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Reviews

Sexiled: My Sexist Party Leader Kicked Me Out, So I Teamed Up With a Mythical Sorceress!, Vol. 1

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By Ameko Kaeruda and Kazutomo Miya. Released in Japan as “Onna dakara, to Party wo Tsuihou Sareta no de Densetsu no Majo to Saikyou Tag wo Kumimashita” by Overlap. Released in North America digitally by J-Novel Club. Translated by Molly Lee.

There is a variety of stories seen, mostly on television, that are described as “ripped from the headlines”. You take a current real-life story and fictionalize it in order to craft a good drama. you rarely see that extend into the field of fantasy light novels, but in this case the book was definitely inspired by a real life event: the discovery that Tokyo University (and others) were fudging medical exam results to admit fewer women into medical school, ostensibly as they believed they’d just get married and become housewives anyway. This news surprised a lot of people who had not been paying attention to the inherent sexism in women’s everyday lives. And so this author decided to write a version of the story where a harried and underpaid mage, kicked out of her party by her “childhood friend” Ryan for being a woman, ends up getting her revenge. And it is a glorious revenge, make no mistake.

Tanya is furious at the actions of her smug party leader Ryan, and decides to blow off steam by going to a nearby deserted area and throwing off a few Explosion spells. Doing so wakes up a woman called Laplace, a legendary sorceress who had been sealed away for three hundred years until Tanya woke her up. Tanya is actually a fantastic mage, and Laplace can actually “change her class” (via kissing – there is a bit of yuri in this), making her an even more powerful Magi-Knight. Given that Laplace is already super-powerful in her own right, the two form a tag team to take on Ryan and his party in the upcoming tournament. OK, they may be a bit TOO overpowered, so they also take on the guild secretary Nadine, a level 3 healer whose stats help the party to average out… though she has secrets of her own. Will Tanya get her revenge? Or… will she realize that revenge is not really what she’s after?

Hell yes, she gets her revenge. This book is a marvel from start to finish if you are sick of men and their smug sexist attitudes. Tanya may be filled with rage and anger at Ryan and society, but is otherwise a relatively happy and fun person. Laplace is wonderful, combining the “airhead” personality with a bit of the ancient wisdom that she has, and also leads to the best translated gag from the book, where Tanya gives her the nickname “Stone Cold Stunner”, which she loves, and proceeds to use all the time. There is a scene that mirrors the medical school scandal as a young girl Tanya had been tutoring in magic finds that the local Mage school doctors its scores so that there are fewer women – this gets taken care of fast. And then there’s Tanya’s fight with Ryan near the end of the book, which I don’t want to spoil but is simply magnificent.

There’s a second book in the series, and we do see a few plotlines that could be used going forward, mostly involving the royal mage Maxwell, who is as old as Laplace and also the one who sealed her away. I also want to see more of the other characters – I liked Katherine, introduced to us as Ryan’s girlfriend and the replacement for Tanya in the party, she quickly learns what he’s really like and becomes much more sympathetic after being shown some basic kindness by Nadine. More to the point, I loved the writing in this book, filled with great humor, telling observations about the sexism in everyday life, and a wonderful female power fantasy that does not particularly concern itself with being “fair and balanced”. I quoted liberally from it on my Twitter feed, and could easily have done three times as much. This book will put a big grin on your face and make you pump your fist in the air.

Beastars, Vol. 1

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Beastars Volume 1 by Paru Itagaki

I’m always curious to see what Viz will decide to publish in their Viz Signature line, and I wasn’t really aware of Beastars other than just knowing that the initial license announcement was greeted with plenty of enthusiasm. Beastars takes place in an anthropomorphic high school where carnivores and herbivores are thrown together in their classes and clubs, but generally seem to stick to their own kind for dormitory arrangements.

beastars vol 1

It is made very clear in the opening panels that not all is well in this high school as Tem, an alpaca student is hunted down and murdered by a mysterious carnivore in the opening panels. Suspicion lands on the grey wolf Legoshi, who was in drama club with Tem. The herbivores are mostly terrified and the carnivores are resentful at being under suspicion. A lot of the plot of Beastars seems fairly typical for any manga with a high school setting, but the animalistic nature of the students puts a bit of a spin on drama club shenanigans and random meetings across different animal families. Legoshi struggles with his own instincts and seems to be resigned to his status as an outcast. Seeing the twists of the animal nature of the students on fairly typical student roles can be amusing, as the imperious head of the drama club turns out to be the literal king of the forest in the form of Louis, a majestic red deer.

The art for Beastars is really well done, with somber grey tones that give the high school a bit of a dangerous noir vibe. In times of extreme emotion, Itagaki often fills the panel with just a character’s eyes surrounded by a dark background as a way of punctuating the intense instincts that the student body rarely acts on. The story sometimes shifts points of view, and it is interesting to learn more of the backstories of the student body. The idea of a “Beastsar,” an animal who is raised to have dominion over both carnivores and herbivores is raised briefly, and I expect the political jockying to be more intense in future volumes. I’m still a bit mystified as to why the students aren’t caught up more in an actual investigation of Tem’s murder, but I’m hoping this will be explored more in future volumes as well. The first volume of Beastars was very intriguing, and it capably set up Legoshi as a complex protagonist.

Our Dreams at Dusk: Shimanami Tasogare, Vol. 3

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By Yuhki Kamatani. Released in Japan by Shogakukan, serialized in the magazine Hibana. Released in North America by Seven Seas. Translated by Jocelyne Allen. Adapted by Ysabet MacFarlane.

“You have to learn to let it go.” A sentence that has been uttered by a lot of people over the years. Sometimes it’s correct. But sometimes it’s also sending the wrong message, and repressing things is not the answer. The third volume of Our Dreams at Dusk has two parallel narratives, and neither of them involve Misora, who after the events of the last book does not appear at all. Instead, we see Tasuku feeling guilty but also returning to work on the house project with the rest of the Cat Clutter folks. Unfortunately, Tsubaki is there as well, and is giving Tasuku some very mixed signals (which, as becomes clear later on, are mixed in his own mindset as well.) Meanwhile, an old classmate of Utsumi’s shows up and tries to be as well-meaning as possibly, in all the negative senses of the word. It’s upsetting everyone else, so why is Utsumi letting her continue to try to be “helpful”? Can Tasuku move forward after seeing how Utsumi deals with things?

Tasuku’s narrative is fraught with highs and lows. Tsubaki is working with him, and being nice, and seeming close and friendly. But he’s also using some homophobic slurs when describing the group to others. A very telling point comes when he and Tasuku are out at the local dockyards, which Tasuku briefly imagines as a date till Tsubaki invites two girls from the volleyball team to come along as well. As they have a meal, Tsubaki once again uses a slur to describe the group, only to be stopped short, not by Tasuku, but by one of the two girls, whose friend’s older sister is married to a trans man. Once Tsubaki realizes his words upset people he knows, he apologizes. Tsubaki himself is upset at his own feelings about Tasuku, leading to a confrontation at the end where Tasuku wants Tsubaki, the man he likes, not to hurt other people. It’s very powerful.

Then there’s Utsumi, who has been one of the pillars of strength that Tasuku has been leaning on throughout the manga. Reuniting with Shoko, whose attempts to be sympathetic, understanding, and accepting grate on absolutely everyone around her. But Utsumi is dealing with it with a smile and some kind words… till on a bike ride with Tasuku one day the repressed fury all comes out at once. Being consistently misgendered constantly is NOT something to accept with a shrug, and when Utsumi goes to a lunch with the other girls from that class, he finds that he can’t do this anymore. Shoko’s “you aren’t like other homosexuals” again reminds us that it’s much harder for some people to deal with this when it;s someone they know well, rather than the nebulous other. (I also loved that Shoko’s daughter keeps going to see the Cat Clutter people, even after her mother stops.

We have one more volume to go, and I suspect that it’s going to be dealing with Tchaiko’s past and the wedding. I’m going to miss this series with its stunning visuals and excellent LGTBQ cast.

Short Takes: Museum and Phantom Tales of the Night

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I have a confession: I am a complete chicken when it comes to horror movies. I watched Alien through my fingers and made it to the end of Fright Night by staring at the ingredient list on a candy wrapper; even the hot vampires of The Lost Boys weren’t soulful or shirtless enough to fully hold my gaze. But horror manga is another story, as I count Mermaid Saga, Gyo, Tomie, The Kurosagi Corpse Delivery Service, and PTSD Radio among my favorites series. I can’t explain why horror manga doesn’t affect me the same way that movies do–no soundtrack, perhaps?–but I’m glad that I’ve found the intestinal fortitude to read Junji Ito and Kazuo Umezu’s work. Alas, I had less patience with the two most recent horror series I read: Museum, a digital-only offering from Kodansha, and Phantom Tales of the Night, a cautionary tale about a mysterious innkeeper.

Museum, Vol. 1
Story and Art by Ryosuke Tomoe
Kodansha Comics
Rated M, for Mature (graphic violence)

Stop me if you’ve heard this one before: a mask-wearing vigilante kidnaps and tortures his victims in grotesque fashion–feeding them to dogs, severing their ears, tying them to toilets–then leaves cryptic notes that characterize each act as a “punishment,” daring the authorities to catch him. The mystery of who the vigilante is and what motivates him is the main driving force behind Museum, but you might not want to soldier through the carnage for answers to those questions since Ryosuke Tomoe can’t decide if his vigilante is a hero or a monster. Tomoe depicts the violence with such fetishistic detail that the reader is invited to admire the killer’s technique rather than meditate on the true horror of what the character has done. The ugly, utilitarian artwork and  relentlessly dour tone are the nails in the proverbial coffin, underscoring just how unpleasantly banal Museum really is. Not recommended.

Phantom Tales of the Night, Vol. 1
Story and Art by Matsuri
Yen Press
Rated OT, for Older Teens (violence and sexual themes)

Phantom Tales of the Night is the kind of bad manga that’s difficult to review: it isn’t offensive or ineptly drawn, but it’s a chore to read thanks to its poor plotting, muddled characterizations, and maddeningly opaque dialogue. Ostensibly, the series focuses on the Murakamo Inn, where the demonic host cajoles his guests into revealing their secrets. The rules governing how the Murakamo Inn operates, however, are in a constant state of flux, making it hard to pin down what, exactly, Phantom Tales is about. In some chapters, characters share their secrets with the inn’s owner in exchange for having a wish fulfilled, while in others, characters learn a terrible secret about themselves. The later chapters hint at a potentially longer, more complex arc that will play out over several volumes, but the set-up is so abrupt and confusing that it robs the final pages of their full impact–a pity, since Matsuri has a flair for drawing genuinely creepy monsters. Perhaps the most damning thing about Phantom Tales of the Night is that the characters talk incessantly about “secrets” but lack a basic understanding of what a secret really is or why it holds such power—a key failing in a series that is predicated on the idea that secrets are a kind of supernatural currency. Not recommended.

A Certain Magical Index, Vol. 20

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By Kazumi Kamachi and Kiyotaka Haimura. Released in Japan as “To Aru Majutsu no Index” by ASCII Mediaworks. Released in North America by Yen On. Translated by Andrew Prowse.

I talk a lot when reviewing Durarara!! that Narita likes to write books that set up plot guns on the mantelpiece than then books where the guns are all fired. To a certain extent, the next three volumes of Index are Kamachi doing the same thing, as all the back and forth of the last nineteen volumes between the Magic and Science sides has led to World War III, with Russia and Catholic Europe fighting against Academy City and Protestant England. Of course, the war is merely a front for Fiamma of the Right, but you could say that about a lot of real-life wars. This book is also notable for trying to feature the three male protagonists equally, all of them somewhere in Russia: Touma and Lesser are trying to find Sasha Kreutzev before Fiamma does; Hamazura is trying to get someone to help Takitsubo but ends up pinned down by a group of privateers; and Accelerator is trying to save Last Order but is hampered by the worst possible person coming to stop him. Literally.

There are an awful lot of folks introduced in this volume who are only in this arc. The two who seem to warrant mentioning further are Elizalina, a young woman who has an alliance of various states right next to Russia which are totally not the Baltics in the same way that the Roman Orthodox Church is totally not the Roman Catholic Church; and the “Femme Fatale”, who we know very little about from this book, but we’ll be seeing more of later. Ah yes, and Misaka Worst, of whom much more just below. Meanwhile, Lesser is attached to Touma here as the author knows that he works best when bouncing off someone else, and also that her type (the tease) hasn’t really been used around him before. Of course, she reckons without Touma’s complete lack of interest; I don’t think he’s ever really calmed down or had two days to run together since the start of the series to think about which girl who wants to bang, if any. In any case, Touma fails at his main objective, and is also guilt-tripped by Fiamma. Fortunately…

There’s Accelerator’s plot. I have to be honest, the concept of Misaka Worst is excellent. From the meta of describing herself as the “Third Season” of Misaka clones (though given how bad the anime’s Season 3 was handled, that joke gets a bit dark) to the concept of her being the repository of all the negative feelings the other clones have (which is why she gets to be something other than ‘deadpan’) to the scientists of Academy City creating her as the ultimate Accelerator-stopping weapon as they know he’s resolved to never kill another clone, so he has to other kill one and break or let himself be killed. He avoids killing her for the moment, but breaks anyway, in a truly epic primal screamfest of despair and fury. Fortunately, Touma shows up, not only to punch sense into Accelerator by telling him to stop getting hung up on “good and evil”, but also to stop himself from getting caught in in Fiamma’s bullshit and realizing it’s OK to save Index even if it means admitting he lied to her about his memory. Oh yes, and to reset Last Order’s fatal sickness with his right hand, though she’ll get worse again fast.

I didn’t mention Hamazura, but then he didn’t really get to do much except show how the “powerless” guy can also be cool and save the day. (Speaking of which, a mother and her kids are saved by Touma, and then later saved from a different crisis by Hamazura. I was bummed Accelerator didn’t save them as well.) That said, Vol. 21 promises he’ll get more to do; Academy City sent Misaka Worst to stop Accelerator, and now we get Mugino, who unsurprisingly is STILL not dead, being flown to Russia just to destroy Hamazura. Oh yes, and there’s the real Misaka as well, who is frustrated at Touma being in Russia saving the day without her and decides to hijack a plane so she can see what the fuss is about. If nothing else, this means we’ll get a lot more women in the next book… and also possibly a much higher casualty count.

If you’re interested in reading Index 20, the series is likely review-proof for you. But this was a good volume, light on the fanservice (Lessar’s pathetic attempts are pretty much it), heavy on the action, and filled with war being hell. The war continues next time.

Durarara!!, Vol. 13

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By Ryohgo Narita and Suzuhito Yasuda. Released in Japan by ASCII Mediaworks. Released in North America by Yen On. Translated by Stephen Paul.

And so, in the end, so much of DRRR!! turns out to be about love. First and foremost we have the love of Shinra and Celty, which is twisted (as Shinra cheerfully admits, saying he values his love for Celty over her own happiness) but also romantic, with Celty continuing to be the most tsundere Dullahan ever. She also saves the day about ten times over here, making sure that Mikado doesn’t kill himself, stopping the zombie Saika outbreak for a bit, etc. There’s also the love Anri has for Mikado, which is still in its nascent form but at least she can now admit to herself that love is what it is. Mikado’s feelings are a bit more vague, but he did save her from being stabbed (and was apparently in a coma for a month afterwards!), so that counts for something. There’s Seiji and Mika, who have Celty’s head keeping them together, even if their motives are totally in opposition. And then there’s Haruna and her teacher, who get one of the more horrifying but also satisfying twisted ends. Love is everywhere.

And yes, let’s also talk about Shizuo and Izaya. I think if you told canonical Izaya that he was in love with Shizuo he’d have something nasty to say to you, but it is striking how dedicated he is to proving that Shizuo is a “monster”. Izaya, who loves humanity as an abstract whole but can’t be attached in any way to individuals, pales in comparison to Shizuo, who gets TOO emotional when confr4onted with individuals, and needs to learn restraint, something Vorona helps teach him a bit. (Basically, he needs people to be a good example for.) I would not say Izaya is jealous of this per se, but I think he does not want Shizuo, whose body is almost indestructible and who can throw vending machines with one hand, to be a normal human. Moreover, while Izaya needs to have Shizuo as his nemesis, Hark a Vagrant style, I’m, pretty sure Shizuo would be happy to never see Izaya again. They’re both dark mirrors of each other.

This was one of the few LNs where I’d watched the anime before I read the book, and I was surprised that the epilogue made a few changes. Aoba sitting himself down in front of Anri and Masaomi at the hospital and being smug reads oddly, and you wonder why Masaomi doesn’t slug him. I think the anime wondered this as well, adding in a scene with Akabayashi threatening him to replace it and make it clear that this isn’t Aoba’s win. That said, the epilogue does seem to wrap everything up, at least as far as the current plot points are. The afterword mentions the sequel LN Durarara!! SH, but it’s not clear if that will be licensed here, and Narita’s current erratic writing schedule means it’s somewhat stalled at the moment. Fortunately, DRRR!! works as a contained unit here. Celty comes to terms with herself, Mikado realizes that being a villain is not what he wants to be, and they all live happily ever after. Except Izaya.

Hayate the Combat Butler, Vol. 34

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

The history of Hayate the Combat Butler is an interesting one. Very much a funny gag sort of story for the first 16 or so volumes, it attracted that sort of audience, and the first couple of anime were of that nature as well. Then came the Athena arc, which was really good, and set up a far more serious backstory for the manga, which attracted fans who really wanted to know about that story. And so the last ten to fifteen volumes have made an attempt to still be light-hearted gag comedy while throwing out the occasional plot bone to keep readers here for the plot satisfied. It… hasn’t really worked. This will reach its apex about two volumes from now, in the series’ most infamous chapter, but for the moment readers who want more about castles and coffins will be delighted to find there’s an extended section here where Hayate discovers a hidden room in the boarding house, with something very familiar inside.

It is notable that everyone involved in the discovery of the hidden room is not one of the “normal” cast members, if such a word can be used to describe people like Hinagiku or Nagi. It’s Hayate, Tama the tiger, the ghost priest, Alice, who still doesn’t remember her past but is there because of who she is, and Isumi, who reminds us that this is still a comedy even in the dramatic plot sections by making an absolutely ridiculous entrance through the wall of the building, knowing full well how awesome she will look. Sadly, she looks less awesome when up against the series’ new minor villain, whose name I’m not sure of yet but she does enjoy wearing her Gurren Lagann cosplay shades. This doesn’t answer many questions… well, OK, any questions, except who shade-wearing woman is working for… but it does remind you that this plot exists, and it weighs on Hayate’s mind.

Elsewhere,the boardinghouse continues to fill up, first by adding Ruka, who has “run away from home” because they’re trying to make her stop being a doujinshi artist and stick to pop idoling, as well as Ayumu, who literally has a mom and dad to live with but scrapes up the money to live in the boarding house for a month because she senses how big a threat Ruka is in the Hayate sweepstakes. (This leads to the best gag in the volume, where Hinagiku is stunned to find that she isn’t a threat – after all, if she can’t confess, what good is she?) We also get more of Ruka’s backstory, which matches Hayate and Hinagiku’s on the “bad parents” front (the bad parents are always in silhouette). And Nagi’s manga continues to be the series’ achilles’ heel, as her attempts to get better at it are bad and she still remains pretty annoying.

Still, overall this was a very good volume for the 5-6 people still buying this series, and if anything else we got to see Isumi performing feats even an olympic gymnast might have trouble with.

Suspension: Kubitsuri High School – The Nonsense User’s Disciple

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By NISIOISIN, illustrations by take. Released in Japan as “Kubitsuri Hai Sukūru: Zaregoto Tsukai no Deshi” by Kodansha. Released in North America by Vertical, Inc. Translated by Daniel Joseph.

(This review was based on a copy provided by the publisher.)

It’s been a long time coming, my friends. We got the first two books of Zaregoto back in the Del Rey days, and they did not sell well at all. But Nisio’s reputation grew, and the Monogatari novels did better, and then Zaregoto got an anime, not to mention the constant fan begging on Twitter, and here we are: the third in the Zaregoto series, a mere nine years later. Was it worth the wait? I think so. It’s not as good as the second book, but that’s a very high bar to clear. More to the point, while it’s still invested in lampooning the mystery genre, Nisioisin is not as concerned with the intricacies of the Whodunnit anymore. Which is good, as it’s pretty obvious early on who the killer is. Instead we get what the Zaregoto series does best, which is a book that looks at what it means to be a normal human told through the story of people who aren’t remotely normal.

Ii-chan is abducted… erm, invited by Jun Aikawa to help her with an escape. There’s a certain girls’ academy that has a student that would like to leave it. And so Ii-chan dons a girls’ school uniform and goes to meet this girl, Ichihime Yukariki. Of course, things do not go quite as easy as that, as Ii-chan quickly finds that the school seems to be training up assassins. Needing to get rescued from the rescue by Jun, the three of them try holing up in the office of the Director, only to find that there’s no escaping a pile of corpses that keeps getting larger. In the meantime, Ii-chan continues to entertain the reader by being his usual self, deflecting, prevaricating, omitting, and outright lying most of the time. The question is, how is he going to deal with it when he runs into someone who’s a little bit like him? No, not Zerozaki, someone else.

This is a slim book, the shortest in the series (there was apparently a contest, which Nisio used as an excuse to add an extra book to his contracted amount), and it’s also far more action-filled than the previous two. Which is to be expected given that Jun plays a much larger role here. It’s also got a lot more corpses than the previous two, though to be fair most of those are offscreen. The reason to get the book, though, is the dialogue and conversations between Ii-chan and the cast. He still avoids saying his name, but does give a few hints to one of the students which might help narrow it down for those who might know Japanese and also be good at math. And Ichihime is also a fascinating new addition to the cast. I’m not sure if she’ll show up again, but I suspect that Ii-chan inviting her to live in the apartment complex he currently does is some fairly unsubtle foreshadowing. I also really liked the other two students we met here, but sadly this is the last we’re going to see of them, unless Nisioisin does something weird like write them into a prequel in his Zerozaki side series. Lastly, Jun calls Ii-chan out on being a mystery protagonist – like Jessica Fletcher, wherever he goes, murders follow.

This does not have the psychological fascination of the second book, as I said earlier. It’s a quick hit-and-run. But it’s still a really good read, and I certainly hope that it does well enough that we get the 4th and 5th books (a 2-parter) before 2029.

Invaders of the Rokujouma!?, Vol. 23

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By Takehaya and Poco. Released in Japan as “Rokujouma no Shinryakusha!?” by Hobby Japan. Released in North America digitally by J-Novel Club. Translated by Warnis.

As we are at a particularly dramatic point in the main storyline, clearly it is time for another short story collection that takes place before everyone went off into space. These stories all seem to take place at some vague point between Vols. 14-20, and once again three of them were serialized online and one is original for this book. You can probably guess that the best of the four is the exclusive one, and you’d be correct, but they’re all pretty decent, showing off these characters we’ve come to enjoy. The first story continues a theme of Harumi being rather annoyed at Koutarou treating her like the sweet, fragile girl, so she asks Kiriha for advice on how to be a “bad girl”. This goes about as well as you’d expect, as Harumi is as sweet as pie. Likewise, Clan is noted for her awkward tsundere attitude around Koutarou, and that’s not going to change either, even if she does start working out with him and Shizuka.

Elfaria gets the cover art for once, as well as the third story, where she explains why she looks so young (genetics, she’s an alien) and allows Yurika, Maki and Sanae to give her a makeover to make her look even younger, at least for a time. This also allows Koutarou to see Elfaria as she was when he first met her, which throws him for a loop – no doubt her intention. This all leads to the final story, where the class goes on a trip to… well, the text if careful not to say where they go, except they have to fly, but it’s not Kyoto. A rather lonely Harumi and Clan end up tagging along, but the big plot point of this story is another girl in the class, Shiori, who has known Koutarou since he was little, has made up her mind to confess to him. (His basic standoffishness is why she put it off for so long.) Suddenly the girls are all worried – sure, they’re all close to Koutarou, but will this girl pass them all?

The answer isn’t surprising (no), but the key point comes when Kiriha realizes what’s been bugging her about this whole situation: the girls are feeling jealous of Shiori, but not of each other. No one in the group resents anyone else for being in love with Koutarou. It’s important setup given that this ISN’T one of those fantasy isekai worlds where polygamy is legal to solve everything. Kenji also helps underline this point by telling Koutarou he has to buckle down and pick one of the girls to date formally, and Koutarou absolutely cannot so it as he can’t imagine living without any of them. The feeling of family has to come first – they all love each other, but “romantic love” is still down the road. The story also helps to remind everyone how much the girls – and Koutarou – have grown sine the start of the series.

So overall a good short-story collection. That said, I’ll be glad to be back in the main action with Vol. 24. Good thing it’s already out.

Accel World: Pull of the Dark Nebula

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By Reki Kawahara and Hima. Released in Japan by ASCII Mediaworks. Released in North America by Yen On. Translated by Jocelyne Allen.

It goes without saying that Sword Art Online is just SLIGHTLY more popular than Accel World, by a factor of about 100. This despite the fact that I think that in general Accel World is the better written title, mostly as Kawahara learned form the mistakes he made in SAO. It serves him well in this 19th volume, which is, once again, almost entirely setup for the next big series of battles. The subtitle sounds ominous, but is actually suggestive of the larger plot: Kuroyukihime’s group is going to storm the White Legion territory, but there just aren’t that many of them. What’s more, Kuroyukihime herself needs to stay behind. What’s the answer? More allies. We already have the new snack-based trio that joined last time. And we have Niko and Pard. Perhaps Ash Roller. But is that enough? Can we get some former enemies on our side? What’s more, perhaps we can even… merge two legions? The author makes this sound pretty dramatic and exciting, which is good, because more than any other AW book to date, this is all conversations.

The former enemy is Magenta Scissor, which is not too much of a surprise. The surprise is who comes to fight/debate her into switching sides. It’s not Haruyuki, and I like that the cast has grown large enough that we can have scenes like this not need to feature him. Instead it’s Chocolat Puppeter, who engages in a water-based battle with her partner Avoacdo Avoider before getting to the core of Magenta’s cynical philosophy, much of which stems from her real life watching Avocado (who, it is hinted, has a learning disability in real life) get bullied by the other kids in the hospital they were both in. She also has a condition I’d never heard of, but (like everyone in Accel World) helps to explain her avatar in general. Again, a reminder that a good core of Brain Burst is based on childhood traumas.

The start of the book finishes up the conversation in the Castle, with Graphite Edge (who is feeling less like a Kirito gag and more like a takeoff on the typical blockhead shonen hero, though he’s smarter than that) divvying out information as slowly and obliquely as he can, but we do get an awful lot of plot and background details here that feel important. Accel World is, as far as I know, not ending anytime soon, but the pieces of what needs to be done before the ending are still in place. And, much like its parent series, we are also dealing with “NPC” characters who nevertheless pass every test of sentience out there. I’m not sure if Metatron’s fate will mirror Alice’s, but it’s plain to see what sort of things Kawahara was interested in and researching as he wrote this.

So this is a solid volume in the series. The 20th book sounds like it will begin the next “books of mostly fighting” arc, but I’ve been fooled by that before. Till hen, enjoy this book of mostly talking.

Dorohedoro, Vol. 23

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By Q Hayashida. Released in Japan by Shogakukan, serialized in the magazines Ikki, Hibana, and Monthly Shonen Sunday. Released in North America by Viz. Translated by AltJapan Co., Ltd. (Hiroko Yoda + Matt Alt).

I knew it had been a while since the last volume of Dorohedoro, but I did not realize that it had been a year and a half. It’s been a long journey – the manga started here in 2010, so almost ten years ago. And in Japan it’s been since 2002. This volume is packed – it’s 350 pages long, so essentially a double volume – trying to get everything resolved before the end of the series. As a climax, I think it’s very fitting. It is not without some last minute deaths (the Cross-Eyes, who have been the designated butt monkeys of this series, continue to fare badly) and is filled with lots of blood, gore and zombies, as you’d expect from Dorohedoro. But for the most part, this is as close to “and they all lived happy ever after” as you’re going to get from this story, and I was quite pleased. (It also stayed firmly on the side of “this is not about romance” – the three “couples” are together, but there’s nothing suggesting they aren’t just friends.)

I really can’t discuss this volume without discussing its major brilliant move. Caiman, for the most part, has been defined by his search for who is the head in his mouth – we now know – but also by his love of gyoza. This love has been far more than just a light coedy personality thing for some time now, but it’s in the final volume where it reaches its zenith. To stop the sorcerer-destroying monster, Caiman is made into a sorcerer, which gives him a magic rod that he can use how he sees fit. This ends up essentially turning him into Magical Gyoza Caiman, complete with a magical familiar gyoza, which we have, of course seen before. Together Caiman essentially functions in this final volume like Sailor Moon, going up against tthe big bad and the big bad’s final monster, and trying to rescue his friend, who has died. It’s Episodes 44-45. Except that Caiman actually survives.

Once this is taken care of and Nikaido is resurrected (she does not get much to do here, but her arc resolved before Caiman’s), it’s time for the epilogue. Well, actually, we do see Shin and Caiman join forces to defeat the monster right at the end, despite still having an understandable antipathy between each other. The epilogue shows Shin and Noi are still partners, Fujita is the only one who seems to think of honoring the dead, and that more than being a devil or being a sorcerer, Nikaido wants to run the Hungry Bug. Oh yes, and there’s Turkey, who offhandedly remarks that they apparently transitioned to a female for the past few years – something that En’s family notably doesn’t care about in the least, instead being more surprised that Turkey’s mask IS a turkey you can eat. I thought this was a terrific offhand character moment that fit right in.

And so we end Dorohedoro. Easily the most popular of the series that Viz debuted under the SigIkki imprint, I believe that its end means the end of that imprint as well, though I could be wrong. It was worth it. This was a badass, dark but hilarious journey from a woman manga creator filled with violence, nudity, friendships, tragedy, magic, and gyoza. I loved it.

Shojo & Tell: Moto Hagio Edition

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To celebrate the release of Moto Hagio’s The Poe Clan, Shojo & Tell host Ashley MacDonald invited me to join her for an in-depth conversation about three of my all-time favorite manga: A, A’, They Were Eleven, and A Drunken Dream and Other Stories. We mulled over plot developments, discussed problematic passages, and agreed that “Iguana Girl” may be the biggest tear-jerker in the Hagio canon. (Seriously–I can’t read it without getting the sniffles.) Ashley just posted the episode, which you can check out here:

For more insight into the manga that we discussed, I recommend the following essays and reviews from The Manga Critic vault:

I want to thank Ashley for the opportunity to chat about Hagio, and for doing such a terrific job of editing our conversation! If you’re not regularly following Shojo & Tell, I encourage you to check out the archive, as Ashley is a thoughtful host with a knack for choosing great manga and great guests. Recent contributors include Aisha Soleil and Rose Bridges discussing Bisco Hatori’s Ouran High School Host Club, Asher Sofman discussing CLAMP’s Tokyo Bablyon, and Manga Bookshelf’s own Anna Neatrour discussing Meca Tanaka’s The Young Master’s Revenge. Go, listen!

 

Our Last Crusade or the Rise of a New World, Vol. 1

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By Kei Sazane and Ao Nekonabe. Released in Japan as “Kimi to Boku no Saigo no Senjou, Aruiwa Sekai ga Hajimaru Seisen” by Fujimi Fantasia Bunko. Released in North America by Yen On. Translated by Jan Cash.

Let’s get this out of the way first: that is one awkward title, and it’s actually the much better choice, as when this was first announced by Yen the title was the even worse “The War Ends the World / Raises the World”. It’s trying to convey a certain apocalyptic mood, asking whether this book will feature the end of everything or the rebirth of something. This world has two power blocs fighting each other to the death. The Empire is a nation of science, with a mysterious council behind the scenes and battle-hardened swordsmen and engineers. The Sovereignty is a magic-dominated world, run by a royal family descended from their progenitor, and controls the very elements. They hate each other a whole lot. The Empire has just released its best swordsman, currently serving life in prison, to defeat the Sovereignty’s most powerful astral mage. He was a boy. She was a girl. Could I make it any more obvious?

If I was to be even more glib than I was in that last sentence (something I’m not sure is humanly possible), I’d say that this book is something like “Romeo and Juliet meets A Certain Magical Index”. Certainly Index fans will have a feeling of similarity with the magic and science sides of this particular world, especially given each have mysterious and possibly evil heads of state. Iska doesn’t quite have Touma’s bad luck, but the whole reason for his imprisonment seems to be that he saved an enemy mage (she didn’t have much power, and therefore he didn’t feel she deserved the treatment she got), which is very Touma. As for Aliceliese, there’s a good deal of Mikoto in her, particularly her tendency to get overemotional and upset when she keeps running into Iska coincidentally despite their being (supposedly) bitter enemies. Of course, they’re actually falling in love at first sight. Which, to be fair, is not much like Index, which will never given Touma romantic feelings.

This book is pretty solid, with some nice fight scenes, very amusing comedic romantic moments, and a reasonably-sized (for now) supporting cast. I will admit I did not immediately warm to Mismis, Iska’s commanding officer and “big sister”, mostly due to a very unfortunate interior illustration which can be described as “lol, huge boobs”, and I felt that her “empathic” skills that are apparently why everyone respects her should have been used a bit more often than the “ditzy klutz”. Speaking of the illustrator, they may be familiar to North American readers from Battle Divas, as well as the 2nd (of 3!) artists for The Magic in This Other World Is Too Far Behind!. Not a fan. Despite these flaws, though, I was intrigued enough to try more. It’s not as serious and dramatic as I’d have liked (for those who want that, give 86 a try), but if you want an “anime-style” action romance that for once does not seem to involve magic academies, this is a decent start.

Ms. Koizumi Loves Ramen Noodles, Vol. 1

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By Naru Narumi. Released in Japan as “Ramen Daisuki Koizumi-san” by Takeshobo, serialization ongoing in the magazine Manga Life Storia. Released in North America by Dark Horse Comics. Translated by Ayumi Kato Blystone.

We have had so many food-related manga coming out over the past few years that it’s become somewhat hard to break away from the pack, especially given that there’s dungeon crawl foodie manga, isekai foodie manga, Fate/Stay Foodie, etc. When I picked up the first volume of this, I was uncertain what we would get besides a lot of loving descriptions of ramen. And we certainly do get those. The title is no lie, and Koizumi will happily ramble on and on about broth, sauces, ingredients, soft or hard noodles, etc. But the series actually does a good job balancing out the ramen with a real cast of characters. Koizumi is a recent transfer student, and another student, the hyperactive, overly affectionate Yu, wants to be friends with Koizumi. (And possibly more, yes, but if there’s yuri in this it’s really tiny.) The difficulty is that Koizumi loves ramen noodles but not much else. And also Yu pushes way too hard.

The plot, such as it is, involves various ramen places and Koizumi eating in them, while Yu attempts to get to be her friend and mostly fails miserably. There are two other girls in the cast, the popular but fragile Misa and the “class president”-esque Jun, both of whom amusingly seem to bond with Koizumi much better than Yu, who is simply trying too hard. The series is light-hearted so this isn’t too much of an issue, with Koizumi mostly being very cold about it. And it does throw Yu a bone towards the end, when Koizumi collapses due to a personal tragedy (the ramen shop is closed today), and Yu makes her special (and weird) homemade ramen. The chapter with Misa, where she eats spicy ramen with Koizumi to get over a breakup, is excellent (I was expecting her to fold when she first tasted the ramen, but no…) and Jun’s chapter will resonate with anyone who has terrible eyesight.

The other star of the manga is, of course, the ramen. I’m not a ramen student, so mostly just smiled and nodded when Koizumi went off on her long tangents explaining ramen’s styles and variations, but they do seem very informative. I was especially amused by the chapter where she managed to find ramen in a McDonald’s (it was in Hawaii), and by contrast once ate a burger and fries in a ramen shop. She’s not Chie-sensei, she can eat other things. The ramen and eating of such are also drawn nicely, giving the reader a healthy appetite, which is the goal. Given that the series is seven-plus volumes in Japan, I’m sure we haven’t even begun to get into all the ramen discussion we could be having, though I hope that it continues to balance things out with stories of the four lead girls.

Food manga enthusiasts, or those who like manga starring a bunch of cute high-school girls, should like this. Just… take it down a notch, Yu.

The Way of the Househusband, Vol. 1

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If you’ve seen Lillehammer or My Blue Heaven, you’ll immediately recognize the foundation on which The Way of the Househusband is built: a mafia don or hit man renounces his old life and joins the ranks of ordinary civilians working nine-to-five jobs, mowing lawns, and attending school plays. Predictably, the transition from whacking rivals to whacking weeds is a bumpy one, as the former criminal discovers that the skills he acquired in his old line of work haven’t fully equipped him for a more prosaic existence; seemingly benign interactions at the principal’s office or the post office are fraught with peril, as they’re guided by unfamiliar social codes. Then, too, there’s the specter of his old life—the possibility that a former associate might recognize him or seek him out for one last job.

The Way of the Househusband covers all of this well-spaded ground, earning its laughs by putting fresh twists on familiar scenarios. Its protagonist, the stone-faced Tatsu, is a former yakuza boss-cum-househusband who spends his days making elaborate bento boxes for his wife and scouring the grocery store for bargains. As is standard for this particular fish-out-of-water genre, Tatsu’s sangfroid is sorely tested by the minor annoyances of civilian life: a visit from the neighborhood association president, a trip to the mall.

When a knife salesman knocks on Tatsu’s door, for example, author Kousuke Oono teases the idea that his characters’ interactions might end in violence or a harrowing demonstration of Tatsu’s knife-wielding skills. Instead, Tatsu has an opportunity to show off his culinary prowess, winning over the understandably nervous salesman with his “patented hamburger steak plate.” The salesman’s rhapsodic expression and interior monologue put the gag over the top, as the salesman identifies the dish’s secret ingredient—“minced fish paste”—and muses that its flavor “takes me back to my hometown.”

Strong artwork is essential to selling a slapstick premise like Househusband’s, and for the most part, Oono succeeds. Oono’s characters have distinctive appearances that makes it easy to “read” their comic function–the suspicious neighbor, the former crime associate–but Oono never relies on this technique alone, often giving bit players an unexpected moment of steeliness or resourcefulness that nudges the joke in an unexpected direction. The salesman, for example, looks like a soft, middle-aged man, but turns out to be stronger, pushier, and more determined than his initial reaction to Tatsu might suggest, quickly recovering his composure after Tatsu answers the door wearing a bloody apron. (“I was just, uh, doin’ a little butcherin’,” Tatsu explains sheepishly.)

Appearance-wise, Oono does a great job of making Tatsu look utterly incongruous with his surroundings. With his pencil-thin mustache, scarred face, and aviator sunglasses–not to mention his black suit and tattoos–Tatsu cuts a striking figure in the supermarket and on the street. Oono invigorates this obvious sight gag by swathing Tatsu in housewife “drag,” outfitting him in a kerchief and apron emblazoned with a shiba inu to further emphasize just what a fish out of water Tatsu is. That same attention to detail extends to the way that Tatsu moves; Oono draws him like a human cobra whose sinewy, explosive movements strike terror into his enemies’–and his neighbors’–hearts.

Sheldon Drzka and Jennifer LeBlanc’s skillful adaptation of the script is the icing on the cake, giving every character a distinctive voice, and every exchange the pleasant zing of a good Saturday Night Live or Key & Peele sketch–no mean feat, given the cultural specificity of the jokes.

As good as the script and art are, however, I have a sneaking suspicion that Way of the Househusband might run out of gas after three or four volumes unless Oono pivots the storyline in a new direction–say, by introducing a baby into the picture, or revealing that Tatsu’s hard-charging wife has a secret past of her own. But for now, I’m happy to continue reading any series that pits a former yakuza boss against a Roomba and a frisky cat, or depicts a manly man going to extreme lengths to ensure that his wife has a tasty lunch. In the immortal words of Paris Hilton, that’s hawt. Recommended.

VIZ Media provided a review copy. Read a free preview here.

THE WAY OF THE HOUSEHUSBAND, VOL. 1 • STORY AND ART BY KOUSUKE OONO • TRANSLATION BY SHELDON DRZKA, ADAPTATION BY JENNIFER LEBLANC • VIZ MEDIA, LLC • 166 pp. • RATED T+, FOR OLDER TEENS (SUGGESTED VIOLENCE, YAKUZA JOKES)