appalling truth about her own origins. Can Honor truly find love with the man whose job it is to tear down everything she’s ever known?

This manga starts out strong, easily establishing a believable whirlwind romance between Honor and her out-of-town suitor, Trace, as well as a solid foundation for Honor herself, including her close relationship with her mother and their restaurant’s built-in “family.” If Honor’s surroundings don’t exactly feel like Texas, they do feel like home and all the things (wonderful and hurtful) that go with it. Less well-developed are the story’s antagonists—long-lost relatives threatened by Honor’s arrival into their lives—which keeps the volume’s dramatic climax from truly packing a punch. The greatest sacrifice made in the name of single-volume romance, however, is the lack of time allotted to Honor’s grief after Trace’s revelation, which robs her of an opportunity to achieve real depth.

Though DMP’s adaptation suffers from stunningly sloppy lettering—pages and pages of square blocks of text artlessly pasted over rounded speech balloons—the visual storytelling is quite effective. Honor, in particular, is expressively drawn, which plays a large role in her believability, especially in the beginning.

Though the manga’s middle chapters are too rushed to support the story as well as they might in prose, Honor’s Promise is a sweet, dramatic, genuinely poignant romance.

Honor’s Promise is available at eManga.com. Review access provided by the publisher.

Natsume’s Book of Friends, Vol. 2

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By Yuki Midorikawa
Viz, 208 pp.
Rating: Teen

In this volume, Natsume is coerced into attending a school-sponsored “haunted challenge,” only to discover that one of his classmates (who suspects his abilities) wants his help to communicate with a yokai . Next, he falls prey to a curse that he can’t break without supernatural assistance. Later, he meets another human with his abilities and also becomes possessed by a yokai with a final, desperate wish.

Though this volume focuses less on Natsume’s quest to return all the names in the “Book of Friends,” that’s actually not a bad thing at all. Each of the chapters in this installment of the series is more touching than the last, which is saying a lot considering that the first chapter begins with Natsume pouring water on a dehydrated yokai collapsed in the middle of the road.

Unlike his grandmother, Reiko, Natsume is slowly developing bonds with his fellow humans, but he’s also forging relationships with yokai that are much more genuine than Reiko ever bothered with. While she ruled over yokai with the power of the Book, Natsume reaches out to them with genuine affection, struggling to understand how the yokai‘s wants and priorities might differ from his own. This deceptively simple lesson in learning to value things outside one’s own experience is subtly and effectively presented, with the same gentleness that has characterized the series thus far. The series’ humor is a highlight in this volume as well, providing much-needed contrast to its forthright sentimentality.

Though the series’ structure is still rigidly episodic, Natsume’s character development is satisfying enough to easily keep up the story’s momentum. Natsume’s Book of Friends remains one of this year’s best shojo surprises!

Review copy provided by the publisher. Review originally published at PopCultureShock.

Nabari No Ou, Vol. 3

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Nabari No Ou, Vol. 3
By Yuhki Kamatani
Published by Yen Press
Rated: Older Teen


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After making his deal with Miharu, young Yoite returns to the Grey Wolves with philosophical matters on his mind. Meanwhile, the Togakushi Village ninja (who maintain a front as an employment agency) approach the Banten to offer their forbidden art scroll in exchange for the assassination of a prominent scientist. Though the Banten are inclined to refuse, the Togakushi leader’s talent for mind-reading forces them to accept the job.

Volume two may have begun slowly, but this one does not follow suit. Tension is high with everyone’s secrets on the line, including several that remain a mystery even to readers. The most damning, of course, is Kumohira’s, the revelation of which would likely set Miharu against the Banten forever. Not that that Miharu is clearly with the Banten in the first place. Though he’s expressed the desire to protect his friends, in this volume he also teases Kumohira with the hint that he may decide to use the Secret Art rather than banish it–a possibility Kumohira seems to take seriously for the first time.

This volume’s major event–the assassination plot–is its least interesting element, overwhelmed by the growing collection of small psychological dramas surrounding it. Almost nobody is telling the real truth to anyone else, a reality made crystal clear by the fact that Miharu and Yoite, who are ultimately working for opposite sides, are behaving more honestly with each other than any of the story’s official allies.

This is not to suggest that the scenes involving the assassination are lacking. It is, in fact, during these scenes that some of the most intriguing action occurs, including Koichi’s ninjitsu presentation at a student physics event. With this increasingly layered approach, volume three is easily the most mature of the series so far, though it comes at a cost. As the story becomes more complex, it also loses some of its focus. For the moment, this is a good thing. Right now, the scattered feel of the series reflects the scattered loyalties of its characters, which is actually pretty powerful. It takes very little, however, for a deliberate lack of focus to morph into a Great Big Mess, something Kamatani will hopefully avoid. Additionally, the series’ humor–originally one of its strongest points–is noticeably reduced in this volume.

One small production note: Yen appears to have made a switch in paper for this volume, moving to a slightly thinner, less bright stock. Though I only noticed the change once I had volumes two and three sitting side-by-side, more vigilant print geeks than I are bound to catch on faster.

Minute paper issues aside, Nabari No Ou continues to intrigue, with a deliciously suspenseful ending sure to keep fans on edge as we await the next volume.

Review copy provided by the publisher.

Stepping on Roses, Vol. 1

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Stepping on Roses, Vol. 1
By Rinko Ueda
Published by Viz Media
Rated T+ (Older Teen)


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Sumi Kitamura is in a bind. Her older brother (a happy-go-lucky male escort with a gambling problem) has a habit of bringing home orphaned children for her to take care of. Unfortunately, what he rarely brings home is money. With the landlady looming and loan sharks at her door, Sumi decides to sell herself in order to keep her family alive and together. The buyer is Soichiro Ashida, a wealthy, jaded young man who must marry immediately in order to inherit his grandfather’s business empire. Soichiro promises Sumi all the money she needs in exchange for her hand in (loveless) marriage. Desperate, Sumi agrees, but is she really prepared to give up everything she loves for a the life of a lonely society wife?

When it comes to frothy romance manga, there are allowances most readers are always prepared to make. Realism? Unnecessary. Depth? Optional. Cliché? Bring it on! In return, these readers ask for just one thing: Romance–heart-stopping, unrestrained, no holds barred romance. Unfortunately, though Stepping on Roses takes full advantage of its readers’ generosity, it fails to deliver on its end of the bargain.

Though Sumi and Soichiro are positioned perfectly for their roles as the plucky commoner and guarded aristocrat who unexpectedly find love while trapped in a marriage of convenience, neither is interesting enough for them to develop any real chemistry. Soichiro is cold and controlling like so many of his ilk, but without any real sense of mystery with which to attract readers, let alone Sumi. Meanwhile, Sumi is bland, dense, and surprisingly shallow–more distraught over having lost out on a chance with Soichiro’s charming best friend than she is about the family she left behind (or even the calculated erosion of her individuality). Gags involving Sumi’s lack of social refinement repeatedly fall flat. And without any context provided for the story’s Meiji Era setting, it’s hard to know what conclusion to draw when her ignorance of western manners and customs is characterized as near-barbarianism.

Rinko Ueda’s artwork, a highlight of her series Tail of the Moon, feels tired and lifeless here. The work is nicely detailed and generally attractive (especially its period settings and dress), but offers little character or passion, much like the story itself. Even opportunities to engage readers in the unique dynamics of the period, visually or otherwise, are passed by with little enthusiasm.

Though it’s tempting to hope that subsequent volumes may offer something more to grab onto, even dedicated fans of romance manga may find their optimism hanging by a string. With all its trappings carefully in place, Stepping on Roses simply lacks heart.

Review copy provided by the publisher.

Kamichama Karin Chu, Vol. 7

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By Koge-Donbo
Del Rey, 176 pp.
Rating: T (13+)

Karin and Michiru traveled to the future in volume six to try to stop Kirihiko Karasuma (in Jin Kuga’s body) from creating the future they’ve worked so hard to avoid. As they arrive in volume seven, they discover that Kazune has come along as well, despite the loss of his Apollo ring. Together, the three of them face Kirihiko in a final battle to save their futures and bring everyone together again, including loved ones who have been fighting against them.

Time travel is a messy thing indeed and though it has been a major element in the story all along, things begin to unravel here with Karin meeting up with her future self and the Chronos Clocks suddenly taking on new power that seems a bit too conveniently manipulated to make things turn out just right. Everything about this volume feels strained, from its rushed romantic moments to its anticlimactic final battle, as though mangaka Koge-Donbo was forced to wrap things up just a bit too quickly.

Though this series has declined toward the end, diminishing its adult appeal, it is still a fun, whimsical choice for younger readers with a fairly powerful message about making one’s own fate. “We are all little gods,” reads the final page of the series proper. “Sometimes, we can even change destiny.”

Review copy provided by the publisher. Review originally published at PopCultureShock.

Rasetsu, Vol. 4

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Rasetsu, Vol. 4
By Chika Shiomi
Published by Viz Media


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Ghostly hi-jinx continue in this volume, as Rasetsu becomes more aware of her feelings for Yako, finally compelling her to do something about it. Realizing that his chances may be running out, Kuryu decides to make a move of his own. Meanwhile, Yako discovers how to amplify his powers (much to Kuryu’s chagrin) and Rasetsu receives a visit from her dreaded future lover.

At first glance, volume four of Ratsetsu seems very much like the first three. Early chapters featuring humorous takes on Kuryu and Yako’s growing rivalry and the gang getting stuck in an elevator offer up the same kind of light, enjoyable froth that has made up most of the series so far. In the volume’s later chapters, however, Shiomi ramps up the drama to great effect.

Yako’s stunningly cold manipulation of Kuryu’s equally stunning arrogance is awesome in every sense of the word, casting new light on Yako’s character and shocking Kuryu to the core, something I’ve wanted to see happen for a while. On the other hand, this turn of events leads directly to Kuryu’s accelerated pursuit of Rasetsu, which seems likely to cause pain for everyone (including himself) down the line.

Even four volumes in, Kuryu is still a mystery. With his immense power (now no longer hidden), he seems both dangerous and potentially sinister. Yet he often appears genuinely sincere, especially regarding Rasetsu and his feelings for her. Was his early Seishirō Sakurazuka (Tokyo Babylon) vibe a red herring? It’s too early to know for sure.

Though this series will never be more than standard supernatural shojo fare, that’s not exactly a bad thing. Rasetsu plays out familiar tropes with enthusiasm, offering up the kind of casual, comforting read one often craves at the end of a long day. With this volume’s fresh dose of drama and romance, things won’t be getting old anytime soon.

Review copy provided by the publisher.

Shugo Chara! Vol. 8

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By Peach-Pit
Del Ray, 192 pp.
Rating: T (13+)

In volume seven, Ikuto spilled the truth to Tadase about hiding out at Amu’s, sending Tadase running in anger and humiliation. With Ikuto now back in the clutches of Easter, Yoru is desperate for Amu to help, but she’s less than enthusiastic about being expected to save Ikuto once again when she’d rather be taking care of her own problems. Meanwhile, thanks to a visit with Kukai and his brothers, Tadase is reminded that sometimes people don’t say what they mean.

This volume is all about the complexities of growing up and being forced to recognize and respect the reality of life’s gray areas, including those within yourself. While Amu is facing the consequences of her lie being revealed to Tadase, Nagihiko is resigned to living with his, proving that maintaining a lie can ultimately be much more painful than being caught in one. Similarly, Tadase must learn that becoming the person he wishes to be means letting go of long-held grudges and viewing the people in his life (and even the events of the past) with fresh eyes.

From the beginning, Peach-Pit has used the series’ magical girl format as little more than a rough foundation for a much deeper story about trust and self-acceptance. The last couple of volumes have hit this theme hard, particularly in the way they’ve handled the subject of lying—why a person might choose to lie (or not) and what that really means. Unwilling to tell a simple morality tale, this series’ dedication to shades of gray underneath its cheery, bubblegum surface continues to make it a worthwhile read for adults as well as for young girls.

Review copy provided by the publisher. Review originally published at PopCultureShock.

Shugo Chara! Vol. 7

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Shugo Chara!, Vol. 7
By Peach-Pit
Published by Del Ray Manga

As this volume opens, Nadeshiko’s twin, Nagihiko, enrolls in Seiyo Elementary with a big secret he feels unable to share with Amu. Ikuto escapes from Easter with his violin, but a mysterious illness brings him to Amu’s doorstep in a wholly unexpected fashion. With Ikuto hiding out in Amu’s bedroom, Tadase chooses an unfortunate time to confess his feelings (one that comes back to haunt him shortly after) and Amu learns a hard lesson about the consequences of underestimating the people who trust her most.

This is a fairly heavy volume in this deceptively light-hearted series, with both Amu and Nagihiko caught in lies they can’t find their way out of, and Amu’s relationships with Tadase and Ikuto becoming muddier all the time. After all, it’s really two love confessions she receives in this volume, even if Ikuto’s must be necessarily masked by humor while he waits for her to “Hurry up and grow up.” Whether it’s creepy for a seventeen-year-old to be in love with a twelve-year-old is a dicy question, certainly. Considering the book’s intended readership I’m inclined to chalk it up to pre-teen fantasy, which mainly leaves me wishing I’d had something like this to read when I was twelve.

The best moment in this volume, however, is between Amu and her mother. After being caught sneaking out of the bathroom with a freshly-showered Ikuto, Amu’s mom sits her down for a talk about trust, but not the one readers might expect. Instead, she expresses her disappointment in Amu for not trusting her parents enough to tell them about what was going on with Ikuto so that they could help work out a suitable solution (presumably one less likely to compromise their daughter’s virtue). This scene is both touching and timely, since it gives Amu the information she needs to understand what happens next with Tadase.

Another striking scene in this volume takes place between Amu and Ikuto’s sister, Utau, who chastises Amu for being too much of a child to understand the importance of power in the world. “Kids who have no power like us or weak people like my mother will be crushed by a larger power and no one will notice … That’s why I wanted power. Lots of power so we won’t get crushed.”

This is not an unusual speech to hear from a manga character with a troubled childhood. What’s special about it in this series, however, is that despite its shiny sugar coating, Shugo Chara! does not come down clearly on either side of the argument. The series portrays Amu’s environment amongst adults who truly can be trusted right alongside Utau’s dog-eat-dog world, fully embracing the contradiction and unfairness of life in a way that feels unexpected in this kind of story. Similarly, though the story consistently demonstrates the power of people working together, it doesn’t attempt to pretend that this can heal all wounds. Utau comes to Amu, not because she thinks Amu is filled with sparkly goodness that makes everything all right, but because Amu has power and she wants her to use it.

My favorite character here, however, is Nagihiko. Though I don’t wish to spoil, I must mention how much I appreciate the way Peach-Pit has taken shojo gender-bending clichés and made them into something real rather than just playing them for laughs. “Amu-chan wants to see Nadeshiko, not me,” Nagihiko says, dreading the appearance of the person he most wants to see. His story is fantastic and well-written from the beginning, and I wish there were more like it.

With Easter’s latest plot quickly coming to a head, the next few volumes will certainly be action-packed. Fortunately, that action will be built on the strong foundation laid by this tense, emotionally rich volume. Enjoy!

Check out my review of Shugo Chara! Vol. 8 in tomorrow’s Manga Minis at PopCultureShock!

Kimi ni Todoke, Vol. 3

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Kimi ni Todoke (From Me to You), Vol. 3
By Karuho Shiina
Published by Viz Media


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As Sawako becomes accustomed to having real friends, a whole new world opens up to her. Suddenly she’s being invited to dinner, enjoying giddy, pointless conversation, and having boys make excuses to walk her home. She lets her friends help her improve at sports and even learns to address a few of them by name–possibly the most difficult challenge of all. Unfortunately her newfound popularity (especially with school hottie Kazehaya) earns her the attention of one of adolescence’s least desirable entities: the love rival.

Though Kimi ni Todoke doesn’t attempt to be anything more than just another tale of teen friendship and love, mangaka Karuho Shiina uses the simplicity of her heroine so effectively, it actually feels as though she’s breaking new ground. Everything Sawako experiences in this volume–affection, attraction, even jealousy–is so genuinely new to her, it is able to become fresh again for readers as well. Perhaps the most satisfying thing in this volume, however, is watching Sawako begin to demonstrate her own personal strength, as she eventually does with a popular girl who tries to sabotage her budding relationship with Kazehaya.

Another of this series’ refreshing qualities is that Shiina consistently avoids letting her supporting characters fall into typical shojo traps. Just as Chizu and Ayane refuse to let nasty rumors destroy their newfound friendship with Sawako in volume two, Kazehaya seems unlikely to let his feelings be swayed by the machinations of Sawako’s “rival.” Whether this level of loyalty and self-awareness is authentic to the teenage experience is another question (it certainly bears little resemblance to mine) but perhaps this is the key to the series’ charm. For those of us whose teen years were truly isolating, Kimi ni Todoke is like a soothing balm, healing up old wounds one by one.

It is a pleasure to note that, three volumes in, this series has truly lost none of its original charm. With its unusually warm take on typical teen drama, Kimi ni Todoke provides a heartfelt testament to the sweetness of youth.

Review copy provided by the publisher.

Crown of Love, Vol. 1

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Crown of Love, Vol. 1
By Yun Kouga
Published by Viz Media


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“I’d sell my soul to the devil … if it would make her notice me.”

Hisayoshi Tajima is an aloof high school student—a stereotypical “prince” type, fawned over and admired by all the girls in his class. Though none of his classmates has ever caught his interest, a chance encounter on the train throws him into sudden infatuation with a young female idol, Rima Fujio. Over the next month, his fixation with Rima becomes so strong that everything else (including schoolwork) begins to slip as he spends most of his time attending Rima’s video tapings and keeping up with news from her fan club. Fortunately (or unfortunately) for Hisayoshi, he catches the eye of Rima’s former manager, Ikeshiba, who lures him into a career as an idol with the promise of getting him close to Rima.

Crown of Love is the retelling of an older series by mangaka Yun Kouga, originally serialized in 1988. That series was only two volumes long, with an ending described by the artist as “abrupt.” With that in mind, it’s not surprising that this volume offers an uneven mix of clunky exposition and insightful characterization.

The volume’s narration switches point-of-view constantly, revealing far too many of the characters’ inner thoughts, most of which could be more effectively implied through the story’s dialogue and art. The story’s chronology is all over the place too, jumping back and forth from Hisayoshi’s encounters with Rima, his disapproving father, and Ikeshiba, creating a great deal of confusion over what happens when.

All this aside, where Kouga succeeds, and stunningly so, is in her characterization. There are no shojo stereotypes here, despite appearances.

As he watches his desperate, submissive mother cowering under the rule of his controlling father, Hisayoshi is horrified to recognize himself in both of them. He is sickened by the intensity of feeling he has for Rima, a girl he barely knows, but can’t stop himself from prostrating himself before her, like his mother before her husband. Similarly, he recognizes his father’s stubborn arrogance in his own face and voice and hates himself for that. Hisayoshi is fully aware of what he means to Ikeshiba—fortune, notoriety, and possibly (though only lightly implied) sexual satisfaction—and though it angers him, he is willing to be led along in order to achieve his own goals. For all his righteous anger, he’s ready to play the game, too. “You’re so convenient, like a taxi,” he says to Ikeshiba after calling him in the middle of the night for a ride and a place to stay.

The idol, Rima, is in love with her married former manager (Ikeshiba) and resentful of Hisayoshi, whom she sees as a rival—more for Ikeshiba’s attention than the public’s, though she uses the latter as her rationale. She is insecure about her position in the business and endlessly embarrassed by her mother’s indiscretions. Rather than the typical bird in a gilded cage, she is portrayed as a scared young woman who gratefully accepted her career in order to escape her family and her own limitations. “Well, I can’t get a real job! There’s nothing else I’m good at!” she barks at Hisayoshi, angered by his nonchalance over his own career. More than anything, though, she wants to be taken care of by someone more capable than her mother.

Ikeshiba, however, is the series’ true piece of work. Manipulative and emotionally unavailable, he has few scruples about anything if it will get what he wants. When Rima’s attachment to him becomes too desperate to be convenient, he simply turns her over to another manager. Still, he’ll use that attachment to help reel in Hisayoshi without even a trace of guilt. His full interest in Hisayoshi is unclear, though he carelessly engages in a sort of artful flirting when Hisayoshi calls him for help. His full interest in anything is really anyone’s guess, though he goes about it all with a smile on his face. “I’d sell my soul to the devil … if it would make her notice me,” Hisayoshi muses early on. It seems somewhat possible that he has.

The fact that the characters seem to know just how screwed up they are is what rescues them from being too disturbing to bear, though even then it’s hard to read some of Hisayoshi’s internal monologue without feeling a bit of a chill. “I keep thinking of all these different things I want to do with you. Like this… and that…” he says to himself near the end of the book, dreaming of Rima. “But that’s okay, right? As long as I’m just thinking about it, it’s not wrong. I haven’t done anything yet.” It’s difficult at this point to tell just how seriously Kouga takes the broken universe she’s created in Crown of Love, something that will ultimately decide whether the series is deep and insightful or just plain creepy.

As always, Kouga’s art is a highlight of her work. There’s something essentially cheerful and straightforward about her layout and designs that gives a story like this an even darker tone than it might have with a more overtly sinister look. Also, though the story is far from light-hearted, there is a clarity to Kouga’s visual storytelling that keeps it from becoming mired in its own weight.

Though this series’ first volume has its share of stumbles, it is also genuinely intriguing, more than many shojo titles can claim this early on. Crown of Love is definitely worth a try.

Review copy provided by the publisher.

Fushigi Yûgi: Genbu Kaiden, Vol. 9

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By Yuu Watase
Viz, 192 pp.
Rating: T+ (Older Teen)

Having been cruelly rejected by Uruki and the other celestial warriors, Takiko returns to her home world, prepared to rediscover an ordinary life. As though similarly prepared to rediscover her, “ordinary life” promptly greets her with a proposal of marriage from the young doctor who tended to her dying mother. Determined to put her love for Uruki firmly in the past, Takiko accepts the proposal. Meanwhile, Takiko’s father attempts to destroy “The Universe of the Four Gods,” to ensure that his daughter will never meet the fate of the Priestess of Genbu. Can true love be conquered by will alone?

With Takiko facing heartache in any world she chooses, this volume is easily the most poignant of the series so far. Her suitors, too, elicit great sympathy—each doomed to love a woman they must ultimately lose, whether to fate, distance, or lack of mutual feeling. The drama is intense but not over-the-top, and somehow the fact that Takiko must cause as much pain for others as fate causes her keeps her from becoming too tragic to be believed.

Rest assured, Takiko’s heart won’t deny itself forever, and though it will likely be a long wait before the next volume (still unpublished in Japan) reaches these shores, volume nine manages enough forward motion to keep most fans satisfied, at least in the short-term. Unabashedly romantic but never sickly-sweet, Fushigi Yûgi: Genbu Kaiden continues to please.

Review copy provided by the publisher. Review originally published at PopCultureShock.

Otomen, Vol. 5

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Otomen, Vol. 5
By Aya Kanno
Published by Viz Media


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As the volume opens, Ryo’s class nominates her as their representative for the yearly “Ideal Woman Contest.” To win, Ryo must compete in such “womanly” arenas as cooking, flower arrangement, and proficiency with the tea ceremony, none of which are remotely her strengths. Furthermore, her prime opponent is a two-time winner of the title who has a crush on Asuka! What is Asuka’s definition of the “ideal woman?” Can his affections be be swayed by a beautifully crafted bento? Also in this volume, winning a prestigious shojo manga award threatens Juta’s anonymity and the “Beauty Samauri” return, this time to the small screen!

Though this series remains as charming as ever, lack of significant character development is beginning to take its toll. Any real potential for a shift in the characters’ daily machinations (such as the threat of Juta being outed as a mangaka or Asuka as an “otomen”) is thwarted before it can make any visible waves, chapter-to-chapter. The one exception here is Ryo, who seems to be coming into her own as a capable, much-admired young woman, without being required to gain any traditionally feminine skills.

Despite the series’ sitcom-like stagnation, it is genuinely heartwarming to have its primary message confirmed ad infinitum, both in Ryo’s rising confidence and Asuka’s inner commitment to the things he loves most. “This is like a dream, isn’t it?” Asuka says to fellow Beauty Samauri (and secret make-up artist) Tonomine as they contemplate the freedom they experience only in costume. “We’re boldly revealing our interests and skills to everyone.”

Though “boldly” seems like a strong word for “openly, while in disguise,” Asuka’s feeling of liberation is obviously genuine and it’s hard to get picky about semantics. His sincere excitement is a strong reminder that, despite the series’ broad humor, the characters’ core conflicts are actually quite real and not likely to be resolved with a single grand gesture or event, no matter how earth-shattering.

With that in mind, perhaps it is too early to be frustrated by sluggish character growth. Does mangaka Aya Kanno have more in store for her characters than what immediately meets the eye? Events in the final pages of this volume do provide some hope in this area, supplying more than enough reason to stick around for the next volume. Until then, we can surely dream.

Review copy provided by the publisher.

King of RPGs, Vol. 1

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My big news for the day is to point you all to my review of Jason Thompson and Victor Hao’s King of RPGs over at About.com!

In the interest of being professional (as well as conforming to About.com’s strict format and character limit) I did not gush nearly as much over this comic as I might have in this blog, so let me make this perfectly clear: I really enjoyed King of RPGs. I mean, really, really, really.

Was it my experience with gamers that most hooked me? Hard to say. Was it my love of shonen manga? I dunno. Do I think Jason Thompson is Just That Funny? Maybe. All I know for sure is that I spent a significant portion of my reading time laughing out loud in a truly obnoxious fashion and that there was one Death Note reference that literally had me falling out of my chair.

Whether you love gamers, manga, or just a good, long laugh, I recommend giving King of RPGs a try. Check out Deb Aoki’s introduction and my full review for more. You may also be interested in Deb’s recent interview with the creators, Jason Thompson and Victor Hao, here!

Fullmetal Alchemist, Vol. 22

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By Hiromu Arakawa
Viz, 192 pp.
Rating: T (Teen)

Having been finally released from Pride’s control, Al feels responsible for the damage done. In order to rectify the situation, he devises a plan to trap Pride that he must put into action with his father’s help (and without his brother’s knowledge). Anxious to get on with his own plans for world domination, Greed breaks off from the rest of the group, against the wishes of his body’s cohabitant, Lin.

Meanwhile, Mustang’s group continues their resistance, finding allies among Briggs’ Northern troops as well as a few unexpected quarters, and Hohenheim comes face-to-face with an old acquaintance once again. With the story’s major players all converging on Central City, the series’ final battle seems to truly have begun.

The time has come for each of the Elric men to show their true strength and artist Hiromu Arakawa has certainly ramped up the tension to get them there. Her real brilliance is best displayed, however, in the volume’s smallest moments—brief encounters and bits of characterization that make her characters shine in the din. Both Hohenheim’s quiet acts of compassion and Kimblee’s stubborn emotional detachment say more about each of them than their public actions ever could. As always, Arakawa’s artwork provides impressive clarity, even through the messiest action sequences, without ever sacrificing pace or expression.

This volume is a thrill from start to finish, certain to leave fans anxious for more.

Fullmetal Alchemist, Vol. 21

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Fullmetal Alchemist, Vol. 21
By Hiromu Arakawa
Published by Viz Media


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Winry makes her way safely back to Resembool only to discover that Ed has beaten her to it. Though she’s grateful to find him all in one piece, she’s less thrilled with his insistence that she flee the country. Meanwhile, Al has encountered newly-uncovered homunculus Pride (aka Selim Bradley), whose terrifying power is enough to take control of him and set him against his own brother. Only the the surprise appearance of an old ally can turn this fight around! Now with President Bradley and his dangerous son out of Central City, Mustang’s group of rebels finally makes their move, taking the President’s wife hostage. Can they be prepared for the result?

After the last volume’s calm before the storm, Arakawa ramps up the tension by revealing the true horror of Pride’s power, wrapped up in the package of a cute little boy–one so ruthless he’ll consume his own allies if it will help him to win. Even so, Arakawa manages to balance this kind of pure evil with just the smallest drop of pathos, keeping the story from ever settling into comfortable black and white. This is one of her most impressive (and consistent) balancing acts and part of what makes her story so powerful. The series somehow maintains both pure-hearted shonen morality and multiple shades of gray, side by side, even in its primary characters. It is dark, but never pessimistic–moralistic, but never self-righteous. It follows established conventions of its genre without ever losing its persistent freshness.

Though the story’s increasingly serious bent has (understandably) overwhelmed its early humor, especially now as the climax draws near, there is still quite a bit to be found, particularly in the wonderfully dry humor of Major General Olivier Armstrong and pretty much anyone associated with Colonel Mustang. As the series reaches further into darkness and anxiety, these characters help keep the atmosphere from becoming too heavy, something I expect we’ll all be grateful for by series’ end.

“Tension” is the keyword in this harrowing volume of one of my favorite series in current publication. Keep a look out for tomorrow’s installment of Manga Recon‘s Manga Minis to see how things explode in the series’ next volume!

Review copy provided by the publisher.