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Reviews

The Asterisk War: Festival Symphony

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By Yuu Miyazaki and okiura. Released in Japan by Media Factory. Released in North America by Yen On. Translated by Haydn Trowell.

The author admits in the afterword that this was supposed to end with the start of the next school battle, but that things got out of hand. As such, we have another volume that is theoretically marking time and having fun before the next round of fights. In reality, of course, what we get here is more insight into the six other schools, with attention paid to almost all of them. We finally find out what Claudia’s wish is, and why the entire world seems to want to stop her. And Ayato gets another girl falling in love with him, and like the others, she’s intensely likeable. The drawbacks of the series remain the same – every plot twist is quite predictable, and the characters sometimes seem to be types rather than real people. But as a book that puts the “light” in light novel, it’s fun.

The majority of the book, as the title might suggest, is taken up with the Culture Festival that all six schools are giving. Ayato has agreed to take Sylvia on a date around the schools, something which the other girls in his orbit are all very well aware of. I liked the differing approaches to dealing with their jealousy – Julis hides from the entire festival and works on training, Saya does a bunch of events where she can just destroy everything, etc. Ayato, meanwhile, being terminally clueless about romance, has no idea why any of this is going on, which can sometimes be a problem, as he and Sylvia put on disguises but he keeps breaking their cover. The date itself also serves as an excuse to talk a bit more about the different schools and the types of students they attract, and we also meet some new recurring cast members, both comedic (the idol group that’s trying to top Sylvia) and serious (Jie Long’s new powerhouses, though Hufeng’s “long suffering” attitude is sometimes funny).

We’re gearing up for the next tournament, the Gryps, which depends on teamwork. As such, Claudia discusses her weapon and what the drawbacks to it are, and also shares why she wants to win: she wants to talk to a supposed criminal that’s been imprisoned. Ayato and Sylvia, meanwhile, may not be at the same school, but their desires also hinge on the book’s later plotline, with Ayato being offered a way to wake his sister up that involves a “deal with the devil” sort of bargain, and Sylvia finding out that her old teacher is not who she once was. Sylvia seems to have a large amount of “I don’t want to burden others with my own problems” to her, which I’m sure will get her in danger sooner rather than later.

The Asterisk War is never going to be among the best light novels out there, but it’s always readable and fun, and I’d argue it’s perhaps the most “typical” example of the genre.

Chio’s School Road, Vol. 1

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With the new school year underway, now seemed like the ideal time to review Chio’s School Road, a gag manga about an average teen with a rich imagination and a talent for getting into trouble. Think of it as a female answer to My Neighbor Seki or Haven’t You Heard? I’m Sakamoto!!, two similar comedies in which a high school student turns out to have some truly astonishing skills.

Chio’s School Road is built on a simple but sturdy premise: Chio Miyamo, an average high school student, goes to comic lengths to avoid embarrassment. And by “comic lengths,” I mean diving into dumpsters, hiding in a tree, and giving her best friend a passionate kiss to conceal the fact they were eavesdropping on the popular kids. To be sure, these kind of scenarios are standard comic fodder, but Tadataka Kawasaki takes the gags in such unpredictable directions that the payoffs are fresh and funny without frustrating the reader’s desire to see the dignity-challenged Chio prevail.

In chapter three, for example, Chio stumbles into an alley blocked by members of a biker gang. Her attempt to slip past them goes awry, leading to confrontation in which Chio inadvertently escalates the situation with a nervous stutter. “You pick a fight and then laugh? You got some balls!” the head biker declares, prompting Chio to reveal her “true” identity as Bloody Butterfly, an assassin who’s “out every night packing heat” in the mean streets of Tokyo. The joke, of course, is that Chio is recycling bits of dialogue from her favorite first-person shooter game, delivering her lines with the swagger of a yakuza foot solider — a swagger she can’t sustain as soon as she arrives on school grounds.

The only strike against Chio’s School Road is the fan service. In one particularly egregious sequence, Kawasaki draws a woman’s chest as if two balloon animals were tussling under her sweater. (Seriously, folks: breasts do not look like balloon animals. Not even on a braless woman. No, really.) These panels are noticeable in part because his draftsmanship is otherwise crisp and convincing, creating a vivid sense of the urban neighborhood where Chio attends school, and strong sense of the characters’ personalities. Still, I wouldn’t hesitate to recommend Chio’s School Road to fans of My Neighbor Seki and Haven’t You Heard? I’m Sakamoto!, as it delivers a steady stream of amusing, weird, and well-executed jokes. Better still, Chio earns its laughs honestly by reminding us that Chio isn’t ordinary at all; she’s just striving to be. Recommended.

Chio’s School Road, Vol. 1
Art & Story by Tadataka Kawasaki
Translated by Alexander Keller-Nelson
Yen Press, 160 pp.
Rated OT, for Older Teens (Sexual and bathroom humor; fan service)

Otorimonogatari: Decoy Tale

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By NISIOISIN and VOFAN. Released in Japan by Kodansha. Released in North America by Vertical, Inc. Translated by Ko Ransom.

This was one I was always going to be very interested in. Long-time readers of this blog will know that “Sean loves to defend hated characters” is a thing I do, especially when the characters are young women and the haters are mostly men. And while I’d argue that the most recent Monogatari anime has meant that Nadeko Sengoku isn’t hated anymore, I think there’s still a lot of ambivalence about how to react to her in the fandom. Now, having read the book that features her, I can see why that’s the case; Nisioisin is trying to lead you that way himself. There are a LOT of elements in this book designed to set the reader up to viciously turn on Nadeko. Rumor has it that the story idea came to Nisioisin after Kana Hanazawa, the voice actress who played her in the first Bakemonogatari series, said she’d like to play a Nadeko who’s turned evil. And that’s what we get here, even though I can’t help but see it as a stressed introvert at the end of her rope finally snapping.

Even Nadeko’s narrative voice is leading the reader to think “OMG, FAKE CUTE!”. She thinks of herself in third person, and speaks that way as well, which is common for children in Japan, as well as “girls who are trying to be cute”. She also has a tendency to quote and misspell certain words, which I’m not sure about – is it something to do with katakana? I’d like translation notes on that, but again, I think it’s meant to be seen as an affectation. Most notably, though, when she uses the personal pronoun ‘I’ it’s in lower case, showing off the fact that Nadeko debases herself to a large degree. That said, for all the narrative tricks, Nadeko is basically going through the ever-popular “middle school syndrome” to a large degree, and most of her personality problems that aren’t “is a terminally shy girl” are based around that. It’s telling that she gets called out big time by Tsukihi, who one can argue is the extroverted version of Nadeko, but also owns that and doesn’t try to deny it.

There are a lot of great set pieces in this book. Tsukihi’s teardown of Nadeko, which is not so much about Nadeko’s fake cuteness – Tsukihi even praises that – so much as Nadeko’s desire to not try to move forward or have a goal. (There’s some light subtext here, not helped by Nadeko wondering if she actually fell in love with Tsukihi rather than Araragi.) And then there’s Nadeko finally losing it when her asshole teacher asks if she’s managed to fix their classes’ problem, as she starts screaming, swearing, and kicking in doors in one epic tantrum that is, frankly, awesome. Unfortunately, things go south after that. For all that the “villain” of this piece points out that he’s imaginary and this is all Nadeko’s delusion, we can finally start to see a sort of arc villain: Ogi Oshino seems to actively be pushing against Araragi, and it’s concerning, especially as this book ends unresolved – Nadeko is now a Missing Person, and the god that took her place is holed up at the shrine fantasizing about blockbuster action-filled finales that, I hate to break it to her, are not going to take place.

Next time, after Hanamonogatari leapt forward nine months, and Otorimonogatari about 2-3, we finally go back to August to resolve a few plot points there. In the meantime, enjoy Nadeko Medusa, but try not to think of evil scorned Nadeko as her “real” personality any more than cutesy Nadeko was. If we see a “real” Nadeko in this story, I think it comes from a repeated line of dialogue: “It’s just… tiring.”

Silver Spoon, Vol. 4

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By Hiromu Arakawa. Released in Japan as “Gin no Saji” by Shogakukan, serialization ongoing in the magazine Weekly Shonen Sunday. Released in North America by Yen Press. Translated by Amanda Haley.

Through the beginning of Silver Spoon, we’ve seen Hachiken interact with the other agricultural college students, and gradually learn wheat they do and how tough a job it is. He has a reputation, as is stated in this book, for being “stupidly honest”, but doesn’t quite have the life skills that are needed yet to wear that well – he just comes across as stressed most of the time. Still, he is slowly making an impact, and we see that the graduating third years know that he can use those skills if given the chance when they choose him to be vice-president. What’s more, his own ideas are starting to influence the others – we get the resolution of the “pig meat” arc here, and it shows off the way that he forces others to think of new ways to try things and new options to explore, as well as proving Hachiken is never going to become stoic about the slaughter of animals.

Of course, while Hachiken is the main character, there are others to think of. And not everyone wears their heart on their sleeve the way he does. We already know that Mikage is coping with needed to take over her family’s farm even when she’d rather be working with horses, and now it looks as if Komaba is having issues as well. Since they’re both farm kids who grew up together, it’s natural they’d confide in each other. Since they’re both very good at pretending everything is fine in front of other people, it’s natural they’re both unwilling to confide in Hachiken. Still, they both need social skills development, as the blunt “it’s nothing to do with you” they give him over and over pretty much eats into his heart. Unlike Hachiken, who is still a bit lovestruck, I don’t think that this means Mikage and Komaba are dating, I think it just means they’re not good at showing weakness. Which is why, in the end, Mikage ISN’T picked to vice-president of the club.

There are a lot of things going on in this series, and it seems planned out in advance quite well. The chapters do a good job alternating between character drama that advances the plot, learning about farming and agriculture, and goofy fun comedy. The goofy comedy this time around involves all the guys escaping so they can go to “Area 51” to see the amazing spectacle that only comes there at night. Yes, that’s right, it’s… not UFOs. It is, of course, something that would excite everyone except Hachiken (and Tamako, for an extra added punchline). At this point, Silver Spoon seems like a series brimming with its author’s self-confidence. Next time around it looks as if we’re getting the Ag School equivalent of a Culture Festival. Let’s hope Hachiken remembers to have fun. (Who am I kidding, he’ll be a wreck.) Every volume of this is a joy.

Konosuba: God’s Blessing on This Wonderful World!: Princess of the Six Flowers

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By Natsume Akatsuki and Kurone Mishima. Released in Japan as “Kono Subarashii Sekai ni Shukufuku o!: Chūnibyō demo Majo ga Shitai!” by Kadokawa Sneaker Bunko. Released in North America by Yen On. Translated by Kevin Steinbach.

The subtitle of this volume should be very familiar to Yen On fans, as it’s a take on the light novel series Rokka: Braves of the Six Flowers. Whereas in the Rokka series you spend each novel wondering who’s going to be accused of being a traitor, in KonoSuba you spend each novel wondering who’s going to be the designated straight man. Here it’s Darkness, who is forced to act the noble lady far more than she’d like, given that most of the book takes place in a royal castle or in the homes of noble lords. That said, Megumin is mostly under control here as well, with a few notable exceptions. Heck, even AQUA, of all people, shows off her skills during a big battle and is revered by the city for keeping casualties to a minimum. Yes, the entire cast are fantastic… with the exception of Kazuma, who as usual needs to descend to his lowest point before he can rise again.

The cover girl is Iris, the young princess of the realm, who Kazuma desperately wants to see as a little sister so he can add to his list of fetishes (no, really, that’s basically what he says, though at least he has no romantic interest in the 12-year-old princess). She is, for the most part, content to go along with this, as her real big brother is away fighting the demon lord and Kazuma treats her like a normal little girl rather than a royal princess. Unfortunately for Kazuma, he rapidly runs out of cool stories to tell her, and the stories he does tell, as we’ve seen, involve him being clever but the others doing the heavy lifting. And then there really IS a demon lord attack, and Kazuma proves why whenever he’s headstrong and impetuous, he is the absolute worst. Given the rest of the squad saved the day, he’s basically ripped a new one by the princess’ bodyguard in a vicious yet 100% accurate takedown.

She has a point. Aqua, Megumin and Darkness, in a group of four, are all eccentric, impossible to handle weirdos. The same group, however, in a pack of 200 adventurers, are able to function far better. But of course, for better or worse, Kazuma *is* part of their group, and they wouldn’t have it any other way. And he does get to show off his actual talent, finally, in the last quarter of the book, where he helps Chris the thief (remember her?) try to steal a dangerous artifact that has made its way to the princess. When he’s in trouble and actually thinks, Kazuma is very impressive. He’s the opposite of a hero like Luffy. There’s also the standard KonoSuba humor here, which most of the audience is expecting, but it’s a sign of good writing that I’m ignoring it in favor of discussing Kazuma’s character and how he can be incredibly frustrating at times.

A cliffhanger makes me think that the next volume will be Darkness-oriented, and I hope she gets to be silly again. Till then, KonoSuba fans will like this even as they yell at Kazuma for being… well, Kazuma.

I’ve Been Killing Slimes for 300 Years and Maxed Out My Level, Vol. 2

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By Kisetsu Morita and Benio. Released in Japan as “Slime Taoshite 300 Nen, Shiranai Uchi ni Level MAX ni Nattemashita” by Softbank Creative. Released in North America by Yen On. Translated by Taylor Engel

The afterword for this second volume has the author telling us that GA Bunko’s editors told them that the first volume was the biggest seller in the history of the publishing label. Which, given this is the same publisher as Is It Wrong to try To Pick Up Girls in a Dungeon?, is quite impressive. But I can see it. Unlike DanMachi, the average reader does not have to deal with any of those pesky male heroes, and the girls are all cute/sexy/maternal (delete where applicable). [EDIT: It turns out that DanMachi is on a different imprint at the same company, so the two may not be comparable after all.] The series is still trying, for the most part, to keep a “my pace” sort of drama, with plotlines taking the form of things like “we’re opening a maid cafe” and “we have to design a dress for a ghost”. And, of course, the heroine is still an amazingly powerful person but absolutely does not seek to show it off or take advantage of it unless absolutely necessary. Which it is one or two times here. This is such a peaceful series.

The cast remains the same as the first book, with one or two additions. Halkara, the busty elf who was the weakest part of the first book, is better here – there’s still a lot of focus on her bust, but doubling down on the clumsiness and bad luck makes her a more entertaining comedic figure. It can also lead to drama, as with the longest story of the volume, where Azusa and company go to the Demon Lord territory to accept an award (for achieving peace in Vol. 1 by stopping the dragon war) and Halkara accidentally headbutts the demon lord to the brink of death, something punishable by execution. Fortunately, Azusa is clever, and even more fortunately, Azusa is a Level 99 powerhouse, showing off her amazing fighting skills and taking out all the demons trying to arrest them. It all ends up good anyway, as the demon lord (who is also female, to go with the rest of the main cast) proves to be more of a troll – in the internet sense – than actually evil.

New cast members include the ghost I mentioned before, who (like everyone that falls into Azusa’s orbit) proves to be friendly and eager to please, and can even help with the cooking. And there’s also Flatorte, the blue dragon who was the antagonist of the first book. She’s now back and tricked by the demon lord into being Azusa’s slave, though Azusa nips that in the bud immediately, to her credit. If nothing else, she will offer a different kind of personality – the main flaw of the book is arguably that everyone is far too nice and sweet. Now, that is the POINT of the book, which is why I said ‘arguably’, but it can all feel very pat. There’s one story where Halkura gets herself in trouble (again) and our heroes have to take out a corrupt governor. They do this in the space of about 5 pages, in what must be the fastest takedown of this sort of character ever. It’s almost embarrassing.

If you like exciting adventures, run, don’t walk away from this series. If, on the other hand, you want the light novel equivalent of a nice hot cup of tea, this is a great buy.

Ultra Kaiju Humanization Project, feat. POP Comic Code, Vol. 1

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By Tsuburaya Productions, POP, and Shun Kazakami. Released in Japan as “Ultra Kaijuu Gijinka Keikaku – Feat. Pop Comic Code” by Akita Shoten, serialization ongoing in the magazine Young Champion. Released in North America by Seven Seas. Translated by Thomas Zimmerman. Adapted by Janet Houck.

Yes, I know. I don’t know why I do this to myself either. I’m sure many people who are used to me saying that I haven’t seen the anime/game this is based on will be completely unsurprised to know that when it comes to Ultraman in particular and tokusatsu in particular, my experience with it is zero. So naturally, I am the perfect audience for a series that reimagines the classic villainous monsters from the series as high school girls in a fairly standard light comedy high school series. It’s not even the first time this premise has been done! One of the Dengeki magazines also has a series where the kaiju are humanized. So, with all that in mind, I can’t tell you whether a hardcore fan of the Ultraman series will get a great deal out of this. I can tell you that as a fan of all-girl high school light comedies, it was okay.

The other gimmick here is that the planning and character design are by POP, the creator of the insanely popular Moetan franchise which helps teach English to Japanese folks. This probably explains why their name is added to the title in the style of a rap single. The premise is that when the various kaiju are destroyed on Earth by the good guys, they die and wake up as a cute high school girl in your average everyday school. Here most of the girls concentrate on drinking tea, having fun, eating manju, etc. The newest arrival, Mefilas, is seemingly made of sterner stuff, and occasionally tries to get the others to be interested in obtaining the Earth’s heart, etc. For the most part, though, there’s antics involving a kaiju who’s afraid of water (she was drowned in the Ultraman battle), a kaiju with tea rooms seemingly everywhere, and Mefilas’ growing yuri crush on her friend Eleking, which is pretty much completely one-sided.

The manga does a decent job of trying to bring in individual quirks that match up with the original kaiju episode, and the character profiles helpfully give us a picture of what they looked like before. There’s also a vague semblance of a plot, as Melifas and her fellow fired-up partner Alien Temperor investigate a new, mysterious kaiju girl who seems to be a villain, though it’s not quite clear why yet. As for the comedy, well, it’s silly stuff. If you’ve read any of the many series that run in Manga Time Kirara _____, then you’ve seen what’s going on here. We get trying to start a club, eating too many sweets and needing a dentist, etc. So if you’re a tokusatsu fan, I’d only pick this one up if you like cute girls being cute. If, on the other hand, you’re a fan of cute girls being cute but have no idea what tokusatsu is, you’d probably still find this entertaining.

Sword Art Online, Vol. 14: Alicization Uniting

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By Reki Kawahara and abec. Released in Japan by ASCII Mediaworks. Released in North America by Yen On. Translated by Stephen Paul.

(Of necessity, this review is going to have to spoil events in this book. If you want to be surprised, read the book first.)

It has to be said, given the length and breadth of the Alicization series, and the complete absence of most of the rest of the original cast, that Kirito and Eugeo’s relationship feels like the strongest and most valid in the series. Yes, this includes Asuna, who is almost entirely absent from this book save for the cliffhanger ending. But Kirito and Eugeo are meant to be two sides of the same coin, each yearning for what the other has, with Kirito’s cynicism being set off by Eugeo’s innocent idealism. Even the fate of Alice Synthesis Thirty, who nearly sacrifices herself a couple of times for Kirito in this book, has her own Eugeo counterpart in Alice Zuberg’s state of being and eventual fate. Kirito and Eugeo is the main reason to watch the upcoming anime to see what they do with it. And it’s also what makes this volume the most heartbreaking of the books to date.

For all that Kawahara wrote a story about a death game where people die in real life, he’s been pretty good about not actually killing most of the main cast. When there is a death, it tends to have major impact on the characters going forward – see Sachi and Yuuki, for example. This volume, though, is absolutely filled with horrible deaths, both seen and unseen. The actual plot is pretty simple – it’s the end of the fight to the top of the tower. Eugeo throws off his mind control fairly quickly all things considered, but that’s not really helping any of them defeat Administrator, who is simply too damn overpowered. And so one by one characters come out of the woodwork to buy time so that the hero can figure out what to do. And no, that hero’s not Kirito this time, who spe4nds much of the book dealing with the fact that he’s getting his ass handed to him. It’s up to Eugeo to make the ultimate sacrifice, destroying Administrator for the sake of the world, even if it costs him his life.

Actually, while Administrator is the weak part of the book, being the usual ‘I have no nuance I am just eeeeeeevil’ Kawahara villain, she is impressively tough, in that she even survives Eugeo’s final attack, only to get taken out by her minion’s overpowering creepy love for her. Still, she is a piece of work. The ceiling of her tower will go up there with the depiction of the Senate in the previous book as one of the most disturbing things in SAO. As for the state of the world now that Administrator is gone, we’ll have to see. It may have to deal with life without Kirito for a bit, as things have apparently been going on in the real world in his absence, and his “fluclight” is seemingly damaged right at the very end. Will this mean an entire volume with no Kirito narration?

Kawahara says in the afterword he debated letting Eugeo survive in the LN version, but decided not to. Much as I love Eugeo, I think it was probably the right choice. In the meantime, this is a very strong volume of SAO, and I can’t wait to see where we go from here – we still have four books to go after this, let’s remember.

Chio’s School Road, Vol. 1

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By Tadataka Kawasaki. Released in Japan as “Chio-chan no Tsuugakuro” by Media Factory, serialization ongoing in the magazine Comic Flapper. Released in North America by Yen Press. Translated by Alexander Keller-Nelson.

Sometimes you can think yourself to death. We’ve all had that happen to us. You worry about how you’re going to achi9eve something, or how you’re going to talk to that person, or even how you’re going to get to school on time in the morning, your brain goes into overdrive, and you come up with some silly options that no one would actually do unless they were in some sort of comedy manga. Fortunately, Chio is in a manga, and so is able to do the silly things for our entertainment. A typical glasses-wearing, semi-introverted gaming girl, her late night habits lead her to be late almost every day, and things are not helped by random construction, or running into the popular girl and having to interact with her, or even just trying to find a bathroom. That’s the plot, really – we don’t really see Chio much at school, though she does have an equally socially inept friend. It’s just “what happens to Chio next?”.

I get the sense that the author came up with the idea for the first chapter and the publisher wondered what it would be like as a series, because “what if someone really did try to go roof hopping” really is a great one-shot premise, and it even gets highlighted in the cover art. It’s not as easy as it sounds, to no one’s surprise, especially when you’re trying to ensure no one notices you. The rest of the book is not quite as high concept – the chapters with Chio having to deal with interacting with other students, or talking with her equally unpopular friend about boys, are not quite as good as the rest of the book, and the reader gets the sense that this probably works better as a monthly serial in a magazine than it does collected into book form. (I’m also not sure the kissing in the back alley scene works well, as I suspect it will lead yuri readers to expect more tease that likely is not going to happen.)

The best chapters highlight the desperation of Chio’s needs and her motormouth inner monologue, where things just escalate to ridiculous levels. Getting past the gang member with his motorcycle in the path leads, inevitably, to Chio having to pretend to be a feared, deadly schoolgirl assassin, with appropriate glaring, and it’s quite well done, especially the anticlimactic payoff. Likewise, something as simple as Chio trying to find a bathroom spirals out of control and also highlights one of Chio’s other flaws, which is her selective obliviousness when it comes to digging herself into holes. I think whether you enjoy this book depends on how much you can tolerate Chio – she can be somewhat exhausting, and you get the feeling she’s her own worst enemy most of the time. Still, that’s the fun. As long as you don’t sympathize with her too much, Chio’s School Road should be a very entertaining series.

Anonymous Noise, Vols 8 and 9

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Anonymous Noise Volumes 8 and 9 by Ryoko Fukuyama

Oh, Anonymous Noise! It is a series I often find frustrating, because I love the stylish covers, dynamic paneling, and idea of high school kids working hard to find their way in the music industry, yet I do not enjoy the dynamic of the central love triangle where Nino with the extraordinary yet erratic singing voice gets tossed between two tortured musicians like a long-haired, face-masked hot potato. I do fully expect that my occasional feelings of ennui with this manga is due to my having read maybe too much (is it possible!?) shoujo manga, and if I was much younger I would be following this series with unquestioning devotion.

That being said, these two volumes focused a little bit more on musicianship than romance, so I found myself able to relax much more and enjoy the story. Volume 8 opens with Nino and Yuzu being assigned to wrangle the music for the debut of some fashion models turned singers. As always in shoujo manga, fashion models are the worst. Their new clients are petulant and very picky about their debut song. This only makes Nino and Yuzu want to try harder to write an awesome song! There are plenty of angsty plot developments with the extended cast as well, as Momo deals with a life crisis and Miou continues to try to get over Yuzu. Nino stretches her abilities as a lyricist by trying to fit the song to the voice of the singer, and everyone is ready for their next adventure, a tour!

Anonymous Noise 9

I have to admit, I wish some of the side jokes in Anonymous Noise were expanded a little bit. The mini-tour is an excuse to showcase Nino’s enduring obsessions with local foods. Silent Black Kitty gets back together again as Momo devotes himself to his music, and I’m sure the result will be yet another battle of the bands in an emotional confrontation. Nino struggles with consistency for her live performance. One thing I do like about the way music is portrayed in this manga is that it is rarely effortless. There’s a lot that comes together for someone to become a successful performer, and even though Nino’s talent is recognized, she still clearly has a long way to go before she’s a true professional. One of the ways em>Anonymous Noise is so successful at this episodic format is that each volume tends to end with a dramatic revelation or new crisis point, which happens in volume 9 when Yuzu is having issues with performance. Nino’s determined to come up with a solution to protect his dream, and everyone’s devotion to music helps offset the tortured romance. The story is propelled forward and this makes it a compelling read, even if some of the character dynamics in the manga aren’t as interesting.

Defeating the Demon Lord’s a Cinch (If You’ve Got a Ringer), Vol. 1

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By Tsukikage and bob. Released in Japan as “Darenidemo Dekiru Kage kara Tasukeru Maou Toubatsu” by Famitsu Bunko. Released in North America by Yen On. Translated by Alex Kerwin.

I write a column for Manga Bookshelf called Manga the Week of, where I point out the manga and light novels coming out next week, and briefly try to hype the debuts. Sometimes, though, this can lead to me being embarrassingly wrong about a title, because the cover art and blurb were vague, or even actively misleading. It’s especially true when there really isn’t much known about the new series. So, let me say up front: I was expecting Demon Lord Ringer (as I will call it for brevity’s sake) To be far more comedic in tone, something like Konosuba only with more of a straight man as the lead. Now, to be fair, Ares is definitely a straight man. But the book is not going for funny, instead being a crash course in how much we can take of its intensely serious, brimming with suppressed rage narrator until we beg for the demon lord to win after all. Make no mistake about it: the Ringer is a bit of a jerk.

As you can see by the cover image, as well as the blurb, this is not merely a case of me being too thick (which has also happened before): the premise is actively trying to mislead you. It is accurate, as far as it goes. A hero has been summoned to defeat the demon lord, but the hero’s level is far too low, and as for companions, we have a third princess as a mage who can only use fire magic (the entire book takes place in a forest, so she can’t do anything), a swordswoman who has recently changed her sword style away from her family specialty (so is learning a whole different skill set on the fly), and Ares, who is a priest who clearly is far more powerful than the Level 3 he suggests he is. (Yes, the usual fantasy RPG tropes apply here, as the characters discuss buffs and leveling as if they are real life fantasy terms.) The hero’s party, however, wants to get rid of Ares. And you can’t blame then, really.

There’s a reveal at the end of the book I was very impressed by, one that makes the entire party’s behavior around Ares make a lot more sense. It’s such a good reveal I won’t get into it. It actually made me want to read the second book, which I was on the edge about, to be honest. The book’s prose is good, and Ares is certainly a memorable character. But god, you want to throttle him. He’s given an assistant, Amelia, who seems to have some lingering affection for him (he doesn’t recall their ever meeting in person, which irritates her), and she keeps desperately trying to get him to slow down and not do absolutely everything on his own. And she fails. I was honestly wondering if the big reveal was going to be that he’s the villain after all, but it would seem that’s not the case. But so far, my interest in what happens next has won out over “my god, do I really need to listen to this guy’s simmering fury for another three+ volumes?”.

Yona of the Dawn, Vol 13

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Yona of the Dawn Volume 13 by Mizuho Kusanagi

One of the many things that sets Yona of the Dawn apart from other fantasy shoujo series is Kusanagi’s great ability to portray characters with nuance, even those who are villains. This volume is a bit of a departure, as it focuses on Su-Won, who has taken control of the kingdom. Su-jin, the chief of the Fire Tribe has decided that he’s going to be the one to lead a rebellion and assume the mantle of the Crimson Dragon King. Su-jin is absolutely heedless of the suffering he’s going to cause with his actions, and he’s so committed to his vision of himself that he doesn’t realize that Su-Won is a Machivellian master of both statecraft and battle tactics until it is far to late.

As usual, Yona functions as the soul of her country. While she doesn’t engage in the battle directly, she leads her warriors in when the opportunity comes to prevent the suffering of ordinary civilians. While she confronts Su-jin with words he’s incapable of considering, her encounter with Su-Won is limited to a few searing panels as they gaze at each other across the battlefield. This is one of those scenes that can only best be done by sequential illustration, as Kusanagi cuts between their faces, showing Su-Jin’s shock and Yona’s absolute sense of resolution. Whatever someone things of Su-Won as a person, it is hard not to admire him as a leader after this volume, as he adroitly deals with the leadership vaccum for the Fire Tribe, appreciates the way Tae-Jun has changed for the better after Yona’s influence, and even takes measures to protect the rare grain that Yona secured that might actually help solve the humanitarian crisis that many people in the kingdom are suffering.

Some of my favorite moments in this series are when Yona and her warriors are able to relax a little bit, and there are a few pages that push forward her connection with Hak. This volume concludes with a triumphant scene as Hak pushes Yona to take part in an archery contest, and it is a nice way to wrap up this storyline, away from the battlefield. I’m always looking forward to the next volume with this series, which is strongly in the running for my favorite fantasy shoujo series of all time.

A Certain Magical Index, Vol. 16

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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.

Given the events of the last volume, and the fact that the cover art looks for all the world like a fun romantic comedy, I imagine the average reader went into this book thinking it would be a nice, relaxing volume. And it is… for about the first quarter of the book. Then Acqua of the Back arrives, and everything pretty much goes to hell. But hey, at least this book has Touma and Index in it, right? Well, not so much. Index is once again relegated to comic relief (she even lampshades how useful she WOULD have been after everything has already happened), and Touma is removed from most of the fighting by, yet again, half-fatal injuries. No, this book is about the Amakusa Church, their guilt-driven Saint Kaori Kanzaki, and their #1 Touma fan Itsuwa, who can cook, clean, is pretty with a nice chest, wields a spear magnificently, and loves Touma. In fact, in a series filled with heroines with major faults, her main fault may be not having one.

Introduced in this book: Fiamma of the Right, the “Knight Leader”, and the Third English Princess, whose name I will hold off on till I see how Yen romanizes it. This takes place about three days after Touma and Index get back from France. Touma is starting to worry about his attendance credits, and well he should – he’s barely been in class this semester. We have basically passed all the Index spinoff titles in terms of chronology. There are, of course, several ongoing plot threads from previous books. Itsuwa is dispatched to be Touma’s bodyguard after the events of tBook 14 (and so that the Amakusa Church can try to get them together as a couple, something doomed to failure). Acqua’s threat to Touma a couple books ago is carried out here, and he very nearly succeeds. And Mikoto has found out about Touma’s amnesia, and it’s bothering her, mostly as she’s not sure when it happened.

This book, as with a lot of shonen titles, is about seeing people who are so much better, faster, and stronger than you, and then getting up and fighting anyway because it’s right. Acqua doesn’t care what Touma’s motivations or desires are – his hand is a weapon, and therefore he treats Touma the same way. (Honestly, given the last two members of God’s Right Seat, he’s the least villainous, but that’s only by degree.) Itsuwa and the rest of the Amakusa fight because they know Touma is a good person, right hand or no. And Kaori leaps in to fight because Acqua is about to kill the rest of the Amakusa, and she may be keeping her distance from them but she still wants to protect them. In fact, arguably it’s Kaori who learns the biggest lesson here – no, not Tsuchimikado’s stupid ero maid thing, which made my teeth grind. But you can’t protect the ones you love from the shadows and by pushing them away. It only hurts them more. Seeing Kaori and the Amakusa team up was absolutely the highlight of this book, and I like that for once Touma did not get in the final blow (or even break any illusions), though he certainly made it possible.

It appears we’re going to be focusing on England next time (and watch out for Fiamma describing how to bring the island nation down to its knees in a way that sounds suspiciously similar to a no-deal Brexit). Also, I worry my discussion of the lack of a role for Index and her desire to help more may change for the worse soon – it sounds like Fiamma’s big plan is basically to capture her. In any case, though Kamachi remains as bad as ever at wacky harem antics, this is still an excellent volume of Index.

That Blue Sky Feeling, Vol. 1

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By Okura and Coma Hashii. Released in Japan as “Sorairo Flutter” by Square Enix, serialization ongoing in the magazine Gangan Joker. Released in North America by Viz Media. Translated by Jocelyne Allen.

When I first saw the cover for this manga on preordering it, my thought was “Boy, that guy sure is excited”. And that’s a pretty good description of the first volume. Noshiro, the guy punching the air on the cover, is just a big bundle of energetic, outgoing “HI THERE”, and you can’t help but be carried along in his wake. Even when he’s being introspective, angry, or doubting himself, it’s filled with big, energetic emotions and movements. This is, of course, to contrast him with the series’ other lead, Sanada, who is introverted, quiet, doesn’t smile much – at least at first – and is the very definition of standoffish. Most of the book is devoted to Noshiro’s arrival in Sanada’s life, and his reaction and actions on hearing the rumor going around the school, which is that Sanada is actually gay. A rumor that Sanada later confirms to Noshiro.

Most of the rest of the volume focuses on Noshiro’s developing reaction to this news, although honestly the book is as much about Sanada as an introvert as it is about Sanada as a young gay man. Sanada’s childhood friend Yamamoto has always come to eat with him (and might have a crush on him), but seems delighted that he’s finally making another friend, and tries to support Noshiro’s attempts to batter his way into Sanada’s life. But Sanada’s introversion and his sexuality aren’t easily separated either, and even being introverted isn’t always black and white. We see Sanada meet some old friends from junior high, and he’s smiling and laughing with them in a way he doesn’t seem to with Noshiro. This leads both Noshiro and Yamamoto to wonder if Sanada is “faking it” in front of them – something which Sanada rebuts, saying that both aspects of him are “real”.

We also meet Hidemitsu in this story, an older man who Sanada describes as “sort of an ex-boyfriend”. The fact that Sanada is still a high school boy is briefly brought up and then shunted aside, but I will hold off on objections till I see how close they actually were. For the moment Hidemitsu functions as an advisor and mentor to both Sanada and Noshiro, having a mature wisdom that both of them lack at this point. It also is fairly obvious that Hidemitsu and Noshiro look a whole lot alike, and that a lot of Sanada’s standoffishness may simply be attraction. Noshiro’s sexuality hasn’t come up much – he finds it difficult to name a specific girl he’s attracted to in a “guy conversation”, and has no romantic experience – but I suspect we may delve further into that in future volumes.

Honestly, the best thing about this ongoing coming-of-age story is simply how well-written it is. The characters are likeable, they have good depth, and you care about them. It feels very real. I absolutely recommend it.

Baccano!: 1934 Alice in Jails: Prison

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By Ryohgo Narita and Katsumi Enami. Released in Japan by ASCII Mediaworks. Released in North America by Yen On. Translated by Taylor Engel.

Having just finished a two-volume arc, we immediately jump into a THREE-volume arc, which consists of the two Alice in Jails book and a third called Peter Pan in Chains. As the names might indicate, Alice in Chains is the title quote, so to speak, but the book itself also revolves around jail, specifically Alcatrax, which in 1934 was still fairly new as a prison for hardcore felons (as opposed to a military prison). The description of the prison itself is quite good, showing it as an unpleasant place that can break a man, as well as being well-nigh impossible to escape from. After being blackmailed with Ennis’ safety, Firo is sent to infiltrate the prison to try to talk to its most infamous resident: Huey Laforet, who is kept in solitary confinement in the lowest of basements. But he’s not alone. Isaac has been sent there for some odd reason, and one of the prisoners already there is well known to us: Ladd Russo. Has he gotten any less violent and manic? No.

This book was, I believe, being written at the same time as the anime was being planned, and discusses certain events that the reader is unaware of but the characters aren’t, such as Graham Specter, who is introduced in this book but unseen, or the mention of a Mr. St. Germain at the Daily Days, who is also as yet unseen. The book also flits back and forth between Firo’s adventures in prison and the rest of the cast back in New York, who are dealing with Huey Laforet, despite being in prison, apparently planning a large scale terrorist attack. Narita enjoys setting up mystifying things only to have them pay off one or two books down the road, so we need to settle in here. There’s also some events from previous books intruding – the coverup of the Flying Pussyfoot murders is mentioned a few times, and we meet Gustavo, the pathetic villain from Drugs and the Dominoes, who is essentially here to be Ladd’s ticket to Alcatraz, and boy does he deserve it.

I want to talk about Isaac and Miria, though, as this is in some ways my favorite book with them, despite their not being major players in it. They’ve been wonderfully funny comic relief most of the time, but in the last arc we got some hints of deeper things – Miria’s monologue in the color pages. Now here we see that neither of them are as “stupid” as they may outwardly seem. Isaac’s ability to identify he’s talking to a cop and get Miria out of danger is masterful, and the rest of the Martillos rightly boggle at it. We also get into his head a little bit at the end, as it’s made clear he grew up in San Francisco right near Alcatraz… though he doesn’t want to see his family. As for Miria (whose head we don’t really get into), not only does she go to Ronny first to help her try to save Isaac, but she actually seems to know he’s a demon. But the best scene for Miria, in my opinion, is the one with Chane, where the two of them comfort each other over their most important person being in Alcatraz, and Miria shows off her empathy – I liked how she immediately knew how Chane communicated and wasn’t uncomfortable with it. Terrific character work here.

This is one of the better Baccano! books, including a great twist at the end I’ve tried not to spoil, and fans will absolutely want to get it. Next time we should actually meet Gustav St. Germain, as well as the much mentioned but unseen Graham, who I suspect may have been written with Norio Wakamoto and Tomokazu Sugita in mind.