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Reviews

My Love Story!! Vol. 12

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My Love Story!! Volume 12 by Kazune Karahawa and Aruko

I enjoy the volumes of My Love Story!! that focus on the central relationship between Takeo and Yamato, but manga chapters that focus more on Suna are a little bit more rare in this series, so I look on them as a pleasant refresher. Here, a new transfer student named Tanaka has fixated on Suna as a new friend, and while Suna goes along with it to some degree as soon as Tanaka starts badmouthing Takeo, the friendship is over as far as Suna is concerned.

While Takeo is initially very worried about Tanaka using Suna’s photogenic qualities for more Instagram likes, he begins to realize that the transfer student is genuinely lonely and trying to keep up the appearances of having friends. Suna is fiercely protective of Takeo, when Tanaka starts talking about how odd the giant highschooler is, Tanaka is dead to Suna. It takes Takeo’s unusual emotional intelligence to bring everyone together, as he pronounces that dudes just need to hang out and get snacks together to repair friendships. This is true, although hanging out then tends to involve massive feats of strength and physical exertion. Takeo’s simplistic but genuine approach ends up smoothing over the situation with Tanaka, and things seem to be evened out for a little bit.

Since this series is nearing the end, there’s a late breaking complication for Takeo and Yamato’s relationship that I’m sure will be resolved wonderfully in the last volume. It says a lot about the quality of My Love Story!! that I’m genuinely looking forward to some very conventional shoujo plot twists, because everything is just so well-executed and heartwarming.

Bakemonogatari: Monster Tale, Part 3

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

The final volume in the Balemonogatari trilogy (as it now is) is Tsubasa Cat, and finally gives us a closer look at out favorites glasses-wearing class president. Of course, I say ‘finally’ but due to Nisio’s agent suggesting that North America start with Kizumonogatari we’re already quite familiar with Hanekawa as she’s the heroine of that book as well. Indeed, even if you split Bakemonogatari into three rather than two, of the first eight books in the series, four of them have Hanekawa as the heroine, more than any of the others by, well, a factor of four-to-one – the other girls get one book each to that point, but Hanekawa keeps getting more and more attention. If you read Tsubasa Cat, you’ll get a glimpse as to why, but this first book is far more concerned with Araragi than Hanekawa, so the glimpse into her horrible life is at an oblique angle.

Araragi’s introduction leads us to expect that we’re finally going to hear what happened during Golden Week, where (we’ve been told several times already) Hanekawa somehow got mixed up with a cat monster, but although we do get a flashback to that point, the answer is still no. Golden Week was about Hanekawa taking out her stress on her parents, who are no relation to her through a series of deaths, marriages, and more deaths. This book, though, is about Hanekawa’s repressed love for Araragi, and the fact that she got beaten to the punch – Senjogahara confessed almost immediately, and was also helped by Araragi not putting her on a giant pedestal. And so Hanekawa is left with this burgeoning passion that can’t go anywhere, and thus we see the return of her cat side, Black Hanekawa – a side the reader is seeing for the first time.

Speaking of Senjogahara, she’s really only in one chapter of the book, but she almost steals it right out from under Hanekawa. (Highly appropriate, really.) The chapter was adapted into Episode 12 of the anime, which may be the most beloved episode of the entire franchise, and involves Senjogahara taking Araragi on a date to her favorite stargazing spot deep in the mountains. This whole chapter serves to hammer home the differences between Senjogahara and Hanekawa – I hesitate to use the word passive-aggressive to describe Senjogahara, who’s really more aggressive-aggressive, but the joy of this chapter is seeing the way that her nervousness and uncertainty shine through in her actions – note she tries to do her hair up like Hanekawa’s for their date, thinking that’s what he’s most attracted to – and then seeing how she powers through it anyway in order to show Araragi what a difference he’s made in her life and how much she loves him for it. It’s almost a perfect chapter.

The rest of the book can’t quite measure up, but is still excellent. Shinobu’s still not speaking, but we get a bit more insight into the nature of her sulk, and Araragi trying to balance out his codependent relationship with her and the relationship with the other girls in his “harem” will continue to be a subplot. And Black Hanekawa herself shows off not only her violent side, but also her smarts – for all that Araragi keeps belittling her for being stupid, she’s anything but, and Hanekawa’s kind nature keeps bleeding through. For those who are concerned, the translation does an excellent job of keeping her “cat-speak”, showing off her true nature. Due to being split into thirds, Tsubasa Cat may be the shortest of the three Monogatari volumes, but it’s also the best of the three, with great dialogue and a lot of character moments that will continue to be important as the series goes on. And fortunately there is more of the series – next time, in Nisemonogatari, we’ll take a look at Araragi’s younger sisters, and discover just how far a prose novel can take ‘fanservice’.

Attack on Titan, Vol. 21

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By Hajime Isayama. Released in Japan by Kodansha, serialization ongoing in the magazine Bessatsu Shonen Magazine. Released in North America by Kodansha Comics. Translated by Ko Ransom.

(As always lately, there are major spoilers for this volume here.)

Well, we finally get the answer of who will survive. It was obviously Armin at first, but then a soldier showed up with Erwin’s dying body and the whole thing devolved into an argument about “whose life is worth more during a war?”. If I recall correctly, the Attack on Titan fandom was arguing about these chapters as well, though for a different reason – storywise, it feels like a cheat to have Armin come back from the dead after such a nice heroic sacrifice. Also, I sense the Attack on Titan audience is getting tired of the only characters dying being minor ones like Marlowe. Well, no worries here, as not only does Erwin due when Levi mercifully decides not to save him, but in order for Armin to survive, Bertolt has to be eaten. He doesn’t take it well.

Leaving aside the 80 billion counts of insubordination that Eren and Mikasa commit here, which will no doubt be gone into in the next volume, the other big dramatic moment that comes here is finding and entering the Jaeger basement. This has been the Survey Corps’ goal for who knows how long, and the “when will they get to the basement” jokes were practically a meme. Needless to say, the moment itself is given all the drama and tension it can muster, including Eren realizing that the key he’s always had isn’t for the basement door at all (Levi solves the problem by kicking the door to bits), and the cliffhanger ending showing us… a photograph! Yes, it turns out humanity may not be as completely wiped out as we suspected.

What follows is a long chapter of tragic backstory, as we have Eren’s father discussing his childhood rebellion against the authoritarian regime, the loss of his sister, his joining a resistance force, and his meeting a Historia lookalike named Dina whom he falls in love with and marries pretty quickly. Of course, we know from the very first chapters that she’s not Eren’s mother, so there’s even more drama going on here – and so yes, they’re both betrayed by Grisha’s FIRST son, named Zeke. Attack on Titan has always been fairly serious and po-faced – what little humor there is tends to come from Sasha’s antics – but even for this series, this is depressing stuff. We see a flashback to the death of the little sister, who is ripped to pieces by military dogs (no, actual dogs), and Zeke betraying his parents to the fascists is just icing on the cake.

I get the feeling that this flashback is going to take up a great deal of the next volume as well, which is good, as we still need a few more answers. For the moment, though, Attack on Titan may not be fighting too many Titans in this book, but it’s just as deadly. It’s well worth a read if you’re a fan of the series, but be warned that sometimes the mind-numbing bleakness of events can make the reader as depressed as the characters themselves.

My Brother’s Husband, Vol. 1

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The world has changed since Heather Has Two Mommies was published to controversy and acclaim in 1989. Here in the US, we’ve seen the legalization of gay marriage, first on the state and then on the federal level. We’ve also witnessed a slow but meaningful change in the way that our judicial system conceptualizes parental rights, as evidenced by a recent decision overturning Alison D. v. Virginia M., a 1991 lawsuit in which the court held that non-biological, non-adoptive parents have no legal standing in custody disputes. Writing in 2016, the New York Court of Appeals declared that “the definition of ‘parent’ established by this Court 25 years ago in Alison D. has become unworkable when applied to increasingly varied familial relationships,” recognizing the degree to which gay and lesbian partnerships had been marginalized by the original ruling.

Our recent presidential election offered a powerful reminder, however, that the initial firestorm over Heather Has Two Mommies was never fully extinguished; no matter how much the law had evolved to reflect shifting cultural attitudes, some Americans still clung tenaciously to the idea that the only legitimate families were headed by a father and a mother. In this moment of uncertainty, Gengoroh Tagame’s My Brother’s Husband is a welcome arrival in American bookstores, offering younger readers a warm, nuanced portrayal of gay life that challenges the idea that the only families that “count” are based on blood relations.

Tagame’s story focuses on Yaichi and Kana, a single father and his curious, outspoken daughter. Their cosy household is upended by the arrival of Mike Flanagan, a good-natured Canadian who was married to Yaichi’s deceased twin brother Ryoji. Yaichi is reluctant to host Mike, but seven-year-old Kana warmly embraces their visitor, insisting that Mike stay with them as an honored family member.

In the early chapters of the story, Mike represents a direct challenge to Yaichi’s unexamined beliefs about homosexuality. Tagame uses a split screen to make us privy to Yaichi’s internal monologue, contrasting Yaichi’s public actions with his private thoughts, in the process revealing the extent to which Yaichi uses stereotypes to justify his discomfort with Mike. Not surprisingly, Yaichi initially treats Mike as a nuisance, but his attitude changes as he watches Kana interact with Mike; her natural curiosity and warmth bring out the same qualities in their guest, encouraging Yaichi to view Mike as an individual, rather than a type.

In the later chapters of the story, Mike’s role in the household begins to evolve. He joins Yaichi and Kana in their daily activities — going to the store, visiting the community center — and talks openly with Kana about his marriage to Ryoji. When Yaichi’s ex-wife arrives for a visit, she marvels at Mike, Yaichi, and Kana’s closeness, recognizing the degree to which they’ve formed their own impromptu family in just a short amount of time.

My Brother’s Husband might feel like an Afterschool Special if not for the crispness of Gengoroh Tagame’s artwork, which conveys both the small-town setting and characters’ feelings with great specificity. In particular, Tagame does a fine job of suggesting just how conspicuous Mike really is in the village where Yaichi and Kana live, using the scale of Yaichi’s house — the rooms, the tatami mats, the bathtub — to drive home the point. Tagame proves equally adept at using the characters’ body language and facial expressions as a window into their feelings. In one of the story’s most poignant scenes, for example, a drunken Mike mistakes Yaichi for Ryoji, dissolving into tears as he collapses into Yaichi’s arms; it’s the only moment in which the strong, confident Mike seems vulnerable, his posture and face convulsed in grief over losing the husband he cherished. Yaichi’s grimaces, smiles, and gasps likewise reveal his vulnerability, documenting his ambivalent feelings about Mike in particular and homosexuality in general; the dialectical process by which Yaichi comes to embrace Mike as part of his family registers as much on Yaichi’s face as it does in his words and his actions.

Though some of the conflicts are resolved with sitcom tidiness, My Husband’s Brother earns points for its well-rounded characters and frank acknowledgment of Yaichi’s initial discomfort with Mike. That we believe in Yaichi’s transformation from skeptic to ally, and embrace Mike as a complex individual and not a cardboard saint, is proof of Tagame’s ability to tell a nuanced all-ages story that will resonate with readers on both sides of the Pacific. Highly recommended.

A word to parents, teachers, and librarians: My Brother’s Husband is appropriate for readers in middle and high school. Though the subject of Mike’s relationship with Ryoji is discussed at length, the story focuses on Mike’s romantic feelings for Ryoji; the sexual dimension of their relationship is not depicted.

Review copy provided by the publisher. My Brother’s Husband will be released on May 2, 2017.

MY BROTHER’S HUSBAND, VOL. 1 • BY GENGOROH TAGAME • PANTHEON BOOKS • NO RATING (SUITABLE FOR READERS 10+)

The Devil Is A Part-Timer!, Vol. 7

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By Satoshi Wagahara and 029. Released in Japan by ASCII Mediaworks. Released in North America by Yen Press. Translated by Kevin Gifford.

Unlike the DanMachi collection released on the same date, this volume of short stories is not interconnected into a pseudo-plot – it’s just a collection of four short stories. Fortunately, the stories are all quite good, so we also lack the lows of that DanMachi collection as well. Devil Is A Part-Timer! is very strong when it’s talking about nothing in particular, so this volume plays to those strengths, showing our heroes going up against fraudulent shysters, adopting stray kittens, buying futons for their magical sword babies, and learning how to work fast-food without losing your mind. It’s also a good volume for shippers, particularly if you ship Maou and Emi, as the entire third story is basically about how great they work as a couple, and how much this seems to upset Emi.

The first story is probably the slightest – ironically, it’s the one they chose to adapt into the anime, as Maou has to deal with the fallout of Urushihara being tricked into buying a lot of useless stuff. He (and the reader) learn about how these schemes are done, and how difficult it can be to recover anything from them. The kitten story is probably the cutest, and again revolves around one of the themes of this novel series, which is explaining what seem to be obvious concepts to those completely unfamiliar with modern-day Japan. Not only does Maou not really know how to take care of cats, he’s not aware there are vets. And even worse, he’s not aware how fast he and the others can bond with a kitten. The third story, as I said earlier, is basically pure ship tease, with Maou and Emi buying a futon for Alas Ramus and everyone around them thinking they’re such a great couple. It’s amusing precisely because everyone is correct – when she’s not panicking about the very idea, they are a great couple.

The final story is easily the longest of the four, and takes place right before the series begins. It focuses on Chiho and how she came to get a job at McRonald’s and meet Maou, as well as why she fell in love with Maou. It’s nice to see Chiho interacting with her friends at school – indeed, I suspect one reason this story came out is to give greater depth to Kaori and Yoshiya in anticipation of them appearing in the main story later on. (It’s also very refreshing to see a ‘two girls, one boy’ high school friendship with no romantic tension whatsoever.) Chiho is a fairly sheltered girl whose father is a police officer, and so feels she’s lacking life experience, one reason why she applies for the McRonald’s job. There’s a lot made in this story about the ‘career survey’ all Japanese students dread, and exactly how relevant it needs to be. Mostly, though, this is a good showcase for Chiho and demonstrates how far she’s come in the six volumes since.

This isn’t essential reading, but all volumes in this series are good, and if you’re collecting it there’s no reason to pass it up. The Devil Is A Part-Timer! remains among the best Yen On releases.

Giant Killing, Vol. 1

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By Masaya Tsunamoto and Tsujitomo | Published digitally by Kodansha Comics

Although I genuinely, deeply love shounen sports manga, I can’t deny that most follow similar story beats. I knew going in that Giant Killing is actually seinen, but wasn’t prepared for what a breath of fresh air it would be.

Instead of some first-year joining his high-school team, the protagonist of Giant Killing is Takeshi Tatsumi, a 35-year-old former pro soccer player turned coach. The series opens with Yuri Nagata and Kosei Gotou, the PR rep and general manager of East Tokyo United (a struggling Japanese team) finally locating Tatsumi at his job in England, where has led a team of amateurs to a top-32 finish in the Football Association Cup. They have even managed to crush professional teams.

It turns out that Tatsumi specializes in leading underdog teams to victory against highly favored opponents. He sees it as a David-and-Goliath scenario, hence the title of the series. Initially, the English club president doesn’t want to let Tatsumi out of his contract, but when he learns that Tatsumi used to play for ETU and that there are desperate fans in his hometown waiting to be helped, he relents and lets him go.

Tatsumi doesn’t seem to particularly care either way and it’s this neutrality that makes him an interesting character and effective coach. For instance, at his first practice session with the ETU team, he makes them run sprints for 45 minutes. Those with the most stamina turn out to be the younger guys, but they’re also merely the alternates on the team. With his guidance, they manage to defeat the older starters in a scrimmage. The stalwart veteran of the team, Murakoshi, gets his pride wounded by this, but rather than suggest that he’s no longer useful, Tatsumi instead points out that what he needs is to find his own secret weapon to overcome these odds. Tatsumi is adept at seeing a team or an individual’s shortcomings and offering strategies to overcome them, and that’s the kind of reliable leadership that Murakoshi has done without all these years.

On the one hand, Tatsumi exemplifies the gifted protagonist that this genre is full of, but his gift is not in his own athletic prowess (or not merely that) but rather his ability to furnish others with the tools they need to succeed, to reinvigorate failing franchises, and to rekindle fan enthusiasm. And, of course, the clubs don’t mind the boost in revenue that inevitably results. Giant Killing is every bit as addictive as a shounen series, but with grown-up stakes and nuance. I can’t wait to read more!

Giant Killing is ongoing in Japan, where the 43 volumes have been released so far.

Review copy provided by the publisher.

Ace of the Diamond, Vols. 1-2

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By Yuji Terajima | Published digitally by Kodansha Comics

Eijun Sawamura really wanted to make some good baseball memories with his middle-school friends, but even though they practiced hard, they couldn’t win a single game. Although he shows talent as a pitcher, his unsportsmanlike behavior after a bitter defeat means most of the good baseball schools are no longer interested in him. And, because he is a hot-headed yet enthusiastic idiot, he totally forgot about the entrance exams required for other schools.

Luckily, Rei Takashima pays a visit and scouts him for Seido High, a big-name school in Tokyo that’s been to Koshien many times. He’s torn between testing his skills in this new world (the baseball club has over 100 members vying for nine positions on the roster, so competition is fierce) and loyalty to his old friends, but after they encourage him to seize the opportunity, he’s off to Tokyo. Of course, because he is such a hot-headed yet enthusiastic idiot, he clashes with the strict coach right away, flubs a chance to show off his pitching potential, and is barred from participating in practice.

After the Spring Tournament, in which Seido’s lack of a pitching ace becomes obvious, Eijun gets one more chance to show what he can do in a first-years versus upperclassmen game. The upperclassmen immediately dominate but Eijun isn’t intimidated or discouraged, and the second volume ends with the cliffhanger… will he and another first year succeed in scoring against overwhelming opponents?

So far, Ace of the Diamond is a lot of fun. I can’t claim that Eijun’s personality type is especially endearing, but he’s got his admirable qualities, too. More, though, I am having fun with the rapidly expanding cast. Beyond the upperclassmen, which include Eijun’s roommates at the dorm and a genius catcher with a troublemaking streak, we also meet Satoru Furuya, another first-year pitcher who’ll likely become Eijun’s fiercest rival; Haruno Yoshikawa, a clumsy first year manager and presumed love interest; and Haruichi Kominato, a diminutive wallflower with a talent for precision batting.

The pace is fast, the characters are fun, the protagonist has a lot of room to grow, the series is 47 volumes long with a sequel… All of that sounds spectacular for a sports manga geek like me. Thank you, Kodansha!

Side note: I keep wanting to call this series Aim for the Ace!, but that’s something completely different. (I still really want to read it, though.)

Ace of the Diamond is complete with 47 volumes. However, a sequel series—subtitled Act II—is still running. The seventh volume came out in Japan last week.

Review copies provided by the publisher.

The Girl from the Other Side: Siúil, a Rún, Vol. 1

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The Girl from the Other Side: Siúil, a Rún, Volume 1Creator: Nagabe
Translator: Adrienne Beck
Adapter: Ysabet Reinhardt MacFarlane
U.S. publisher: Seven Seas
ISBN: 9781626924673
Released: January 2017
Original run: 2016

The Girl from the Other Side: Siúil, a Rún by Nagabe was easily one of my most anticipated manga debuts of 2017. Nagabe is known as a creator of somewhat unusual or unorthodox manga, The Girl form the Other Side easily fitting into that category. (Nagabe’s work was actually first brought to my attention thanks to a series of beautifully drawn boys’ love doujinshi featuring birds.) The first volume of The Girl from the Other Side was originally published in Japan in 2016, while the English-language edition was released by Seven Seas early in 2017. The quality of the physical release is admittedly a little disappointing–the cover stock feels ephemeral and ink tends to smudge and transfer between pages (granted, this does at least seem to be thematically appropriate)–but I’m thrilled that The Girl from the Other Side is being translated at all. It’s also worth noting that the manga does share some obvious parallels with another unusual series, Kore Yamazaki’s The Ancient Magus’ Bride, but even considering their similarities they are quite different from each another.

Once upon a time, two kingdoms existed in a world divided into the Outside and the Inside. Humans live on the Inside behind a wall intended to keep the monstrous Outsiders and the dark curse associated with them at bay. Coming into contact with an Outsider is to be avoided at all costs; to do otherwise means risking ones’ life and humanity. But the darkness of the Outside is slowly encroaching upon the light of the Inside. Humans are succumbing to a cursed disease and are abandoning entire villages as they unsuccessfully try to flee from it. Out of fear and suspicion, people have started to turn against one another in a desperate effort to survive. In the midst of this turmoil is a young girl, Shiva. Unexpectedly left behind in an area which is now considered a part of the Outside, she is waiting to be reunited with her family. In a peculiar twist of fate, Shiva is being guarded and cared for by an inhuman Outsider who she simply calls “Teacher.” The circumstances are unusual and dangerous for them both as Shiva’s safety becoming more and more difficult to guarantee the longer she remains on the Outside, set apart from others.

The Girl from the Other Side: Siúil, a Rún, Volume 1, page 32The fact that Shiva’s very life is in danger is clear from the beginning of The Girl from the Other Side. As a sort of prologue, the manga opens with her being warned of the curse brought by the touch of an Outsider while the first panel of the story-proper shows her lying listless on the stump of a tree. She has only fallen asleep, but the visual cues of the scene are closely reminiscent of death. An ominous feeling of uncertainty–is Shiva actually alive or is she dead, how much of her world is real and how much of it is a fairytale–pervades The Girl from the Other Side. Shiva is young enough that she doesn’t completely understand everything that is happening to her and doesn’t know enough to be afraid. But as she experiences more her awareness grows, even when Teacher tries to shield her from life’s harsher realities. Likewise, readers gain more knowledge as the underlying truths of Shiva’s situation are slowly revealed. However, they don’t have Teacher to soften the blows for them. To some extent Shiva’s innocence protects her from the tragedy and heartbreak inherent to The Girl from the Other Side which is so obvious from an outside perspective.

The Girl from the Other Side is incredibly atmospheric, a beautiful and surprisingly gentle and charming story which simultaneously manages to be disconcerting and unsettling. The series is very dark, in both theme and illustration. There is a tremendous amount of ink on the manga’s pages–the oppressive shadow of death which haunts the story is reinforced visually, the darkness permeating the scenes. Shiva, with her light-colored hair and dressed in white, stands apart from the unwelcoming environment. She is obviously out of place, separate from what is around her. In contrast, Teacher is clothed in black and at times is barely discernible from the background. But although an Outsider and demonic in form, Teacher is Shiva’s only hope, trying to safeguard her from anyone who would seek to do her harm. Their strange yet sweet and endearing relationship is core to The Girl on the Other Side. The life that they have, no matter how impermanent, carries great weight as they face an uncertain future together. The Girl from the Other Side is a gorgeous and striking work; I can’t wait for the next volume to be released.

Is It Wrong To Try To Pick Up Girls In A Dungeon?, Vol. 8

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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?” by Softbank Creative. Released in North America by Yen On. Translated by Andrew Gaippe.

I knew going in that this was going to be a short-story collection, but it turns out that’s not quite true. What it is is more “A day in the life” – there’s still an overarching plot going on, and stories do affect other stories, but each of the six main stories is also self-contained and stars a specific member of Hestia Familia. Omori said that he wanted to write stories about love in this volume, which may make some readers cringe, and rightly so. DanMachi works best when the harem romance is used as a spice, in my opinion, and this is definitely a heaping helping of main course romance. That said, I have an easy way to tell whether you’ll enjoy a story or not – the longer the story, the better it is.

Unfortunately, that means the book begins with its worst story. I’ve never been a fan of “we’re not blood related so it’s not really incest” stories, and so Mikoto’s crush on her adoptive God father Takemikazuchi merely aggravated me, especially as it’s surrounded by a host of other cliches. I suspect the author meant it to be the funny one of the group. Eina’s story involved Bell protecting her from a stalker, but was probably the most boring of the stories, much like its female lead (sorry, Eina). Syr’s story was all right, but it teased that it was going to finally show off how she was related to Freya – fan rumor suggested she IS Freya, but that seems unlikely – but left things a bit too vague to be satisfying.

The longer stories fare much better. Lilly and Hestia are the only characters who get to definitively talk about their love for Bell openly in the series, and we see that love being put to the test on Lilly’s end, as not only has the rest of the group been told about Bell’s special skills (and thus that his stats are literally driven by his love of Ais), but she’s feeling useless in the dungeon as well, and ends up with a huge case of self-hatred (which honestly is always sort of boiling beneath the surface of Lilly). Help comes in the form of Finn, who is not only the only other hobbit – sorry, prum – in the book, but also far more savvy about romance (well, except for the advances of the amazon with the crush on him). As for Welf, his is the least romantic story in the book, though we see his respect for Hephaistos borders on love, and she also loves seeing his growth. Welf actually drives the main plot, as his magic sword skills are now well known – and people are trying to use them for evil.

The final story stars Hestia, Bell and Ais, and I enjoyed it a great deal as well, though a brief caveat that people who dislike jealous, petty Hestia will probably dislike it a bit more. That said, Bell finally seems to be catching a clue about how Hestia feels about him, though it’s not clear whether he’ll actually do anything about that. (Finn mentions harems to him at one point, but I honestly don’t think this is going to be that kind of series.) As for Ais, she’s showing a lot more emotion in her own stoic way than she ever has before, and we see her as furious as she ever gets when seeing how a reclusive village worships an ancient dragon. I suspect this may be related to backstory we’ll get more of in Sword Oratoria.

So in the end a bit of a mixed bag, but still well worth reading for fans of the series, especially if you like Lilly, Welf, or Hestia. There’s a bit of a tease for the next book at the end, and I sense we’re about to get a more serious arc next. Perhaps with a more normal focus on action rather than romance?

Princess Jellyfish, Vol. 4

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By Akiko Higashimura. Released in Japan in two separate volumes as “Kuragehime” by Kodansha, serialization ongoing in the magazine Kiss. Released in North America by Kodansha Comics. Translated by Sarah Alys Lindholm.

I’ve mentioned before that I read this book more for Kuranosuke than Tsukimi, mostly as I keep waiting for everything to come crashing down on him and it just hasn’t yet. Kuranosuke is a giant whirling ball of poor impulse control, and while most of the time this is channeled in a good direction, and I do like that he’s helping the others in his own way, I always grit my teeth a bit when the moral seems to be “consequences are for other people!”. We get a bit of backstory as to how he came to the mansion as a child, and a bit more insight into the relationship he has with his older brother. I liked this, it makes sense for the character. Best of all, though, we have several moments, especially in the second half of the book, where Kuranosuke is thrown off his game, and forced to actually deal with unplanned things. He really shines then.

Speaking of the second half of the book, Nisha is a highly welcome breath of fresh air, and provides a dose of reality to the series that is desperately needed, as Kuranosuke has his head in the clouds just as much as Amars seems to. In particular, they are reminded that if they expect to make any money at all, Tsukimi’s jellyfish dresses need to be priced as haute couture, which is to say way, way above anything that the Amars crew could ever afford. We get a visit to an outlet store for expensive clothing, and while Tsukimi remains horrified, it really is a good object lesson in how the other half lives. She is not the target market for her dresses – people like the rick old ladies who came to the fashion show are. It will be interesting to see how well the dresses succeed in future books.

As you’d expect, there’s also lots of other things going on in these two volumes. Tsukimi and Shu get closer, even as she still has tremendous trouble dealing with a man AS a man (Kuranosuke dressing as a woman helps), and the residence is still very much on the chopping block, which gives Inari a chance to give a magnificently villainous speech tearing down Tsukimi – it’s cliched by design, and after all, if it does what it intended, why not use the cliche? That said, I think Tsukimi will be fighting back soon thanks to her fellow neighbors, who now that they know the strength of their resolve are prepared to bring them in to the protest fold.

There’s more tiny little character moments – I loved Jiji agreeing to run operations for the newly minted Jellyfish fashion business, if only as it gave her something to do for the first time in the entire series. Essentially, Princess Jellyfish’s fourth volumes shows the work of an assured manga artist continuing to draw us into the world of fashion and introverts, and you eagerly read on to see what happens next.

The Girl From the Other Side: : Siúil, A Rún Vol. 1

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The Girl From the Other Side: Siúil, A Rún Volume 1 by Nagabe

This title from Seven Seas is totally the opposite of what I tend to expect from the publisher. The Girl From the Other Side is a fascinating dark fairy tale that has overtones of a philosophical thought experiment, while still presenting the reader with compelling art and characters.

Shiva lives with her teacher, a man with an affliction who appears to be half-man, half beast. They live in a house and venture out to an abandoned village to forage for food and household items. Shiva thinks that her aunt is going to appear soon to pick her up, but she’s actually been abandoned and her teacher can’t bring himself to tell her. There’s a divide between the remains of humanity, who seem to have retreated behind walls, and the land overtaken by “The Others”, people who have been cursed or perhaps contracted some sort of disease that robs them of their humanity.

Shiva’s teacher attempts to keep some sort of regular routine, and while Shiva runs around like the extremely resilient little girl that she is, the reader is filled with a growing sense of unease as more and more of her world is filled in. Is food going to run out at some time? Why are The Others, or anyone suspected of being in contact with them hunted down and killed? Is Shiva’s teacher different from the rest of The Others, and how did that manage to happen? How has Shiva even managed to survive up until this point? I haven’t read a manga before that manages to blend heartwarming slice of life moments with supernatural horror, but The Girl From the Other Side pulls it off masterfully. I’m not actually sure yet if The Others should be dreaded quite as much as the humans who are attempting to defend their society from them though.

The art in The Girl From the Other Side fits the themes of the story perfectly. Instead of a more generic or commercial style, Nagabe’s illustrations are filled with dark cross-hatching and tones that give the panels a feeling of an antique woodcut. Shiva is rendered almost entirely in white, providing a visual counterweight to the dark backgrounds. Shiva’s teacher is rendered in darkness, with the details of his face difficult to discern, making the condition of “The Others” seem more mysterious and frightening.

There’s an all ages rating on this manga, which I find odd. While there might be no sexual content and not much overt violence, the themes of the manga are both grim and emotionally challenging, and it isn’t a manga I would recommend for all audiences. That being said, this is one of the most unique and well-executed manga that I’ve read in quite some time, and I highly recommend it.

Sword Art Online, Vol. 10: Alicization Running

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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.

If the 7th Sword Art Online novels felt rushed because we weren’t used to the pace of a single volume story, then this book has the opposite issue. Alicization Running is filled with cool scenes, exposition, and character development, but it is the very definition of “Part 2 of 10” – it doesn’t stand on its own as a novel, really. For those who expected we’d see Kirito and Eugeo reuniting with Alice in this book, she’s barely even mentioned except as a goal, because to get to her they have to become Knights, which means winning a tournament, which means going through sword training school, which means winning ANOTHER tournament. Kawahara is stretching this out, for good or ill. Fortunately, it’s partly good – this is still readable, and by now I hope the average Sword Art Online reader takes Kirito’s success with a sword for granted and does not grind their teeth at it.

The other good news is that the first third or so of this book is devoted to Asuna in the real world, who is trying to figure out what happened to Kirito, who is not, as we may have expected, in a hospital but has instead completely vanished. We do eventually find out where he is, with a lot of seeming villains who are really helping out heroes and the like. We also get more of one of my least favorite things in Sword Art Online – praising Akihiko Kayaba, the villain of the first arc who condemned thousands to death, but is really just a misunderstood man with a dream, something that even Asuna says she can respect, which just makes me shake my head. Unfortunately, the rest of Asuna’s section is taken up with huge swaths of technobabble as Kikuoka explains what they’re trying to do here, why they’re trying to do it, and why Kirito is here. Some of those explanations are a bit disturbing – the author even has to remind us in the afterword that he does not necessarily agree with his characters (I’m guessing he’s meaning the use of DELICIOUS TASTY BABY SOULS).

Meanwhile, Kirito’s having an adventure, and while he does think of Asuna and the others, and misses them, his focus is on getting to the central capitol. This involves a lot of showing off, because this is Kirito after all, as well as forging him an amazing weapon that can be the equal of the sword Eugeo possesses (which is a black blade almost identical to his Aincrad one). He also gets to face off in a battle with the #1 swordsman at the school… who sadly is not the young woman on the cover. She’s the second strongest swordsman, and the plot is set up to build to a final battle against her that never happens. I’d like to say it’s not just because she’s a woman, but let’s be honest, it probably is. As always, Kirito is at his most interesting when he’s upset or something goes wrong, such as when his classmates’ petty bullying and destruction leads him to the literal power of prayer to fix things (fortunately, this is a gaming world, so it succeeds).

I wish we had more of Eugeo, who’s a nice sweet kid but not much else – he got far more development last time. As for the regulars who aren’t Kirito or Asuna, well, Leafa and Sinon get to have a confab with Asuna at the start of the book, but Lisbeth and Silica are reduced to begging on the back cover. Yui actually fares better than they do – her discussion of AIs, and how in the end she isn’t the amazingly self-aware fairy daughter she appears to be, is well-written and also chilling. This is a necessary volume of Sword Art Online if you want to read more of Alicization, but by itself it’s a bit frustrating. Recommended for fans of the series, but I’m hoping for a bit of a Turning point next time…

Also, Kirito spends most of the book being protected by invisible sentient head lice, who I can’t help but picture as Jiminy Cricket. I just want to throw that out there.

Flying Witch, Vol. 1

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If you’ve dipped a toe in the online dating world, you’ve undoubtedly arranged a date with someone who turned out to be pleasant, polite, and attractive, but not terribly interesting. I had a similar experience with volume one of Flying Witch, a manga that looked promising but lacked the necessary spark of weirdness or wit to make it worth a second chance.

Flying Witch has a simple but fertile premise: Makoto Kowata, a teenage witch-in-training, moves from Yokohama to her cousins’ farm and enrolls in the local high school. Though Makoto’s parents warned her not to reveal her true identity to other people, Makoto blithely confesses her avocation to peers and strangers alike, almost always without prompting.

That running gag is indicative of what works — and what doesn’t — in Flying Witch. In the manga’s best scenes, artist Chihiro Ishizuka wryly juxtaposes the banality of the setting with the strangeness of Makoto’s witchcraft, whether Makoto is test-driving brooms at the local supermarket or pulling up a mandrake from an abandoned field. In these moments, Makoto’s enthusiasm overwhelms her desire to escape detection; she’s astonished that her classmate Nao recoils from the noisy, squirming mandrake, and begins regaling Nao with a list of its medicinal uses in an effort to explain why mandrakes, are in fact, awesome gifts.

In other scenes, however, the punchline is toothless, coming at the end of a long monologue about witchcraft or a chance encounter with a villager who isn’t the least bit scandalized by Makoto’s true calling. Makoto’s blushing and stammering is overplayed to diminishing returns; any reasonable person would wonder why Makoto hasn’t realized that her big secret isn’t a big deal. The same is true for other recurring “jokes” about Makoto’s terrible sense of direction, which are as unfunny on the third or sixth iteration as they were on the first.

The artwork, like the script, is lackluster. Though Ishizuka’s lines are clean and her layouts easy to read, the characters’ blank faces do little to sell the jokes. Chinatsu, Makoto’s ten-year-old cousin, is one of the few characters to register any emotional response to Makoto’s behavior, reacting with a mixture of saucer-eyed fear and astonished exuberance. The rest of the characters drift through the story without much purpose, functioning more like props or set decoration than actual people. Only cameo appearances by the aforementioned mandrake root and the Harbinger of Spring inject the proper note of piquant strangeness to the proceedings, reminding us that Makoto’s existence straddles the fence between the ordinary and the supernatural.

I wish I liked Flying Witch more, as it has all the right ingredients to be a quirky, fun series. Alas, reading Flying Witch is like having dinner with a handsome bore who collects vintage lunch boxes or builds crystal radios; you just know there’s a good story there, but it never comes across in the telling.

FLYING WITCH, VOL. 1 • BY CHIHIRO ISHIZUKA • VERTICAL COMICS • NO RATING (SUITABLE FOR ALL AGES)

Fruits Basket Collector’s Edition, Vol. 12

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By Natsuki Takaya. Released in Japan by Hakusensha, serialized in the magazine Hana to Yume. Released in North America by Yen Press. Translated by Sheldon Drzka.

At last we come to the end of one of the most influential manga series out there, at least in North America. Fruits Basket brought so many new people into the fandom, and also made so many more want to create. It was almost like lightning in a bottle – Takaya’s two series after this are good but did not have nearly the same amount of popularity, and the less said about Fruits Basket Another the better. But Fruits Basket itself is compulsively re-readable, incredibly emotional, and thoroughly satisfying, even if it is also flawed, as this last volume so amply shows. The curse is now broken, but the aftermath still needs to be dealt with, and nothing is going to be the same again.

My favorite moments in the book were the things that didn’t quite happen, even though they should have in order to provide closure. Akito attempts to apologize to the rest of the zodiac, but can’t quite pull off the words, instead giving what amount to exit interviews to most everyone as she deals with her tortured feelings for Shigure, who is at last willing to reciprocate them, since they’re entirely on his own terms now. The Shigure/Akito relationship is easily the most problematic of the series, and trust me that’s saying something. It leaves me with a vague sense of emotional dissatisfaction, even as it makes the most sense in story terms. Takaya even says she felt a bit uncomfortable with it. Meanwhile, Rin is looking at everyone else smiling and moving on and wondering why she’s still filled with rage and hatred. Healing is something that happens different ways for everyone, and it doesn’t have to happen overnight, especially when you’ve been abused as much as Rin has. And the Sohma’s head maid is offered a chance to help Akito forge a new path with the Sohma Family… and walks away from it, unable to let go of the past, in one of the starkest and best moments in the volume.

As for the main cast, everyone gets a brief few pages to show how they’ve changed and grown, and also to show that almost everyone is now romantically paired. You have to feel bad for Momiji and Kagura – if you’re going to pair everyone up in the most cliched way possible, why not simply go all the way? In general, the more attention paid to the couple during the manga itself, the better the scene – Kyo and Tohru get the bulk of the pages, obviously. Some pairings are a bit last minute hookup, like Hatori and Mayu. And some pairings feel like a gag taken one step too far, like Kazuma and Hanajima, where you get the sense that Takaya simply finds the idea of this too funny to not go through with, even though it doesn’t really work. It’s also nice to see Shigure’s editor happy at last, but again, this reads like connecting the dots. Fruits Basket works best when the romance is focused on Kyo and Tohru.

The second half of the omnibus, as predicted, was a sort of combination of various parts of the two fanbooks, showing off favorite scenes/pairings/characters along with some discussion of clothing and the like. There’s also an interview with Takaya that was done recently, where she looks back at the series. I don’t think the extra content is worth buying in and of itself. But if you want to upgrade your old Tokyopop paperbacks, and don’t mind that the series has a noticeably different translation (“you did your best”, FYI) , you should absolutely get this, and relive a magical shoujo classic. Also, the second to last chapter still makes me cry every single time.

Konosuba: God’s Blessing on This Wonderful World!: Love, Witches & Other Delusions

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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.

First of all, I would like to state, for the record, that it was Yen On’s decision not to use an oxford comma in the subtitle. I am merely replicating their choice. And if you think that’s a somewhat silly way to start a review, then you’re clearly not the right audience for KonoSuba, whose second light novel is content to replicate the choices of its first, showing that it is quite happy to have its dysfunctional cast behave badly in hilarious ways. Kazuma whines and moans (and tries to get laid with a succubus, which works about how you’d expect); Aqua is the brattiest goddess you’ll ever see (indeed, the book begins with a much nicer example); Megumin cares about explosions and nothing else, and Darkness’ masochism is in full force. There’s a hint the next book will advance what passes for a plot, but in the meantime, enjoy the antics.

The book starts off on the right foot – indeed, it may be my favorite part – with a story about a foolish young man, seeing Kazuma surrounded by hot girls and not much else, offering to switch parties with him for the day. Kazuma, who is no fool, accepts, and you’d think we’d stick with other guy and watch the fallout. But no, instead we follow Kazuma and see his normal day with a normal party. He uses his adventuring powers wisely, helps save the day, gains the respect of his teammates – it’s peaceful, heartwarming, and would no doubt be incredibly dull it it lasted any longer than it does. We then return and see the aftermath of Dust’s day with Aqua, Megumin, and Darkness… and yup, he’s begging to switch back. Predictable, but still hilarious.

Even when the book takes a turn for the slightly serious, there’s still gags lurking in the background. That’s a good thing, to be honest – this really isn’t a series you want to see depth and feeling in. Taking it too seriously would ruin the point. So when we get the climax with everyone fighting against the giant spider mecha with the bomb inside it, it’s undercut by the creator’s hilariously mopey diary about the building of the thing. There’s even some mild romance in this, though as ever I see the group as more of a family than anything else. When Kazuma requests a “dream visit” from a succubus, he’s clearly expecting Darkness based on his reactions – we’ve heard before that were it not for her masochism, she’s exactly his type – and Darkness’ atypical reactions seem to suggest she’s far more open to this than you’d expect a comedic harem girl to be. Of course, nothing comes of it…

The book ends on a cliffhanger, and the afterword is already announcing side-stories to be released (which have not, as of yet, been licensed here, I add for clarification). Clearly it was a runaway success in Japan. You can see why. It’s mocking a very popular Japanese light novel genre, and doing it well.