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xxxHolic, Volume 14

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xxxholic14Today I have a short review of xxxHolic, Vol. 14 in a special Tuesday edition of Manga Minis. This series is so wonderfully rich and there is much I might have said about this volume, given more space. I’ll try to include some of it here.

First of all, one of the things I discussed in my mini is the level of warmth this series has taken on. The “sweet” moment I mention between Watanuki and Mokona, for instance, is so adorable one could die, and when Kohane asks Doumeki why he remains with Watanuki, the image Doumeki calls forth–Watanuki by the river on a particular rainy day–is enough to break one’s heart. That this is followed by Kohane asking Doumeki to “Take care of Kimihiro-kun… please?” is truly the final nail in the coffin.

It is here, too, that I must mention CLAMP’s effective use of paneling, because it is not so much the dialogue that does the work here, but the imagery. Doumeki doesn’t respond to Kohane with anything more than the squeeze of a hand, but the way that moment is built up–with a flashback to Yuuko’s ominous words about hesitation, individual profiles (cut narrowly within wide horizontal panels) of Doumeki and then Kohane, then a single page consisting only of a larger, fuller profile of Doumeki followed by a close-up of his hand squeezing Kohane’s–draws out the moment perfectly, giving it enormous emotional weight. Similarly effective means are used in the story’s next scene too, in which Watanuki confesses his new resolve to remain in this world. The panels are clean and heavy on contrast as is usual for CLAMP (especially in this series) and this deceptive visual simplicity, much like simplicity of language, allows for stronger statements than could ever be made with more verbose visual language.

This volume is filled with foreshadowing, which I suppose is no different than the rest of the series to this point, but at this point the foreshadowing contains a sense of urgency and immediacy that has not been present before, at least to this extent. That a customer arrives in the middle of it all–something we haven’t seen for quite some time–might appear to break the momentum, but it actually seems to be a part of it somehow, with Watanuki taking on Yuuko’s usual role. A later scene with the voices (but not the bodies) of Maru and Moro only strengthens this feeling, and the book’s final scene sets an uneasy, anticipatory tone for the next volume, despite the unearthly calm of its participants. Will it be Watanuki who is able to grant Yuuko’s wish after all, just as he has hoped to do? It seems likely that we will find out soon.

What read as cold philosophy at the beginning of this series has become intimate personal drama fourteen volumes in, and even Yuuko can’t pretend to be detached from the story’s outcome, particularly as concerns Watanuki, whom she obviously loves. Though I think it goes without saying at this point that reading Tsubasa: Reservoir Chronicle has become an essential part of understanding this series, there is something deep at the core of xxxHolic that stands entirely on its own, and nowhere is that clearer than in this volume.

Click here to read my miniaturized thoughts on the subject (I’m not lying about the food thing; I made rice balls immediately after reading this volume). And please, read xxxHolic. It is truly a thing of beauty.

Review copy provided by the publisher.

Boys Over Flowers Jewelry Box

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Boys Over Flowers Jewelry Box
By Yoko Kamio
Published by Viz Media

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Though Boys Over Flowers‘ main story finally concluded after 36 volumes, neither fans nor mangaka Yoko Kamio were quite content, thus the release of Boys Over Flowers Jewelry Box featuring two side stories set after the series’ final volume. The first of these follows heroine Tsukushi Makino, now out of high school and working as a clerk in a real estate office to pay her family’s bills. With boyfriend Tsukasa still in New York, former love interest Rui has taken to visiting Tsukushi’s family regularly, becoming so familiar he even addresses her father as “dad.” When the whole group is assembled in Paris to witness the wedding of Rui’s former crush, Shizuka, Tsukasa clearly demonstrates his jealousy by asserting control and throwing money (and insults) at Tsukushi, as usual. The second story focuses on Rui, his uncertainty over his future, and his difficulty letting go long-held feelings for Tsukushi.

Unlike many fans, I felt quite satisfied with the way things were left at the end of volume 36, with true love finally settled (at least for Tsukushi and Tsukasa) but not so settled that the character’s futures were unnecessarily narrowed. After all, the story’s heroine was still in high school at the end of the series, and I think I’d have felt incredibly uncomfortable if things had been left any more certain than they were. That said, there is something decidedly comforting about sneaking a peek into Tsukushi and Tsukasa’s future lives and seeing them still bumbling along in their fiery-yet-conservative romance, as awkward and volatile as ever. Though it is disconcerting to see Tsukasa falling back into his worst, most controlling self at the first twinge of insecurity, demonstrating very little personal growth since the end of the series proper, if there’s one thing that has been made clear over the course of the series, it is that Tsukushi can handle herself regardless of his behavior.

Even nicer is the look into Rui’s world, something that remained largely mysterious throughout the series particularly in terms of his feelings for Tsukushi and, really, women in general. With its thoughtful, melancholy look at Rui and his place both in Tsukushi’s life and within the F4, this volume’s second story is quite plainly the best reason to buy it. I’d consider it a must-read for any fan.

Though this manga offers nothing on the level of Boys Over Flowers‘ greatest drama, that is perhaps the secret to its charm. Short but not too sweet, Boys Over Flowers Jewelry Box provides a nicely quiet postscript to this deliciously melodramatic epic.

Review copy provided by the publisher.

Rasetsu, Vol. 2

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By Chika Shiomi
Viz, 192 pp.
Rating: T+ (Older Teen)

Marked by a demon as a young teen, tough eighteen-year-old Rasetsu Hyuga has two years left of her life before the demon claims her as his own, unless she is able to meet her own true love before her time is up. She is also a gifted exorcist who was taken in and nurtured by the head of the Hiichiro Amakawa Agency (a man referred to mainly as “Chief”), a company that offers exorcisms for a fee. Rasetsu is joined in her work by Kuryu, a master of koto dama, the power of words, and eventually by Yako, a former librarian with his own spiritual powers who was manipulated into joining the agency in the first volume. In volume two, Rasetsu’s terror of her fate shines through in a rare moment of vulnerability, prompting Yako to promise to be there for her on the fated day. Later, Kuryu plays around with his ability in an unusually insensitive way while also unintentionally revealing to Yako that he is much more powerful than he pretends to be.

Though the premise of this series is fairly unoriginal and its character development even less so, there is a certain comfort to watching its familiar scenarios play out that lends a particular charm and with the first volume’s exposition out of the way, Rasetsu is able to relax right into the task. It seems obvious that Yako is intended to be Rasetsu’s “true love” (Rasetsu even resembles his first love, guardian spirit Yurara from the series of the same name) and there are traces of this emerging already in volume two, at least on Rasetsu’s side. Kuryu, with his harmless, puppy-dog front hiding a potentially sinister power, is reminiscent of Tokyo Babylon‘s murderous veterinarian, Seishiro, casting a suspicious light on him immediately, especially after this volume in which he accidentally shows his hand. The series’ other characters, mysterious chief Hiichiro and cheerful office boy Aoi, are shojo staples as well, but quite fun and appealingly rendered, skipping off to enjoy rides at an amusement park while everyone else is working.

Fans of supernatural romance may not find anything new in Rasetsu, but tried-and-true formulas are alive, well, and downright agreeable here in its second volume.

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

Kamichama Karin Chu, Vol. 5

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

Karin, Kazune, and Michiru are cast as the Three Musketeers in the school play, which Karin hopes will be her chance to bring Micchi back into the fold as a noble god. Things don’t quite go as planned, but thanks to some help from Jin Kuga, who steps in as an understudy at a crucial moment, and the somewhat fortuitous appearance of a chaos seed, Micchi eventually realizes his true place is as a god. Reunited, the three young gods are lured to the beach by their enemy, Kirio Karasuma, where Suzune reveals an unexpected new form during a close call with a swarm of jellyfish. Unfortunately, that’s not the only surprise waiting at the beach, and the second is much darker, both for the gods and for Jin.

This volume gets off to a weak start with the Three Musketeers storyline, which brings Micchi back into the group much too quickly and easily to be believed. The second half of the book is much stronger, however, moving the plot forward and stressing the urgency of the gods’ unity, as well as providing some very touching moments between Karin, Kazune, and their future son, Suzune. The way this story plays with time—the strong glimpses these young characters are given of both their past lives and their future selves—is what maintains its emotional core, and it is incidents like the one with Suzune in this volume that most touch the heart and make the story into something more than its many clichés might suggest.

At its best, Kamichama Karin Chu is a delightful marriage of magical-girl formula and true pre-pubescent fantasy, straight out of the mind of any imaginative young girl. Though this volume falls just short of its best, its strong final chapters prove that this fantasy is still alive and well.

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

NANA, Volume 18

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NANA, Volume 18
By Ai Yazawa
Published by Viz Media

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After a quick opening set in the future, where Hachi, Yasu, Nobu, and Shin contemplate how best to track down Nana whom they’ve determined must be in England, the story returns to the present where everything is finally coming together the day before Blast’s tour is ready to launch. Nana is pumped, her voice is solid, she’s got Hachi in her corner, and even her home life with Ren, newly returned from recording overseas, is humming along nicely. Unfortunately, Shin’s personal turmoil is taking a toll, driving him into the arms of sugar mama Ryoko, with whom he gets arrested for marijuana possession, causing the tour to be canceled at the last minute. The rest of the volume focuses mainly on the aftermath of this–how the members of Blast will move on, particularly Nana, whose newly re-established easiness with Ren collapses quickly under the stress. Meanwhile, Takumi tries to figure out how to help Reira deal with the situation, finally addressing her relationship with Shin in a realistic way, in a scene that is tied closely to the Takumi-centric side story included at the end of the volume.

One thing that is particularly striking in this volume is that the forced breakup of Blast and subsequent events places Nana in an isolated enough position that the gap between the present and the future narration suddenly seems much less wide than it has up to this point. Also, with implications made about Shin in the opening “future” chapter (in which Yasu tells him he should be grateful his agency let him back in the business) being explained in this very volume, it really feels like the series of events immediately related to Nana’s eventual disappearance are finally unfolding before our very eyes.

There are a few really interesting reactions amongst the characters here in this volume, which feel unexpected and completely realistic all at once. Displaying just how well-suited she is to Yasu, Miu, tasked with giving the news to Hachi and Takumi, is the voice of reason, dispensing rock-solid advice to Nana (and harsh truth to Takumi) when it is most needed. Takumi, usually poised to step up in any kind of crisis, actually seems rather sad and helpless when he’s faced with the demise of Blast, despite the fact that it isn’t even his band. He is unusually warm throughout this volume, watching other people’s worlds falling apart around him, and his offer to help Reira find a place where she can meet up with Shin after he is freed is almost touching. “It’s not your fault. I drove you to it. I drove Shin into it,” he says to her with uncharacteristic emotion and candor. “But I didn’t mean to take away your happiness. I didn’t start Trapnest to do that to you guys!”

Almost comical is the reaction of the sleazy press guys, who seem to feel somehow hurt by the whole situation, as though they have an actual stake in the success of Blast whose members they’ve tormented with threat of scandal since the beginning. Nana waffles between selfish (if understandable) anger, regret, raw ambition, and abject terror over the prospect of being on her own as a performer. That she is eventually able to recognize that Yasu’s pain over it all must be as great or greater than her own and is able to actually act on that realization (by determining to go solo to keep not just herself but Blast in the public consciousness) is a huge sign of growth for her.

This entire volume contains enough emotional complexity to inspire an essay almost as long as the volume itself, but perhaps the most compelling bit of all is the Takumi side story at the end. He’s always been a character who is pretty easy to hate, particularly for readers who identify strongly with Hachi, and though the side story does not ease any of that Hachi-related resentment (and in fact, makes it quite a bit worse) it does humanize him in a way I would not have thought possible, making sense of his actions, even the worst ones (perhaps especially the worst ones). This side story, more than any of the others that have been included so far, is crucial to understanding the deep disfunction at the core of Trapnest and provides a huge amount of insight into Takumi, Reira, and even Yasu, and how their mutual history continues to shape the present.

The more I examine the way Ai Yazawa has conceived and developed these characters and the complex web of love and pain that binds them all together, the more impressed I become. This series remains fantastic and utterly addictive in the best way possible.

Review copy provided by the publisher.

The Battle of Genryu: Origin, Volume 1

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The Battle of Genryu: Origin, Vol. 1
By Shoko Fukaki
Published by CMX

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Jin is a normal, happy-go-lucky high school student with unusually strong fighting abilities, something which has caught the attention of his friend Fusano, who suspects there is something “a little bit different” about him. As it turns out, what’s different about Jin is something his father and sister are determined to keep secret, especially from Jin’s estranged brother, Soichiro, who makes a living displaying his own abilities for the entertainment of the masses. When Soichiro approaches Jin’s sister, Toko, with a view towards bringing both her and Jin into his world, it becomes clear that their family relationships are not what they seem. Toko rejects Soichiro’s advances, appalled by his use of secret techniques for show and clearly terrified of what could happen to Jin should she be unable to protect him. Undaunted, Soichiro finds his way to Jin through more devious means, setting up a fight he’ll be unable to refuse.

When I first read this manga several months back, my impression of it was “competent but unremarkable.” Now on my second read, my perspective has changed a bit, and I find myself quite drawn to these characters and their world. I’m especially partial to the women, Toko and Fusano, and their mutual ability to take care of both themselves and the primary object of affection in their lives, Jin. This story doesn’t quite pass the Bechdel Test (at least not yet) but these women are strong, smart, and tender, and they can hold their own against the fairly terrifying men around them. Toko, particularly, displays such stirring affection for Jin, even now I find myself returning to the book’s middle chapters to catch a glimpse of it once more. That Fusano, one of the most skilled young fighters in the story is used by Soichiro as helpless bait to lure in Jin is truly unfortunate, though it is such a common occurrence in manga of this kind, I can’t quite bring myself to get worked up over it as I should. There is a lot of talk, even from Soichiro, about Fusano having the potential to be a “real martial artist.” I can only hope this will be developed more as the story goes on.

What remains a great mystery, even by the end of the volume, is any hint as to the origin of Jin (and Soichiro’s) power, aside from a vague implication that they may not be fully human. With the true relationship between them yet unexplained, it is also unclear exactly why Soichiro is so anxious to bring Jin to his side or even what that really means. After all, Soichiro seems to be mainly using his abilities to attract money and fame, at least on the face of it. What hidden truth makes Toko so desperate to protect Jin from him? The man is sleazy, there’s no doubt about that, but what’s behind it all? It is these questions that most drive me to want to pick up the next volume.

Another thing The Battle of Genryu: Origin has going for it is the fact that its fight scenes are both fairly intense and easy to follow, a combination that is often difficult to find in this type of manga. I expect the fighting only appears realistic to those of us who honestly know nothing about it since even I must question some of the physics involved, but realism is pretty far from the point. If you’re looking to escape shonen battle clichés or for any kind of sincere insight into the martial arts, this is definitely not the book for you. The artwork overall is generally attractive, if not unique, and there are some unexpected touches here and there in backgrounds and a few bits of paneling that actually evoke a shojo-esque feel.

Though it would be difficult to shift my assessment of this manga as “unremarkable” at this point, there is definitely a warmth and charm to it that I did not pick up during my first read which makes that a real possibility in the future. With this in mind, I’ll be genuinely interested to see where it goes from here and whether the elements of it that I’m most drawn to remain enough of a focus to continue. Though I can’t quite recommend this series’ first volume, fans of light-hearted battle manga may find something here to hook them, along with a hope of better things to come.

Review copy provided by the publisher.

Hikaru no Go, Volume 17

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Hikaru no Go, Vol. 17
By Yumi Hotta and Takeshi Obata
Published by Viz Media

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Warning: This review contains spoilers for volumes fifteen and above.

At the end of volume sixteen, having reluctantly agreed to a game with Isumi, Hikaru finally found Sai in the most obvious place of all: his own game. This volume opens with Hikaru tearfully facing that truth as well as the realization that the best way for him to honor Sai is to continue to play Go. With this new determination, Hikaru confronts Akira after a match (one that has raised Akira into the Hon’inbo League) to inform him of his return. Fortunately, a match between the two of them is already on the schedule, one which they both anticipate eagerly.

Meanwhile, higher-ups in the Go Association, the upper echelon of pros, and members of the press dedicated to the game are all getting excited about the “new wave” of powerful young players rising up in the ranks, viewing it as both a personal call to arms (in the case of the pros) and a much-needed potential for revival of the game in Japan. As Hikaru and Akira finally face each other over the goban for the first time in over two years, rumors of their rivalry re-emerge among the other players, feeding this new excitement.

After volume sixteen’s shift in focus, it is exciting to be back in Hikaru’s thrall once more. Having recovered his true energy, he pulls the story along at full speed, so much so that it almost feels like Akira must come after him rather than the other way around. It is a real pleasure to see these characters on track together again–their rivalry rendered nearly poetic by the likes of Hon’inbo title holder Kuwabara, who sees Hikaru and Akira as equally gifted geniuses, dependent on each other in their quest for the “divine move.”

What’s especially refreshing about the writing in this series, however, is that even though this rivalry is heralded as something divine in nature, it does not diminish the importance of the story’s many supporting characters, each with his/her own batch of worries and rivalries–not even the students back in the Haze Junior High Go Club–but instead portrays each of them as a vital part of the living, breathing entity that is Japan’s Go. There is such warmth in each chapter as writer Yumi Hotta takes the time to linger over each of the characters’ personal stakes, great or small, and it is this feeling that allows this story to be intensely dramatic and completely down-to-earth, both at the same time.

This volume has a fantastic energy throughout, but the real drama emerges in the penultimate chapter, in which Akira admits to Hikaru that he sees another person inside him, only to be further shocked when Hikaru all but admits it. This leads beautifully into a dream sequence for Hikaru that easily brought me to tears.

Though my consistent recommendation of this series may appear excessive, it has evolved at this point into such a wonderfully crafted story, it’s very difficult to find fault. From its increasingly moving plot to its consistently fantastic artwork, the true elegance of Hikaru no Go continues to impress me with each new volume.

Review copy provided by the publisher.

Nightschool, Volume 2

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Nightschool, Vol. 2
By Svetlana Chmakova
Published by Yen Press

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Determined to find out what happened to her sister Sarah, young weirn Alex enrolls in the nightschool, though just getting inside proves to be more of a challenge than she could have expected. Her first “night” gets off to a rocky start as well, when Alex’s unusually advanced magical skills win her an enemy on the teaching staff. Fortunately, her abilities get her transferred into a class that may very well be the key to her search for Sarah, though Alex is undoubtedly in great danger there herself. Meanwhile, the Hunters are on a search of their own, desperate to find the silver-haired girl who stole life away from a number of their crew, though evidence suggests it may be too late to save them.

After the first volume’s whirlwind pace, Svetlana relaxes a bit in the second to provide some very rewarding moments of drama and playful characterization. The story’s momentum hasn’t subsided in the least, but this volume has a bit more ebb and flow to it, pausing gravely over the fate of the fallen Hunters, accenting some bits of humor involving the supporting characters, and offering up Alex’s somewhat bratty yet immensely satisfying triumph in astral training class.

Sarah’s disappearance (even from people’s memories) continues to be a mystery, though there is an interesting exchange between Alex and the leader of the main nightschool student clique, suggesting that Alex may not be the only one who remembers her sister. Alex’s true identity remains a mystery as well, and although a few small clues have been laid out, I find I honestly don’t yet want to know. Like all well-told stories, the true pleasure is in the journey and Nightschool‘s journey is so well-paced and deftly plotted, I’m more than content to take it as it comes.

Yen Press’ production is lovely, with a small swath of color pages provided several chapters in. The larger trim size is a nice treat as well and I’m really glad this series has been given such deluxe treatment.

The more I read, the more I enjoy Nightschool. Its intriguing characters, snappy dialogue, easy-flowing artwork, tight pacing, and wonderfully suspenseful plot make it a true gem in Yen Press’ OEL catalogue.

Full Disclosure: Review copy provided by the publisher. Also, I once sat next to Dee DuPuy at dinner.

Fullmetal Alchemist, Volume 20

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Fullmetal Alchemist, Vol. 20
By Hiromu Arakawa
Published by Viz Media

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Falling victim to a double-cross, Envy tracks down Dr. Marcoh, only to walk into a trap that ultimately reduces him to his original, pre-humanoid form. “I know more about making philosopher’s stones than anyone else in the country,” says Dr. Marcoh, hanging mangled and bloody from Envy’s horrific tongue. “But because I know how to make them, I also know how to destroy them!” Afterwards, Scar entreats May to take the now-powerless Envy back to her country for study on immortality, though Envy does what he must to increase his chances of survival. Al, Winry, and the others then head out to the city of Lior, where Al is reunited with Rose as well as his father, Hoenheim, who finally shares the truth about himself, including a piece of information vital to the upcoming conflict. Meanwhile, Major General Briggs discovers the terrifying truth hidden in the bowels of Central City, and Ed–now recovered from his injuries–fails utterly to track down Al’s whereabouts, though he does encounter another long-lost companion with whom he forges an unlikely alliance.

This volume feels a bit like the calm before the storm. After the constant barrage of earth-shattering revelations contained in the past few volumes, Arakawa steps back to focus on relationships, but with an uneasy, anticipatory feel running like a strong current through each chapter. Not that this volume is lacking in new information, by any means. Both Briggs’ discovery and Hoenheim’s confession provide new insight into the homunculus’ ultimate plan, but these revelations seem intended to inform the characters rather than the reader, maintaining the story’s momentum at a strong, tense simmer, preparing itself to rise to a boil. That there is still a long way go to seems obvious, but during the volume’s final chapter, as a piece of key information spreads across Amestris from character to character, it feels very much like a final call to arms.

May’s story here is particularly poignant. Having become so much a part of the personal quests of some of the Amestrian characters (Scar’s and Al’s, in particular), her deep hurt in being urged to return home, even for the sake of her own people, is obvious and extremely touching. Arakawa emphasizes this by drawing her from angles which make her appear especially small, vulnerable, and occasionally off-kilter. With similar effectiveness, Arakawa also uses angles to help distinguish between the wildly erratic variations in the mental state of Greed, who is caught in an internal struggle between himself and Lin, whose memories still lurk within.

As a reader, the ground is always shaky whenever Ed and Al are apart from each other, adding to the mounting tension in this volume. Though it seems like the end must surely be near, this is a series that has never lost its momentum regardless of length, which makes me feel extremely reluctant to ever let it go. Fortunately I don’t have to just yet.

For long-time readers of the series, volume twenty provides further insight into characters both loved and hated, and continues to play out the complex plot so powerfully conceived from the series’ first volume. For everyone else, the time to start reading is now.

Review copy provided by the publisher.

Nabari No Ou, Volume 2

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Nabari No Ou, Vol. 2
By Yuhki Kamatani
Published by Yen Press

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In the aftermath of the first volume’s attack by the enemy clan Grey Wolves, Miharu and his companions recover in care of the Fuuma, many of whom were lost in the conflict. With the Banten shinobi having no official leader, Kotarou Fuuma, leader of his clan, assumes control and assigns teacher Kumohira and his young charges to retrieve (or steal, if necessary) the forbidden arts belonging to each of the other remaining clans. Though revelations about the motives and methods of the Fuuma leave Miharu even less sure of who to trust, he eventually finds himself feeling some sense of responsibility and even friendship towards would-be samurai Ramei and classmate Koichi. This volume’s major drama, however, is left for its final chapter, in which Miharu is offered alliance by an extremely unlikely source.

After the suspense and high action of this series’ first volume, the second begins slowly, churning out additional exposition without quite enough momentum to sustain it. Fortunately, this volume’s final chapter is thrilling enough to make up for early shortcomings, bringing real tension back into the story as well as highlighting the complexity and pathos behind Miharu’s carefully practiced apathy.

This volume takes pains to deepen the backstories for much of the series’ supporting cast, though most of these characters remain weak in comparison to the story’s most compelling characters–Miharu and deadly human weapon Yoite. Both of these characters possess potentially lethal abilities that endanger their own lives in one way or another, and it is fascinating and sad to witness the blatant sense of entitlement their respective shinobi clans appear to feel regarding their powers. That the clans have gravely overestimated their ability to control these two boys seems obvious, but it is yet unclear just how dearly this miscalculation might cost them or the boys themselves.

Though pacing is a weakness in this volume, even the least urgent chapters succeed in terms of dramatic content, thanks to Kamatani’s frequent use of close-ups and full-page images which give just the right weight to exactly the right moments. That a sense of stillness would be one of the greatest strengths of a manga that is ostensibly intended as an action series may sound a bit strange, but that is absolutely the case here. This quality plays a great part in creating the dark, moody atmosphere of the series, which remains one of my favorite aspects of it overall.

With its complex anti-hero and melancholy feel, Nabari No Ou‘s second volume ultimately overcomes its somewhat uninspired early chapters to maintain its position as my favorite new shonen series so far this year.

Review copy provided by the publisher.

Kimi ni Todoke: From Me to You, Volume 2

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Kimi ni Todoke: From Me to You, Vol. 2
By Karuho Shiina
Published by Viz Media

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Yano and Yoshida first laugh off the rumor that Sawako has been spreading stories about them. After overhearing Sawako deny their friendship, however, they begin to doubt themselves, ultimately learning just how deep their feelings for her go. Certain that her association with Kazehaya, Yano, and Yoshida is destroying their popularity, Sawako tries to distance herself from them but she too learns a lesson about her own feelings in the process.

…

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Detroit Metal City, Volume 2

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Detroit Metal City, Vol. 2
By Kiminori Wakasugi
Published by Viz Media

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In the second volume of Kiminori Wakasugi’s gleefully vulgar series, Soichi Negishi continues to live his double life as a mild-mannered aspiring pop musician and powerful lead vocalist for an underground death metal band. As the line between his dueling identities deteriorates, Negishi finds himself falling into his Krauser II persona more and more often, especially in the presence of his longtime crush, Aikawa. Early on, he even stalks her when she accepts an amusement park date with another guy, eventually letting his jealousy transform him into Krauser, who humiliates her on stage during a “Victory Rangers” show. Later on, while rushing frantically back and forth from an interview (as Krauser) to dinner with Aikawa on her birthday, the blur between his conflicting personalities extends even to physical appearance as increasingly obvious bits of Krauser’s costume and makeup are accidentally left on in Negishi’s frazzled haste.

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Sand Chronicles, Vol. 6

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By Hinako Ashihara
Viz, 200 pp.
Rating: T+ (Older Teen)

Having finally broken up with Daigo, Ann decides to give a relationship with long-suffering Fuji a try. Their physical relationship gets a slow start, but thanks to conniving friends, they are eventually thrown into a romantic situation from which even Ann cannot escape. Unfortunately, Fuji’s gentle eagerness and Ann’s indecision only serve to create a situation more painful than any of Fuji’s many years of unrequited love, and Ann only ends up accumulating further regret. Meanwhile, Daigo also attempts to move on by letting himself become involved with a former schoolmate who has harbored a longtime crush on him. This volume also contains a welcome dose of Ann’s grandmother as well as some insight into her father’s past. Shika’s story, too, becomes more poignant in this volume and it is a pleasure to watch her finally discovering how to break away from what hurts her.

This quietly nuanced series truly becomes richer with each new volume. It is genuinely heartbreaking to watch Ann and Fuji together, filled with such earnest affection for each other but unable to move beyond the weight of Ann’s lingering feelings for Daigo. It is only after having made a grand gesture symbolizing her break with Daigo that Ann truly begins to understand her own feelings, and though she strays far from doing right by Fuji (“I used the person it would hurt the most,” she thinks tearfully to herself, “but I needed someone to rescue me so badly.”) he understands her too well to hate her or even feel any real anger over her actions. It is this series’ refusal to vilify any of its characters that makes it feel so true to life, and this volume is a perfect example of that.

Ashihara’s art, always one of the series’ great strengths, is especially strong in this volume in terms of expressing the feelings of her characters. This is particularly evident in the scenes between Ann and Fuji, which are stunningly effective. Both visually and otherwise, Sand Chronicles continues to be an exceptionally rewarding read.

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

Sand Chronicles, Volume 5

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Sand Chronicles, Vol. 5
By Hinako Ashihara
Published by Viz Media

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After promising to call once he’s sorted out his feelings, Daigo has gone three months without contacting Ann and each passing day makes it more difficult for him to pick up the phone. Ann tries to be patient but is dying inside, saved finally by her friend Asa who places a call to Daigo on her behalf. Determined to be the one to put in the work this time, Ann rushes to the airport and flies back to see him. Meanwhile, Shika has been going all out to try to attract Daigo for herself, though she meets repeated rejection. Finally faced with Ann’s presence (and her own betrayal), Shika’s desperation leads to desperate action and though ultimately some things do end up going her way, the outcome is far from what she might have hoped.

As rare as it is for first love to last forever, particularly in ones so young, it’s still painful to watch such an intense relationship wane, especially when both characters are so likable and so obviously still in love. Though Ann’s considerable emotional baggage and Daigo’s hero complex make their relationship potentially damaging for them both, their mutual devotion is hard to beat and very difficult to give up easily as a reader. “No, no!” I found myself crying throughout much of this volume, despite the fact that both characters have equally appealing admirers waiting patiently (or not) in the wings.

One of the most powerful characteristics of this series, of course, is its nuanced treatment of love and friendship, and this volume provides an perfect example of that trait, if not in quite the way one might expect. Though the mangaka’s handling of Ann’s relationships with both Daigo and rival Fuji are as poignant and wonderfully layered as always, the most interesting interaction in this volume is between Ann and Shika. Alternately defiant and conflicted over her decision to steal her best friend’s boyfriend, Shika never loses either the love or jealousy she feels for Ann, and as a result, ties them both up in knots. The fact that this volume nowhere contains (or even remotely approaches) any kind of stereotypical cat fight or other confrontation between the two of them keeps the story’s melancholy feel perfectly intact, while also demonstrating the power of the characters’ long mutual history. Even while hurting each other, these characters are connected too deeply to relish the results or even to just be okay with them. This kind of thoughtful writing is perhaps what I treasure most in shojo manga and is certainly what draws me to this series.

Also in this volume, both Ann and Daigo face decisions about their careers–a common theme in high school manga–presented here with the same delicate anxiety that permeates the series overall. Both of their personal struggles here are highly engaging, as Daigo fights off snickers from friends and family when he sheepishly announces his intention to get into a well-respected public university and Ann fights her own complacency when she realizes she’s never developed any ambition at all beyond her desire to go back home and marry Daigo. This plot line only enhances the sense that the two of them may be growing irrevocably apart, as new love interests are the ones best poised to help each of them move forward.

Though this series’ art lacks the extraordinary poignance of something like We Were There–a series with a similarly melancholy feel–it is visually well-paced and nicely expressive with occasional moments of stillness and beauty that can be truly breathtaking. Body language, in particular, is one of the artist’s real strengths, which is a great asset to her already-rich characterization.

For those of us who prefer our shojo manga heavily weighted in sweet, sweet angst, choosing Sand Chronicles is no-brainer and its fifth volume could not possibly embody this aesthetic more. Bring some tissues and dig right in!

Review copy provided by the publisher.

Nodame Cantabile, Vol. 16

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By Tomoko Ninomiya
Del Rey, 184 pp.
Rating: OT (11+)

Auditions for open positions in the Roux-Marlet Orchestra continue in this volume, leading up to rehearsals for Chiaki’s first official concert as resident conductor. Under pressure to restore the orchestra to its former glory (and halt the alarming flood of subscribers leaving the Roux-Marlet for rival orchestra Deschamps), Chiaki drastically increases rehearsal hours and unleashes his unforgiving perfectionism on the ensemble, earning some heavy grumbling from its members. Meanwhile, pianist Rui returns to Paris seemingly at loose ends, oboist Kuroki struggles to balance school with his new professional position, piano student Tanya proudly displays the fruits of her post-illness diet, and Nodame tries hard to play the perfect conductor’s “wife” while keeping up with her own studies.

While this series’ classical music setting is always enjoyable and informative (this volume, for instance, contains discussion on the differences between the French bassoon and German fagott), its true charm is in its wonderfully quirky characters, particularly obsessively correct Chiaki and uniquely whimsical Nodame. It makes sense somehow that Nodame is addicted to natto (after eating which, Chiaki will not kiss her), believes that putting on a hairband successfully disguises her as a manga character (“I thought I was in disguise. I was trying to be Yawara-chan.”), and feels that free tissue boxes displaying Chiaki’s photo are the key to his orchestra’s marketing success. Some of the series’ supporting characters have great moments in this volume too, including bassoonist Paul who is determined to revive the bassoon in France’s orchestras and Rui, who unsuccessfully tries to get picked up in a lobby full of (according to her) gay men.

Now in its sixteenth volume, Nodame Cantabile manages to remain just as funny and touching as when it began. Readers craving a satisfying bite of rich, quirky josei simply can’t do better.

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