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Reviews

Land of the Lustrous, Vol. 1

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By Haruko Ichikawa. Released in Japan as “Houseki no Kuni” by Kodansha, serialization ongoing in the magazine Afternoon. Released in North America by Kodansha Comics. Translated by Alethea Nibley & Athena Nibley.

This was a trip. I wasn’t sure what to expect going in, as I didn’t know much about it beyond “fighting gems” and that it’s been nominated for awards. Indeed, Kodansha even says it’s for fans of Steven Universe, presumably because, well, gems. I can see some similarities, but really, this manga is its own thing, and calling Phos and Steven similar lead characters seems a bit insulting to Steven. As for the plot, I honestly found it to be somewhat confusing much of the time, not really a surprise when it’s the first volume. But there are a few very good reasons to read this. The first is that the author is very good at depicting tension and frustration between two different characters, as our lead goes around and annoys everyone into submission. Secondly, the art is really nice, and conveys a sense of wonder and a sense of horror depending on where you are in the story.

The basic premise is that gem people are fighting against Moon creatures. They seem to fight based on the hardness of their base gem – the harder the better. Our lead gem is Phosphophyllite, who is most assuredly NOT on of the hardest gems – indeed, they’re known for being rather fragile and brittle. Phos is also a bit of a ditz, whiny, selfish, and lazy, which makes it very diffifuclt to find them a job. Fortunately, the sensei who’s in charge of the gems has come up with something: Phos will compose a natural history of their world. This seems, on the face of it, a idea that is both good and bad. Good because it’s the sort of this that plays right into Phos’ skill sets, and bad because Phos really has no skills sets beyond “people seem to like them”. Really, what it is is an excuse to have Phos wander around and interact with the other gems, such as the reclusive Cinnabar or the beautiful yet secretly self-loathing Dia. In the second half of the book, Phos accidentally gets eaten by a slug creature, and after everyone spends a long time figuring out how to get them back, now has… the ability to communicate with it? Maybe?

As I said earlier, this isn’t really a title I’m reading for the plot. It also has to be said, for those who get easily annoyed at selfish characters who clearly are going to grow and change as the series goes on, Phos starts out REALLY irritating, and you can easily understand some of why they’re treated so poorly. But not entirely all of it – Phos is also bullied in many ways, and the excessive verbal abuse heaped on them seems a bit much. Even those characters who do seem to like Phos, such as Cinnabar, show this affection by being even meaner than the others, though that ties more into Cinnabar’s self-hatred and suicidal tendencies than anything else. (The gems seem to be genderless, and I’ve done my best to avoid gendering them when writing this review.) To sum up, I’m not entirely sure where this is going, but I find the character interaction excellent and the art captivating. Which is all you can ask of a Volume 1, really.

Nisemonogatari: Fake Tale, Vol. 1

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By NISIOISIN. Released in Japan by Kodansha. Released in North America by Vertical, Inc. Translated by James Balzer.

The afterword of this volume of the Monogatari series says that Nisioisin never intended for it to be published, but just wrote it for his own amusement. I hate to call an author a liar, but just reading the text of this first volume of Nisemonogatari makes me think he’s full of it. The book is filled with efforts to make this short series into a much longer one, adding onto running gags and deconstructing them, taking existing characterization and flipping it on its head or making it more ominous, setting the stage for new plot points to be carried over to future books, and the endless references to the fact that the books recently had an anime greenlit, right after the first set of books kept joking about the idea of the characters being in an anime. Nisemonogatari’s metatext is thick. Fortunately, its text is also good, showing off Araragi’s sisters, and how they’re far more like him than he’s comfortable with.

Fitting given that he has two sisters, the Nisemonogatari series is split into two books, and this is the first one, Karen Bee. Karen is his “older younger sister”, and is almost the definition of ‘dumb muscle’, a karate black belt devoted to justice and righting wrongs who seems to forget that she’s just in middle school and that actual villains can run rings around her. She’s a nice kid, but you can see why Nisioisin spent so much time re-introducing the rest of Bakemonogatari’s cast; there’s just not enough in her to justify the 300 pages or so that this book consists of. We also get a better glimpse at Tsukihi, the “younger younger sister”, who Nisio is clearly far more fond of writing, mostly as she’s able to go toe-to-toe with her older brother in the only battle that really counts in any works by this author: wordplay. Tsukihi’s mood swings and temper tantrums will be looked at in more depth in the following book.

As for the rest of the cast, again, they’re shifting from “this is a series of short stories, each about a different girl” to “this is a long-running series that will have several books after this. That doesn’t change the fact that Araragi and Senjogahara are still a couple – indeed, some of the best scenes in the book feature the two of them. But we see that Hanekawa and Senjogahara have clearly had “a chat” in between books, and that – despite Sensjogahara’s attempts to exaggerate it in order to make us dismiss it – there is clearly major tension between them. Possibly because, as Kanbaru states midway through the book, Araragi and Hanekawa are the more obvious couple. Hanekawa herself has cut her hair and gotten contacts in order to show she’s moving on from Araragi, but I’m not sure how much I buy it – she’s willing to say she loves him to his face, but it’s not a confession per se.

Oh yes, can’t forget Shinobu, who has finally decided to stop sulking and become the extremely talkative haughty vampire we met in Kizumonogatari, and she’s not going to let looking like an eight-year-old stop her. She gives Araragi a way to discuss oddities now that Oshino has left town – she gives advice on the supernatural, while Mayoi, who is a wandering ghost, ironically gives advice on more down to earth things like love. And Nadeko is here as well, and her fumbling, overly obvious attempts at seducing Araragi (obvious, that is, to everyone except him) show us that she’s not just a shy, blushing girl in love with him. More on that much later. And then there’s Kaiki, one of the most popular characters in the entire series judging by Western fandom. He’s very good at playing the evil villain, and does like to drone on endlessly (as every character in Monogatari does), but there’s a hint that there’s far more to him than that, and I’m sure we haven’t seen the last of him.

You’ll notice that this volume has a new translator (yes, I’ll mention it). Vertical apparently decided, given the aggressive release schedule, to divide the series up into chunks, so James Balzer is doing the Nise series and Ko Ransom will be back with Nekomonogatari Black and White. For the most part, the change is not all that noticeable. The series is well translated (hang on, getting to it), keeping most of the culture references – I was very pleased to see Araragi’s Read or Die comment left in – and adapting the wordplay and Japanese puns so they are mostly not noticeable. And Shinobu sounds like her old-world vampire self – which may come as a surprise to anime watchers, as most subbers decided not to bother translating her into “old school” speech. Two things, though. First, the book keeps the scene where Hanekawa mocks Araragi for using the -chan honorific to refer to his sisters, which seems odd in a series so otherwise aggressively devoted to avoiding honorifics (My Senior, etc.).

The second thing is a bit more egregious. In the original Japanese, Tsukihi says (in English) that she is “Platinum Mad”, which is a take off of puchi and purachina/platinum. She uses the phrase a few times in the series, and the anime turned it into her OP theme song, “Platinum Disco”. It would not be exaggerating to say that when you think of Tsukihi, you think of “Platinum Mad”. The translator, however, decided that since it’s weird Japanese wordplay it had to be changed to weird English wordplay – as he has done throughout the book. So “a bit” becomes “dagnabbit”. There are several issues here. First off, dagnabbit sounds to a Western ear like something Yosemite Sam would say. Secondly, almost no one noticed the wordplay itself, and just saw that “Platinum” had been changed to “Dagnabbit” for no reason (remember, Platinum is IN ENGLISH in the original). Most importantly, though, it seems to show that the people in charge of translating the series for Vertical are translating the books without paying attention to the other media – anime, singles, or the fandom. I get that – these were books first, and you want to make sure that they can also sell to casual readers. But try not to drive the hardcore fans off. Platinum Mad is a meme, fer chrissakes. Dagnabbit Mad just makes Tsukihi sound stupid. Which she very clearly isn’t – intellectually, she’s her brother’s equal.

OK, rant over. Aside from that, I felt the translation was excellent, and I didn’t really notice a major change between Ko and James. More importantly, for anime fans, there’s still a lot of new stuff here – you’d think given that it got adapted into 7 episodes that they didn’t leave much out, but there’s still many extra and lengthened scenes in here that got adapted out. Fans of Araragi and company will want to pick this up, as it’s excellent. Though be prepared to write “platinum” in your copy with ballpoint.

Alice & Zoroku, Vol. 1

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By Tetsuya Imai. Released in Japan by Tokuma Shoten, serialization ongoing in the magazine Comic Ryu. Released in North America by Seven Seas. Translated by Beni Axia Conrad, Adapted by Maggie Cooper.

I spent most of this first volume mostly enjoying what I was reading, but something felt off, and I couldn’t quite put my finger on it. It was reminding me of something else, but I wasn’t sure what. Then I realized it was reminding me of Madoka Magica. Not for any plot or characterization reasons, but because the art in Alice & Zoroku does not match up with what is actually happening on the page. Madoka Magica always felt weird to me because I read Sunshine Sketch first, and had trouble reconciling the uber-moe art with the events on the page. The same sort of thing happens here, and to a degree it’s helped along by the premise. This SHOULD be a series about a young mysterious girl who ends up living with a grumpy old cuss and together they learn to open up to each other. It should be (pardon my age showing here) Punky Brewster. As it turns out, there’s a lot more going on.

The girl on the cover is not Alice – at least not literally. She’s certainly a figurative Alice, though, and there’s Wonderland quotes and motifs throughout the work. Sana is an experimental child who has the ability to make anything she imagines into reality. She’s escaped from her evil research center where she’s been kept (which we’re already starting to see may not be quite as evil as she painted it) and is on the run in the middle of the city. There she runs into Zoroku, an old man who works as a florist, lives with his granddaughter (who seems to be in high school – I’m assuming dead parents here), and seems to spend each day going around being vaguely pissed off. She is, of course, a child who grew up in a lab, so has no sense of social skills or any ability to be sensible. But she’s cute. Oh yes, and who other kids, twins, are trying to kill her, and caring very little about collateral damage. Will she melt his stern heart and be taken in?

The series is eight volumes and running in Japan (I think it got an anime as well), and this first volume definitely feels like a lot of setup for a future payoff. We get a few other cast members introduced, most of whom don’t make much of an impression, with the exception of the granddaughter Sanae, who seems to be an odd mix of airhead and motherly type and is a lot of fun. Zoroku is probably the strongest character here – stubborn as a goat, but he has a strong sense of right and wrong, and is not afraid to tell off a child when he sees them running roughshod over it. As for the research center Sana is escaping from, we get a few flashbacks and expository scenes that hint that Sana’s nature is more that of a tactical nuclear weapon than an actual child – again, metaphorically speaking.

Overall, while I still didn’t quite get past the cognitive dissonance of the artstyle, which says this should be a fluffy slice-of-life series (it isn’t), I enjoyed enough of Alice & Zoroku to try a second volume.

Is It Wrong To Try To Pick Up Girls In A Dungeon? On The Side: Sword Oratoria, Vol. 3

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By Fujino Omori and Suzuhito Yasuda. Released in Japan as “Dungeon ni Deai o Motomeru no wa Machigatte Iru Darou ka? Gaiden – Sword Oratoria” by Softbank Creative. Released in North America by Yen On. Translated by Andrew Gaippe.

The anime adaptation of this series has just ended as I type this, and from what I’ve gathered from various forums and Twitter feeds, was not a success among fans. In fact, that’s putting it mildly. Hate may not be too strong a word. This is a shame as I’m really enjoying the light novel, which continues to show off what Omori does best – writing combat scenes – while also giving development to Aiz and the rest of Loki’s crew. Yes, it also has Lefiya fretting about being useless, but that’s the sort of character she is. You knew she was going to end up doing something awesome by the end, which she did. There’s also a much stronger ongoing plot to this than to the main series, with the main antagonist of the previous book finally getting a name – Levis – and the creepy foetus thing they retrieved in the last book possibly setting itself up as the Big Bad.

The main DanMachi books have tended to show Aiz as an emotionally repressed, hard to read young woman. As such, it’s both a relief and a surprise to see how much of a complete loose cannon she is in these side stories. I feel that my old reviews where I noted Bell loved her but she didn’t quite feel the same are coming back to haunt me. She may not love Bell, but she’s clearly obsessed with him, falling into a purple funk when he keeps running away from her (even achieving Level 6 doesn’t snap her out of it all the way), and going off to the dungeon on her own because, well, that’s how she clears her head. Sadly, she meets up with Hermes Familia, who got hired/bribed/blackmailed into going to the 24th Floor to see what’s wrong with the dungeon there. The answer is that an evil conspiracy has taken it over, and they’ve got lots more of the giant plant monstrosities from last time, along with a group of religious terrorists to help out/be cannon fodder.

As I indicated above, the main reason to read these books is for the author’s fight scenes, which are a treat – and brutal. No named characters die in this one, but it’s a close thing, and there’s an awful lot of horrible wounds taken and crushing despair. (Actually, I’d have liked to see the deaths that do get mentioned – at the end, we’re told some of Hermes Familia were killed, but it’s not the ones we know, and it seems to be there as the author realizes that there needed to be SOME casualties.) Aiz is actually kept out of the main fight till the very end, which works well, and shows off Bete (still an asshole most of the time, honestly) and Lefiya (the Shinji Ikari of DanMachi) to great effect. There’s also a nice subplot of an elf in Dionysus’ Familia, Filvis, and her (undeserved) reputation as a jinx.

So I’m not quite sure what the anime got wrong, but the novel itself is a strong addition to the DanMachi series, and recommended for all fans of same.

Otome Mania!!, Vol. 1

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By Tsukigase Yurino. Released in Japan by ASCII Mediaworks, serialized in the magazine Sylph. Released in North America by Seven Seas. Translated by Angela Liu, Adapted by Rebecca Scoble.

It can be very hard to separate what a person wants as a fan of a genre, or title, and what makes for a good product and good business sense in the real world. Things that make perfect sense talking about them on twitter or in forums suddenly become impossible to navigate as there are sixty extra steps that have to be done first because you’re the ones creating the content. And this only gets compounded when the content is being created by a group. And that’s the concept of Otome Mania!!, a short manga series about a young woman who loves otome games and has finally achieved her dream job of working for a company that creates and makes them, only to find that she has a long way to go before her dreams can come true. And, appropriately, she’s also involved in her own real life otome harem romance (not that she realizes this, of course.)

Yuzumi, as you can imagine, is a very typical otome romance heroine. She’s not very intuitive and has tr4ouble reading the room, and can’t catch up to the high level of speed and decisiveness her colleagues have. Plus she’s learning from the ground up, and thus can’t understand why a 13-page written treatment is something that’s going to be rejected without even looking at it, as opposed to a snappy 2 page treatment with art and character designs. But she has spunk and a tendency not to give up, like every single shoujo manga heroine ever, and that’s good enough. Her colleagues include the stern immediate supervisor who yells at her and puts her down constantly, but may have her best interests at heart after all; the foreign graphic artist who is cheery enough to help Yuzumi out when no one else will; and the reserved and nervous scenario artist looking for a chance to prove himself, who has a hidden core of hotness that comes out at the best times.

The gimmick of this title is that it’s an otome manga about making otome games, and it’s done rather well. It’s not above lampshading its own flaws – there’s a larger cast of guys than there is time for, so we don’t see a few of them for more than a few pages this time – just as in the game Yuzumi is developing, where romantic leads 4-6 are ‘secret content to be added later’. There’s also a little hint of backstory as well, as there’s a much more popular and successful company – also run by hot guys – that seems to have a past with Tachibana, the constantly irritated male lead. It wraps up in two volumes, so I’m not sure how much it’s going to be able to fit into the remaining time, or even if Yuzumi herself will end up with a guy (if she does, my money’s on Tachibana). For for readers who enjoy light romantic titles with a lot of cute guys and a decent reader stand-in, Otome Mania!! gives you what you need.

Accel World: Elements

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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.

Despite the cover (two of the three people on the cover don’t even show up in the book), there’s not a lot of wacky harem antics going on tin this volume, much to my relief. Instead, it’s the first Accel World to be composed of short stories – impressive given that by Book 10 Sword Art Online already had 2 volumes of short stories to its name. I also think that for those who saw the anime, this is the last volume with material that was used for it, as the middle story was broadly adapted into a couple of episodes, likely to give Kuroyukihime more to do. As with most short story volumes, quality here is variable, but there should be something for most Accel World fans here. A word of warning, though: if you like Accel World but hate Sword Art Online, this may not be the volume for you.

The first story here takes place sometime after the first volume, so we get to see a less experienced Haruyuki. Unfortunately, having made a beginner’s mistake when leveling up, he’s now in danger of being wiped out the next time he logs on. And so Takumu helps him out, saying that there is a “bodyguard” who can protect him till he gets enough points back to stand on his own again. The whole story seems like an excuse to introduce the bodyguard, Aqua Current, who is clearly one of Kuroyukihime’s old team, though it’s never explicitly stated. The second story is the best, mostly as it’s from Kuroyukihime’s perspective, as she’s on school vacation in Okinawa and finds, much to her surprise, that there are Burst Linkers even out here. The most interesting thing about this story is Kuroyukihime’s friend Megumi, who turns out to not quite be what she seems. The more I hear about the Brain Burst program the closer it gets to fantasy hand-waving, but I’ll let it go if it allows for cool and heartwarming scenes like these. I also liked the comparison of lost memories to a book you forget the beginning of.

The final story is the most well known, and possibly the most notorious – a crossover between Sword Art Online and Accel World, as Kirito is doing VR experiments and somehow ends up in the Accelerated World, where he confronts Silver Crow. Those who think that an armored suit that can fly would take out Kirito, a young man wearing a leather coat for armor, are doomed to disappointment – Kirito is still Kirito. Inevitably, we don’t really get to see who’s “better” per se, as the whole thing ends in a draw. Probably for the best, honestly. The author in the afterword tells us that he prefers if we think of SAO and AW as being two separate series, which tells me that the “Kuroyukihime is Kirito and Asuna’s daughter” theory might have hit Japan – given Kuroyukihime’s upbringing in AW< I think it's a terrible theory, but hey.

So three decent stories here, and next volume should take us back to the main plot, as well as take us back to cover art of Kuroyukihime wearing leather bustiers. Not that this cover was any less fanservicey. As always, Accel World is a lot of fun and impossible to read on public transportation.

Kiss & White Lily for My Dearest Girl, Vols. 1-2

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By Canno | Published by Yen Press

I haven’t read a ton of yuri manga, but even I have encountered the “all-girls school with multiple couples” setup before. Kiss & White Lily for My Dearest Girl is another example of the same.

We begin with Ayaka Shiramine and Yurine Kurosawa. Shiramine has always been the perfect student, but she works hard for her grades. Enter Kurosawa, the lazy genius, who shows up and immediately takes the number one spot. Squabbling ensues, with Kurosawa going all sparkly when a furious Shiramine calls her “just a regular person.” It seems she’s been waiting for someone who might beat her. My problem with this couple is that Shiramine is not very likable, even if I sympathize with her frustration. Plus, I ended up comparing her “there’s no way anyone could love me when I’m not perfect” angst with that of Nanami Touko in Bloom into You, where the idea is executed with more depth and originality.

Thankfully, these characters soon rotate into the background as focus shifts onto Shiramine’s cousin, track star Mizuki. Kurosawa also happens to be great at running, and Mizuki is upset when the team manager, Moe, avidly attempts to recruit her. Moe is supposed to watch Mizuki the most, after all. It all turns out to be for a cute reason, and I like the M&M pairing much more.

Volume two introduces still more characters. Ai Uehara doesn’t endear herself to me by whining about the availability of third-year Maya Hoshino—“Mock exams are more important to you than I am!”—and the chapter where she tries to make her friend stay in town rather than going to the university of her dreams and then realizes that this makes her friend sad and then promptly trips and starts blubbering just about had steam coming out of my ears.

But, again, thankfully, we move away from the annoying character to someone more mature. Chiharu Kusakabe is Hoshino’s roommate and is in love with her. Hoshino seems to be aware of this, particularly after a clichéd “locked in the storeroom” incident, but doesn’t return her feelings. While Chiharu is busy pining for a sempai, she encounters a younger girl who begins pining for her. And, again, some cuteness ensues.

I’m definitely on board for volume three, but I wonder… will each volume introduce someone I profoundly dislike in the first half and then give me a couple to really like in the second half? I suppose I can deal with that, and I also want to see more of Mizuki and Chiharu.

Kiss & White Lily for My Dearest Girl is ongoing in Japan, where six volumes have been released so far. The first two volumes are currently available in English; the third will be released in August.

Review copies provided by the publisher.

Golden Kamuy, Vol. 1

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By Satoru Noda. Released in Japan by Shueisha, serialization ongoing in the magazine Weekly Young Jump. Released in North America by Viz. Translated by Eiji Yasuda.

Among my many thoughts on finishing the first volume of Golden Kamuy, the strongest one was “the author must be from Hokkaido”. And sure enough, that seems to be the case. Indeed, his other major manga series seems to be a sports manga devoted to the love of ice hockey. The show-covered woods are practically a major character in the series, adn they’re conveyed well, both in their beauty and in their ability to be deadly. And of course, they’re only one of the things that can kill you in this rather violent title. From the hero on the cover page, to various escaped convicts, to vicious bears and wolves, this is a series with the potential for a lot of gore. Fortunately, it doesn’t seem to be about that. Rather, it’s about a young man and the Ainu girl he meets trying to avenge her father and find some hidden gold.

The story takes place after the Russo-Japanese War, but not that far after, so I’m guessing 1906 or 1907. Our hero is a veteran who says he was discharged from the army for killing a fellow soldier, though honestly the way he frames the story makes it sound like he could be making that up. He’s prospecting for gold in the wilds of Hokkaido, only to find, like most prospectors, that easy money schemes don’t actually work in real life. The supposed reason he’s looking for gold is because the wife of a (now dead) war buddy of his needs eye surgery, and the gold will pay for it, but I suspect the real reason is that Sugimoto is one of those soldiers who can’t really survive well without a life of adventure in some way. And survive is what he does – he’s somewhat famous for being alive after several injuries that would have killed most men. He’s also a lot of fun, being written much like a standard “dumb but likeable jock” type from a sports manga, only older and filled with battle experience.

Asirpa is the other star of this manga, a teenage Ainu girl whose father was brutally murdered by the man who theoretically knows where this hidden gold is – in fact, it’s Ainu gold, as the man who is now a convict killed six men and stole the gold from them. Sugimoto frames their journey as her getting revenge for her father, but it’s notable that she doesn’t seem to frame it that way herself, being content to silently going along with him. As first I thought she was going to be one of those emotionless Ayanami Rei types, but she turns out to simply be naturally reserved, and also very competent at living and surviving in the woods. She’s an excellent foil to Sugimoto. The rest of the cast consists mostly of ex-soldiers who are also here to search for hidden gold, ex-prisoners who have a coded “here is the gold” tattoo on their backs, though it doesn’t quite work the way they’d like it to, and of course the appearance of a clearly despicable villain at the cliffhanger of this vo0lume.

Golden Kamuy is a bit of a bunny movie with less comedy, as Sugimoto and Asirpa contrast with each other but work well together. If you don’t mind a lot of death and blood, this is a solid action story, and a good addition to the Signature lineup for Viz.

The Life-Changing Manga of Tidying Up: A Magical Story

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First published in 2011, Marie Kondo’s The Life-Changing Magic of Tidying Up: The Japanese Art of Decluttering and Organizing became an international phenomenon, selling over seven million copies in 40 languages. The book inspired a two-part television drama, a follow-up called Spark Joy: An Illustrated Master Class on the Art of Tidying Up, and a veritable tsunami of related products and experiences including apps, seminars, and journals for documenting “what brings you joy every day.” In an effort to bring her message to even more readers, Kondo recently collaborated with artist Yuko Uramoto (Kanojo no Curve, Hanayome Miman) to create the most quintessentially Japanese tie-in product of all: a manga version of The Life-Changing Magic of Tidying Up.

Uramoto’s strategy for transforming a how-to book into a manga is simple: she turns the decluttering process into a narrative, using a fictional character, Chiaki, to lead us through the process step-by-step. When we first meet Chiaki, she’s a single, 29-year-old career woman living in a filthy apartment strewn with clothing, papers, sports equipment, dirty dishes, and bric-a-brac of every description. After her handsome next-door neighbor chastises her for leaving garbage on the balcony, Chiaki vows to change her life by calling — who else? — Marie Kondo herself.

Over the next nine chapters, Kondo gently but firmly helps Chiaki get control of her apartment. Before they tackle the clutter, however, Kondo asks Chiaki, “What kind of life would you like to live here?” Chiaki is taken aback by the question, but this visualization exercise is a cornerstone of the KonMari system, encouraging the client to think about decluttering not as a one-time effort but a first step towards living a more joyful, less harried life. Kondo then shepherds Chiaki through the discard process, helping Chiaki systematically assess all of her belongings, starting with the three biggest sources of clutter — clothing, books, and paper — before moving on to komono (odds and ends) and sentimental objects. Guiding all of Chiaki’s decision-making are two questions: “Does this item give me joy?” and “Am I using this item right now?”

As an adaptation, The Life-Changing Manga largely succeeds in teaching the KonMari method without recourse to talking-head panels. The graphic format allows Uramoto to show the reader how to store things, arrange a closet, and fold items into small rectangles that can stand upright in a drawer — one of Kondo’s signature organizational techniques. As befits a manga about decluttering, the artwork is both simple and cute. Though the character designs lack strong personality, they’re winsome enough to carry to the story and convey the emotional impact of using the KonMari method; by the story’s end, we appreciate just how elated Chiaki feels after liberating herself from the Tyranny of Stuff.

The manga’s most glaring fault lies not with the adaptation but the source material. Kondo frames de-cluttering as a one-size-fits-all remedy for life’s biggest problems, a point reinforced by the fictional Kondo’s conversations with Chiaki. As we learn in chapter two, Chiaki has a bad habit of falling for guys with hobbies, buying snowboards and tea sets so that she can get to know them better. Every time she breaks up with someone, however, she can’t bear to get rid of her newly acquired gear, developing elaborate rationales for keeping it. Kondo counsels Chiaki to get rid of these items, telling her, “If you hang onto things because you can’t forget an old love, you’ll never find a new love.”

There’s unquestionable value in Kondo’s insight that clutter accumulates when we’re not fully invested in the present, yet her philosophy is too reductive. A messy apartment might be a sign that you need to reconsider your approach to dating, but it could also be symptomatic of working such long hours that cleaning and organizing feel like a second, unpaid job. There’s also a whiff of sexism in the way Chiaki is depicted as a failure for being disorganized, messy, and single; it’s hard to imagine a salaryman character attributing his romantic shortcomings to a sinkful of dirty coffee cups or a jumbled closet, or viewing the KonMari method as the key to living a better, more fulfilling life.

That lingering note of sexism makes it hard for me to unequivocally endorse The Life-Changing Manga of Tidying Up. I think Kondo’s basic advice is sound, but I can’t quite shake the feeling that perfectly folded undies are being held up as a badge of true womanhood, rather than an artful way to organize your drawers.

THE LIFE-CHANGING MANGA OF TIDYING UP: A MAGICAL STORY • BY MARIE KONDO, ILLUSTRATED BY YUKO URAMOTO • TRANSLATED BY CATHY HIRANO • TEN SPEED PRESS • NO RATING • 192 pp.

Sound! Euphonium: Welcome to the Kitauji High School Concert Band

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By Ayano Takeda. Released in Japan by Takarajimasha, Inc. Released in North America by Yen On. Translated by Paul Starr.

One of the biggest surprise licenses from last year was this book, originally released as a stand-alone novel about the struggles of a high school concert band, which got made into a hugely successful anime. Note that I said ‘novel’ and not ‘light novel’ – there are no interstitial pictures in this book, which is the usual way to tell the difference about these sorts of things. But even beyond that, the fact that Sound! Euphonium does not take place in a fantasy world, at a magical academy, or even have Satan working at McDonald’s was a big point against it. But Yen took a chance on licensing the book, and I’m glad they did, as this is really well-written and dramatic, manages to show off in textual form the difficulties of playing music and the difference between ‘really good’ and ‘outstanding’, and most of all, it has in Kumiko one of the most fascinating protagonists I’ve met all year.

Kumiko is not a first person narrator per se, but the POV of the narration never leaves her, so in effect she functions as our eyes and ears for this book. She’s trying to “start anew” at a new high school, but can’t quite escape her concert band past, especially when her new friends also express an interest. Her childhood friend and not-boyfriend Shuuichi is also in the same band, as is her middle-school bandmate Reina. More on Reina later. Kumiko did not have a pleasant middle-school band experience, as most concert bands, where some instruments are more popular than others and some people get to solo while others don;t, is filled with politics and infighting, and the confrontations just wore her down. To a large degree the book is about helping Kumiko rediscover her love of the euphonium and band in general, and showing her how important it is to not simply glide along and have fun.

I had first heard of the anime as a “yuri anime”, and therefore was rather amused to note that the first half of the book featured precisely none of that. Indeed, Reina appears far less than you’d expect – she may as well be a minor character – until the festival, when Kumiko desperately tries to avoid Shuuichi asking her out (as it might actually force her to confront her feelings for him) and grabs Reina, saying they’re going together. Reina is fine with this, and takes Kumiko on a very romantic festival date. Despite Kumiko clearly being set up with Shuuichi, and Reina admitting that she’s in love with their teacher (what is it with Japan and teacher-student romances?!), it’s Kumiko and Reina who have the most chemistry together, as their body language and conversation reads like a couple rapidly falling for one another. I’d also like to mention Asuka here, the most fascinating character after Kumiko. She and Kumiko seem to be contrasted, if not as rivals, then as mirrors of each other, and their few scenes together are also charged – not with romantic tension, but with just tension. They ended up being my favorite scenes in the book, actually.

The book ends with the Kyoto Competition, and indeed ends somewhat suddenly with the reveal of the results. It was meant to be a stand-alone book, but the author ended up writing two more novels and some short stories afterwards, which were adapted into another anime season. So far Yen has only licensed this book, but I’d like to see it do well so we can see more of this cast – especially Kumiko and Asuka. Highly recommended.

Dorohedoro, Vol. 21

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By Q Hayashida. Released in Japan by Shogakukan, serialization ongoing in the magazine Hibana. Released in North America by Viz. Translated by AltJapan Co., Ltd. (Hiroko Yoda + Matt Alt).

I’ve often talked about the fact that I find Dorohedoro very satisfying to read while at the same time immensely confusing. It’s a series with a lot going on, and there’s a lot of characters and locations (and many of the characters also wear masks!). But we’re getting near to the end of the series now, and the author is finally starting to dish out some answers. And it works: this volume felt very strong plot-wise, and I was able to follow Ai’s explanations of what happened to him for the most part. It’s quite a tragic fate, like many of the other fates in Dorohedoro, but looking back on everything with Caiman, Ai, Kai and Aikawa you can nod your head and say “yeah, that makes sense”. Well, except maybe for Caiman, which is openly lampshaded when Nikaido admits she has no idea who he is now.

Speaki9ng of Nikaido, there’s an explanation of that “cliffhanger” ending from last time – she’s turning into a devil more and more, and is now much taller and getting cloven feet. Unfortunately for her, En is back in business, and he’s still obsessed with having her as his partner, but we’ll see how that goes. In fact, most of the band is back together, as Shin is sane again and reunited with Noi, and the rest of the decapitated heads are getting bodies again (though almost immediately they’re mushroomed by En, who’s trying to save them). And yes, poor Ebisu is still roundly humiliated, though as always it’s in the most hilarious ways – En remotely creates a mushroom body from one that’s on Ebisu’s head, which causes her head to end up as the remote body’s crotch – something she finds hilarious, as you’d expect. What follows is a long, protracted mushroom war, as En shows off how powerful and clever he really is – though even he may be no match for the devil Chidaruma, who is gloating triumphantly on the cover for a reason.

I know I’ve said this in seemingly every Dorohedoro review to date, but my God there is a lot of truly graphic violence in this book. Decapitations, eviscerations, blood and gore on almost every page. There’s casual deaths, casual eye gouging torture, and Ai’s entire flashback, which is filled with flesh-melting horror. This all culminates in Chidaruma slaughtering everyone in Haru’s flying house, so that the house itself begins to bleed. Never let it be said that Hayashida doesn’t know how to do grotesque imagery. The art is a plus as always, and even though I still sometimes get a few of the characters confused (particular when they have masks on), it doesn’t matter because there’s always something on the page to marvel at. Dorohedoro is speeding towards a climax (I think – it’s still running in Japan), and now that the books are a good 80-90 pages longer each time, there’s even more reason to run out and buy it.

Psycome: Murder Anniversary and the Reverse Memorial

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By Mizuki Mizushiro and Namanie. Released in Japan by Enterbrain. Released in North America by Yen On. Translated by Nicole Wilder.

It is somewhat odd that I feel reassured at Psycome’s lack of ambition. At heart, this is meant to be a broad comedy, and as such it can’t give in too much to its premise. Despite having an innocent man in a prison devoted to making teen murderers into assassins, despite befriending a truly insane timebomb of a gas-mask wearing girl, despite finding out that your little sister seems to be genuinely disturbed… despite all that, the tone of this series has been light. Everything skews towards the cliche, towards the trope, towards the predictable. And yet you don’t really mind, because despite its flaws it’s sort of fun. That especially holds true for the 4th book, where we meet Eiri’s family and find they are a machine-gun nest of cliches.

Eiri herself is already quite the cliche, ticking off all the tsundere boxes very neatly. In case you think that she earned marks good enough to be able to leave the school, save your breath: she came in second to last, beaten only by the mohawk guy who spent the midterms in the nurse’s office. But her family have called for her, and so she must go. They’ve also asked for Kyousuke, which she finds disturbing. As for Ayaka and Renko, their grades WERE good enough to let them go outside for the reward, so they come along as well, because leaving Kyousuke and Eiri alone together is unthinkable. (Sorry, Maina, you’re just not important enough, though you do get the cover of the next book.) So everyone’s off to visit Eiri’s palatial home, which has the inscrutable mother, the little sister whose love for her sibling has turned to hatred, and the big brother who is creepy and a bit of a pervert. Oh yes, and murderous twin 9-year-olds, one male, one female, who are at least not named Hansel and Gretel. Eiri’s been called back home to try to solve the big problem: her inability to kill.

The climax of this volume is actually a giant anticlimax – by design, to be fair – and so most of the meat is devoted to the relationship between Eiri and her younger sister, Kagura. The moment you see Kagura and she attacks Eiri, you can see the entirety of her plotline laid out from end to end, and sure enough it’s all there – the hero worship, the frustration at being second best, the anger at being second best to an assassin who can’t kill. And of course the buried love she still has for her sister, which ends up coming out even after Eiri refuses to kill an innocent child to prove herself. The point of this book is to get Eiri – and by extension her family – to admit that it’s not that she can’t kill but that she doesn’t want to – that she finds it wrong. This is tied into the murder of her father as a child – Eiri felt the agony of her father’s death and her subsequent grieving, and even though she wants revenge, every time she made the attempt she though of others going through that and stopped. It’s good character development. Honestly, it’s more earned than the “I guess I do love you” tacked on at the end, which seems designed to keep things on a more even keel romance-wise – Kyousuke having spent much of the volume wondering if he really does love Renko.

Psycome is never going to be “really good”, but it’s still reasonably funny, and I like many of the characters. And we keep getting hints of the endgame plot, which I suspect will happen in the final volume. Recommended if you don’t mind cliches.

Beasts of Abigaile, Vol. 1

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By Spica Aoki. Released in Japan as “Bara Kangoku no Kemono-tachi” by Akita Shoten, serialization ongoing in the magazine Princess. Released in North America digitally by Seven Seas. Translated by Alethea and Athena Nibley, Adapted by Marykate Jasper.

Once again, a manga I had very few expectations for manages to please me greatly. I always enjoy it when this happens, particularly when it’s shoujo. The premise of this seemed to be ‘Werewolf reverse harem’, which did not inspire confidence, and I admit that when I first read the words ‘Alpha, Beta and Omega’ midway through, my heart sank. But it won me over anyway, partly due to the art (the artist is really good at facial expressions, particularly in the case of Nina, the heroine) and partly due to Nina herself, who is a great combination of spunky, stubborn, and sort of goofy in the best way. We haven’t seen a title from the ‘Princess’ magazine in quite some time – Tokyopop used to do a lot of their stuff before they shuttered their manga line – and I like that it feels different from the Big Three’s shoujo titles.

The premise is that Nina and her uncle have arrived at the vaguely Mediterranean country of Ruberia, apparently to get a fresh start after getting bullied so bad in Japan she had to flee the country. Unfortunately, no sooner has she gone exploring then an escaped convict runs past her, and when she tries to stop him using her martial arts fighting skills (because yes, she’s that sort of heroine), he tackles her and bites her neck, causing her to pass out. After some brief suspicious guards catch the convict, they shove her into the paddy wagon as well. When she comes to, she finds herself on the prison island off the coast of the country, which turns out to be populated by werewolves, all of whom are prisoners of sadistic human guards, trained and tortured to be servants to the country’s human population. Which is troubling enough, except… Nina now has wolf ears and a tail too! Did the bite turn her into a werewolf? And how will she survive?

As you may have guessed by the description above, this title is gloriously silly and over the top. If you take it seriously, I’m not sure it would actually work. The characters are not blazingly original – we get the seemingly nice guy who’s actually in thrall to the Queen Bee, we get the incredibly jealous girl who hates Nina getting the attention of her love (no doubt she will attack Nina viciously in Volume 2), and of course we get Roy, who’s the sort of smug but sexy and mysterious jerk that every shoujo manga needs. Luckily, Nina fights back – in fact, the final moment in this volume made me laugh out loud at a shoujo cliche getting subverted, and I daren’t spoil it. Nina also ends up in a pack of trans werewolves, and while they tend towards the stereotypes and sometimes a punchline, they don’t seem to be there to be made fun of, which is nice.

Basically, as long as you don’t mind werewolf cliches (I did mention the alpha thing), this is a hell of a lot of fun, especially Nina. I look forward to the next volume.

If It’s For My Daughter, I’d Even Defeat a Demon Lord, Vol. 1

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By CHIROLU and Truffle. Released in Japan as “Uchi no Musume no Tame Naraba, Ore Moshikashitara Maou mo Taoserukamo Shirenai” by Hobby Japan. Released in North America digitally by J-Novel Club. Translated by Matthew Warner.

The most popular light novel genre at the moment, both here and in Japan, is “generic RPG fantasy world”. In this genre, however, you can do all sorts of things. There are isekai variations, and novels where it really is a game. There are harem romances, and dark gritty tragedies. These days it seems like a popular editorial request is “do fantasy but with __________”. And with this particular title, we’re getting another type of popular Japanese genre, the “single dad raises his daughter/adopted daughter (it’s always a daughter) and she’s really really goddamn cute” genre. The dad can be bumbling or competent, but the adorableness of the girl is never in question. (The light novel genre being male-oriented, the single mom raising her adorable son has not to my knowledge had any series, but hope springs eternal.) And now we have this series, where the adopted girl is a devil abandoned by her people for mystery reasons, and she’s just cute as the dickens.

The first 2/3 of this book is basically running on that premise. Our hero is a seasoned young adventurer who looks like the standard ‘generic guy’ you see in these sorts of fantasy book (Smartphone guy looks exactly the same). He runs into Latina in the woods, starving and unable to speak human languages, and decides to bring her home on the basis of being unable to let her starve to death or be eaten by monsters. Then he and the couple who run the inn he lives in slowly watch her grow up, learn to speak and read human, show she can use magic, wait tables, and wrap absolutely everyone around her finger. Part of the fun in this book is seeing Dale (the dad) turning into a complete over the top loon about his new daughter. Actually, one drawback is that I wish we’d had a bit more of Dale as he was before he met Latina – we see flashes of it, but it loses a bit of impact as we barely know him before he’s a doting dad.

The last third is far more serious, and at first I thought it might be dealing with Latina being bullied by her peers, but no, she’s being emotionally and mentally abused by her new teacher, who lost her family to devils and has gone half-insane to rage and prejudice as a result. Latina’s attempts to hide what’s being done to her with “everything is fine” even as she looks more and more worn and exhausted will ring a bell with anyone who ever dealt with a bullied child “staying strong”. The whole section is brutal, and it wouldn’t have nearly half the impact it does without most of the book being variations on “look at the daily life of this cutie”. It is nice to see the entire town seemingly standing up to protect her, including Dale, whose cold rage is absolutely terrifying to the temple who employed the teacher.

There are 5 volumes in this series, and each one shows Latina slightly older, so I suspect we won’t have cute antics for the whole series. But if you enjoy series like Yotsuba&!, Sweetness and Lightning, or Bunny Drop (the first half – I hope) and wish it had more swords and sorcery, I think you’d greatly enjoy this series.

Chihayafuru, Vol. 3

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By Yuki Suetsugu. Released in Japan by Kodansha, serialization ongoing in the magazine Be Love. Released in North America digitally by Kodansha Comics. Translated by Ko Ransom.

There’s a lot going on in this volume of Chihayafuru, which is starting to find its feet. We gain a new member of the karuta club, which has now hit the required five. Tsutomu, aka “Desk-kun”, is an introverted, small, nerdy guy who seems to be devoted to studies and has few friends. But once Chihaya sets her sights on him (which involves, at one point, kidnapping him), and he realizes that one of the otehr players on the team is in fact the #1 stude3nt in the school, he wonders if karuta can help his focus in other areas as well. I like Tsutomu. He brings a rookie lack of confidence that this sort of series always needs, and his crisis of faith towards the end of the book is both dramatic and understandable. What’s more, his suggestion of playing karuta with the poem-side down leads to a match of pure memorization between Taichi and Chihaya, and gives him his first big triumph.

Chihaya’s learning a lot in this volume, mostly as they now have a full team of five, which means that they have to learn how to play Karuta as a team – not that they play together, but such things as setting the right order for the matches and having trust that your other teammates are going to be fine. She’s also thrown off by one of her first opponents, who even gets her precious Chihaya card, which makes you feel like she’s going to break. (Her inner monologue has everything sounding far away to her, thus ruining her hearing advantage. I like this detail, as it makes it sound like she’s about to pass out – I’ve had that feeling myself.) Oddly, the true heart and leader of the team ends up being Taichi, who always knows the right think to say to Chihaya to snap her out of whatever funk she’s in. I suspect this is meant to be a love triangle with Arata, but given Arata’s ongoing absence it’s easier to fall on the Taichi side.

This volume is almost all karuta, but not entirely – there’s a “training session” at Taichi’s house that is just an excuse to give Chihaya a surprise birthday party. Sadly, it’s ruined when his incredibly strict mother comes home early, and the girls have to take off, but they at least get to meet up later (and we get an Arata text message cameo.) Chihaya continues to be the main reason to read the manga – Taichi may be the heart of the team, but she’s the heart of this series, and her incredible emotional ups and downs make for thrilling reading. Karuta isn’t just ‘let’s have fun and make friends’ anymore – by the end of the volume, the entire team is thinking ‘I want to win’ like it’s a mantra. Playing in a competitive sport means pushing your limits, and not slacking off. There’s a cliffhanger here, and Vol. 4 isn’t on Kodansha’s schedule yet, but I hope it comes soon. Unmissable.