Reviews

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

I’ve mentioned before that some multi-volume arcs, particularly in light novels, can be seen as “the author just wrote a really long book and they had to cut it in half”. This book, the first of a two-part arc, is not that. We get the start of the story, but some characters are introduced and then forgotten as if they were meant to be minor characters, while others take center stage but then vanish 2/3 of the way through. But that’s OK, because this is one man’s journey to show some courage, defeat the bad guys because it’s the right thing to do, kiss his girlfriend for the first time ever, and also, yes, smuggle a huge amount of explosives into New York City in order to sell it off, as they are a gang as well – this is Baccano!, after all. Yes, this volume’s heroic journey is all about Jacuzzi Splot.

If you find the name Jacuzzi Splot to be somewhat unusual, or even laughable, well, you aren’t alone. Many people in Baccano! have odd names, but Jacuzzi’s is pretty much the one that gets folks talking. More to the point, you may be wondering why this, the second book in a series, features almost none of the characters from the first book. Firo, Ennis, Maiza and the Gandors make brief cameos, but for the most part we meet a new huge cast, which luckily proceeds to get violently whittled down as the book goes on, though in general the named characters seem to do pretty well for themselves. It all takes place on a luxury train going from Chicago to New York City, which has the misfortune to be taken over by a) black-suited terrorists who profess they’re trying to get their leader, Huey Laforet, released; b) white-suited psychopaths, led by a mobster’s nephew, who are here to kill people because it’s fun, and c) the aforementioned delinquent gang, the closest we get to good guys here.

We also get Isaac and Miria, who are the thread that draws the two books together. They’re on the train as well, having decided to rob a mafia gang in order to buy Ennis an expensive present to cheer her up, because that’s the sort of people they are. As always, they’re hilarious, but as with the first book, the novel gives them occasional hidden depths, such as Isaac’s rather subdued reaction to a cabinful of corpses, as if he’s used to this. They’re at their best when inspiring others, though, particularly Jacuzzi, who is the sort to take crappy lines like “there’s a gun… in everyone’s heart!” and take them completely seriously. In general, the new characters hold up well and deserve your attention. Goose is an exception. As a villain, he’s very flat, and probably the weakest part of the book, mostly as he pales next to the evil flamboyance that is Ladd Russo, who is jaw-droppingly horrible in a riveting way. Also, due to the nature of the book, several characters seem to be very underdeveloped, namely the unfortunate child Czeslaw Meyer, and Ladd’s passive to the point of being disturbing girlfriend Lua.

So yes, like Jacuzzi at the end of this book, the reader still has questions. Why did Ladd suddenly disappear midway through the book? Why was a child cut to pieces and tied to the bottom of the train? Who is the Grey Magician and why was he cut from the anime completely? And if the woman in fatigues isn’t the Rail Tracer, who is? (The anime reader is at a disadvantage here, knowing the answers to all but one of those questions. The book reads better if you don’t know the true identity of several people.) We will find out in the third book, which tells the same events as the second but from several different perspectives. In the meantime, smile with Jacuzzi, laugh with Isaac and Miria, and wonder who the hell Claire Stanfield really is.

By Tsutomu Sato and Kana Ishida. Released in Japan as “Mahouka Koukou no Rettousei” by ASCII Mediaworks. Released in North America by Yen On. Translated by Andrew Prowse.

Multi-volume arcs in light novel series are nothing new, and quite popular. The usual thing to do is a two-volume arc, though they can balloon up to 5 (Baccano’s 1935 arc) or even 10 (SAO’s Alicization arc). It’s rare to see a series begin with a two-volume arc, and as you read the second volume of Mahouka (as the series is commonly abbreviated to), you guess why – this was originally one huge book that the publisher demanded be cut in half. The author admits this in the notes at the end. As such, it’s not something meant to be taken in on its own, and doesn’t try to be. It’s the second half of the first book, with a few more terrorist attacks and less school prejudice.

There’s a lot of talk in these volumes, both in regards to how magic works in the world and in how the political landscape is affected by it. The narration is very much down on the side of those with magic, but at least tries to understand the viewpoint of one who does not have such magic skill, and has to look on in envy and frustration at those who do. In fact, I felt one of the biggest flaws of this book was towards the end, where it was revealed that the cute kendo girl who was working for the bad guys was doing so mostly due to simple mind control, rather than her own misguided beliefs. I suppose the author wants to keep her around rather than expel her, but still, you’d be surprised how often misguided beliefs are a good enough reason on their own and don’t need extra help.

I said this last time, and I will again: I have no idea how the anime handles Tatsuya’s thought process, which is constant throughout the book, but if it simply cuts it and goes with what he’s saying out loud, that’s a horrible mistake. There’s several times throughout this book where he’ll say something and then think to himself that he’s saying that just to go along with the flow, or put people off their guard, and that his feelings are almost the opposite. This even applies to the unfortunate incest subtext that’s still hanging around. It’s not all on Miyuki’s end, and we can see that she and Tatsuya both play it up to the hilt because they know if they exaggerate it that others will dismiss it – as Erika seems to here. Of course, this does not mean it isn’t there.

There’s also a lot of fighting towards the end, and it’s reasonably well done, though of course it does point out that Tatsuya is, shall we say, good at nearly everything. This is not going to change anytime soon, and he’s hardly the worst offender in light novels, but it can be frustrating to an audience that is seeking out a more flawed hero. It’s especially frustrating when combined with his stoic personality, though that can also be a blessing, as imagining Tatsuya as some shonen hothead but with the same abilities gives me a headache. In the end, this was a decent if flawed start to the series, and the next two volumes (this time seemingly intentionally written as an actual two-book series) look to show off an athletics festival between the various schools. Note this comes out in North America at the exact same time as A Certain Magical’s Index’s 2-book athletic festival series, which is an amusing coincidence. Fans of Index, SAO, or magic schools might find Mahouka worth getting.

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

For the most part, the Index series has Kamijou Touma as the viewpoint character, with most of the books being from his perspective. The exceptions we’ve seen are the 5th book, which has a substantial chunk from Accelerator’s POV, and this novel, which has Shirai Kuroko taking center stage, though honestly the way the book is framed also seems to imply that she really shouldn’t be doing this. Not that she isn’t badass and awesome – she does a number of amazing things throughout the book – but the book puts her through even more damage than Touma, and suggests that this is sort of the thing that happens to protagonists. In addition, she and Touma have the same general outlook as to why they’re getting involved, at least when Misaka is involved – protect her worldview. And if Misaka is an optimistic girl who thinks people are basically swell except a few bad apples, then by god it will be so. Which is fine, except Touma is much better equipped to take on said world, which has a lot more to it than Misaka’s clone experiment.

Introduced in this volume: Uiharu Kazari, Kongou Mitsuko (For once I refuse to acknowledge Yen’s official spelling), Musujime Awaki. Technically we’d seen Awaki twice before, but we didn’t know it was her. Continuity-wise… eurgh. This is the volume where it’s very clear that this is being written before A Certain Scientific Railgun has really gotten off the ground – it comes out a full year before the Railgun manga debuts. As such, Uiharu’s characterization seems very odd with her obsession with being ladylike. The “teasing Kuroko” thing is still around, though, and Kuroko still does not react well. This is right around the time Kongou is introduced in the Railgun manga, which is why it sounds like she’s meeting Kuroko for the first time, and talking about Cliques. That said, in the anime, where she’s introduced much earlier, this makes no sense. This is why spinoffs give me a headache. Oh, and Accelerator and Last Order are still in hospital, being watched by Aiho, who it’s revealed here is friends with Yoshikawa Kikyou.

Whenever I’ve discussed Kuroko before, I’ve said I’ll save my beef with her till this review, and here we are. So let’s face it: Kuroko is a “Comedy Lesbian”, something much beloved among Japanese anime and manga authors. Kuroko is a bit more single-focused than many others, but exhibits the same symptoms – a constant desire to get into Misaka’s pants, even if that means sexually assaulting her without her consent. This is OK to the reader because it’s clearly meant as “comedy” scenes, not to be taken seriously, and Misaka always fends her off. It drives me nuts. It particularly drives me nuts as whenever she’s not in that mode, Kuroko is quite a nice character, devoted to keeping the peace as part of the student task force “Judgment”. At least I won’t get as much of it in the novels, where Kuroko is a minor character by dint of simply not being all that involved with Touma.

The storyline itself ties together many of the loose ends from Books 3 and 5, as Awaki helpfully notes, being very much in the “school of villains who love to hear themselves talk’. She is very clearly set up to be a dark counterpart to Kuroko, right down to similar hairstyles and similar powers – they’re both even Level 4! But Awaki’s villainy is based around selfishness and fear, and Kuroko’s heroism, comedy lesbian antics aside, around selflessness and pride. There is much discussion of the powers that Academy City is developing, and how students who are found to have that kind of power really feel about them. There is also a LOT of technobabble, and Kamachi’s flaws as an author sometimes become apparent in that he will get more excited about his worldbuilding than he will about what’s actually going on. That said, the fights in this are top notch, and Accelerator vs. Awaki at the end has a great quotable line.

So another good book for Index fans, and quite short too – I think it’s the shortest in the series to date. Next time won’t be that, though, as we get Index’s first two-book arc, devoted to the Citywide School Athletic Festival.

By Moto Hagio. Released in Japan as “Barbara Ikai” by Shogakukan, serialized in the magazine flowers. Released in North America by Fantagraphics. Translated by Matt Thorn.

For many readers, no review is necessary – just seeing the words “Moto Hagio” on the cover will make this a must-buy. But for those of you who have not yet been captivated by one of Japan’s premier artists, let me assure you that this first omnibus volume of Otherworld Barbara is absolutely worth the extra expense of a hefty hardcover. At times melancholy, amusing, heartbreaking and terrifying, it’s a trip through the senses, as with Hagio’s other work that’s recently come out over here (A Drunken Dream). This has the added benefit of being a complete story, and so you can see how she sets up various plot points and then allows them to sit percolating until they can be used again to devastating effect.

I was faked out at first, I admit. We’re introduced to an odd fantasy hybrid of a world, where a little girl who has difficulty flying like her friends do has happy fun adventures, but right away we see that Aoba is odd – eating the book gives it away if nothing else. It’s an odd hybrid of Peter Pan-style fantasy and reality, as there are several quasi-connections with the Tokyo we know. Then all of a sudden we’re away from that, and following the story of Dr. Watarai, a man whose job it is to enter other people’s dreams, and the troubled relationship he has with his teenage son Kiriya, who is a teenage boy in so many ways. I had assumed that the manga would now shift back and forth between the two “worlds”, but no, we don’t go back to the fantasy world till the second half of the book, where it becomes far more relevant – and creepy.

The fantasy stuff is excellent, but the book really shines when getting involved in the interpersonal relationships Dr. Watarai has with everyone from his bitter, slightly hysterical ex-wife to a somewhat overenthusiastic young protege. His fractured relationship with his son feels very real, especially as there are no good, easy fixes. Kiriya is also dealing with difficult times, as aside from his father he’s being courted – well, stalked to a degree – by a classmate, and also dreaming of Dr. Watarai’s latest patient, a woman who’s been in a coma for years ever since a devastating accident involving her parents. Where the two worlds collide is that this woman is named Aoba, and is clearly the same person as the young girl in the fantasy world.

There’s a lot more going on here, including age regression that almost turns into personality overlay, deadly psychic tornados, terrifying killer dolls, and a seeming suicide that makes you go back to the title page for the chapter and say “Really? You really went there?”. It’s definitely not a book for kids. But there’s so much going on here – in plot, which the reader figures out at the same time as the characters do, and in mood, which is always my go-to reason to read Hagio’s manga. things promise to get a lot more complex for the second and final book, as we also find out about a connection to Mars, and a sinister conspiracy led by a not-so-noble priest. If you enjoyed manga that rewards endless rereads with both its art and style, you can’t go wrong with Otherworld Barbara.

Complex Age Volume 1 by Yui Sakuma

I enjoy being able to break free from my typical shoujo reading fare now and then, so I was curious to check out Complex Age, a seinen manga about an office lady who is starting to age out of her cosplay habit. Nagisa Katura is a temp worker with a rich inner life. After work, she retreats into her room where she spends all her spare time working on her cosplay outfits in honor of a popular magical girl anime. Nagisa is a perfectionist, not only staying up late to get the details of her costumes correct, she’s also an expert on the body language of all the characters in the Magical Riding Hood Ururu show.

I enjoyed this manga, because it focused so much on personality-based growth and conflict. Nagisa’s age and height make her stand out among other cosplayers, and it was sad to see how her joy in her hobby was shaken a bit when some snarky photographers made comments about her age. Another reminder of Nagisa’s growing older comes when a young cosplayer with the perfect looks to portray Ururu shows up and joins her cosplay group. Looks aren’t really a match for experience and knowledge of a character though, and Nagisa approaches her portrayals with the same type of preparation a serious actress would take on when preparing for a role.

I have to admit, cosplay hasn’t really held much appeal for me personally, but I appreciated the detail and realism Sakuma brought to this story. The fictional anime series that Nagisa and her friends follow is fully realized with distinct characters who all have battle cries that incorporate different types of tea, which I thought was hilarious. Sakuma’s art switches between the more realistic real world and the idealized characters of the anime the characters try to emulate with ease. It is clear that Nagisa isn’t fully satisfied with her current life, and she’s going to change or go through some sort of evolution, and I’m interested in seeing what happens along the way in her journey. This volume also features a one-shot story that touches on similar themes but is very different from the main series. It was interesting to see how the characters and concepts in Complex Age evolved to accommodate the longer series.

By Hirohiko Araki. Released in Japan as “Jojo no Kimyou na Bouken” by Shueisha, serialized in the magazine Weekly Shonen Jump. Released in North America by Viz Media. Translated by Evan Galloway.

By now I think the seasoned JoJo reader is used to the ‘Bizarre’ part of the title, to the point that when the vampire horses show up early in this volume it merely earns a slight shrug, as if to say “of course there would be vampire horses, this is JoJo’. And I feel much the same way. That said, the vampire squirrel growing from the villain’s severed hand took even me by surprise, and reminded us of why this title was so successful – it really does not know when to quit. Be it amazingly graphic violence (for a Jump title), badass boasting, cool posing, or even coming back from near death almost a dozen times over the course of the book, Battle Tendency can be exhausting.

We’re down to only two villains, each based off of a classic 1980s music reference, and the book is almost entirely devoted to JoJo taking out the two one by one. (What, you thought they would double team him? Get real. This is an HONORABLE fight between MEN!) First we have Wham… pardon me, Wamuu (is anyone else here reminded of the old Bastard!! translations?), who goes all Ben-Hur on JoJo with a chariot race to the death. This gives us a chance to see JoJo’s strength and weaknesses, because trust me, he’s filled with weaknesses. Sometimes you want to strangle the kid for how impulsive he is. It’s also a good way to see how he thinks, though, and to show us that much of his fabled “I’m going to predict what you say/do next” is just bluffing. Then we’re supposed to see his mentor (and, as it turns out, something more) Lisa Lisa fight Cars… sorry, Kars. But alas, this is JoJo’s title, and so she’s reduced to hostage bait. Sigh.

And so we come to the end of another arc. The villain has been destroyed after multiple attempts, but just as in the first series, the hero dies. Or so one might think. As I said in my last review, Caesar’s death allows JoJo to live on, in a parallel of Speedwagon and Erina living on after Jonathan’s death. It also gives us a hilariously silly graveside scene where JoJo shows up with Suzi Q in tow, wondering why everyone is at his grave and surprised to see him. (It also reads as very rushed – I suspect Araki ran out of time, or maybe just didn’t care enough. More Suzi Q, please!) And we see an older, grumpier, and apparently Japanese-hating Joseph at the very end, showing that amazingly, a Joestar *can* live to a ripe old age. This dovetails nicely with the start of the third arc, which takes place in Japan.

I enjoyed Battle Tendency a lot, more, I think, than the first part. It lacks a truly memorable villain like Dio, but Joseph is a lot more charismatic and likeable than Jonathan was. I look forward to seeing how Jotaro is different from both of them. I also look forward to less good-hearted Nazis in the next series. But above all, I hope we can top the vampire squirrels for hands thing, because that’s what JoJo’s Bizarre Adventure, in the end, is all about.

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.

It feels like it’s been forever since we’ve seen a volume of Attack on Titan that is almost entirely devoted to fighting titans. The stakes are higher this time, though, as we know these titans. Most of the volume is devoted to dealing with Reiner and Bertholt, led by the Beast Titan, doing their best to wipe out the Survey Corps, followed by humanity. Our heroes, of course, are trying their best to stop them, and not only have Armin’s tactics but Erwin’s planning and Hange’s scientific genius. Attack on Titan has done ambiguity well in several past volumes, but there’s little of that here – though they try to portray themselves in a sympathetic way, there’s no doubting Reiner and Bertholt are the bad guys, and both seem to have accepted that, though we still don’t know the big ‘reason’ everyone has to die.

The most interesting thing here plotwise is the extended flashback we get to Marco, and how he died. Marco was killed off at the very beginning of the manga, but his picture appears in the cast list every time regardless, with a big X through it. This is for a reason – his death was very much a turning point. Now we find out it wasn’t just a turning point for the main cast, but for the secret Titan infiltrators as well. I still have trouble seeing the normally stoic Annie as emotional and panicky as she gets here, but Reiner is handled perfectly. We’ve seen before how he sometimes disassociates himself from the actions he has to take as a traitor, and that certainly comes through here. There’s also an astonishing contempt for Bertholt throughout the book – he’s always been a meek follower, but this just underlines that, with Reiner saying “I’ve never considered you reliable.”

It’s telling therefore that Bertholt’s big screaming confrontation is with Armin, who I think has also felt a bit weak at times, though unlike Bertholt he has the strength of his convictions. Bertholt’s ridiculous demands – give us Eren, and kill all of humanity – cause everyone to just stop and stare, and rightly so. Of course, humanity is not giving in so easily. Hange’s “thunder spears” are quite clever, even if they can also be extremely dangerous, and they may have actually dealt serious damage to Reiner. That said, he is a named character, and for all of Attack on Titan’s reputation as a dark and brutal series, named characters have done pretty well for themselves – Word of God said Sasha was supposed to die in the ninth volume but the editors asked for her to be spared.

That may change soon, though. Did we really see Hange killed off in the last page? Probably not, not in an offscreen manner like that. What about Reiner or Bertholt? And have we totally forgotten about the Beast Titan – what are his plans aside from letting those two try to destroy everything? This volume had a lot of noble fighting and impassioned screaming. I suspect next time may bring us a bit more tragedy.

By Eiichiro Oda. Released in Japan by Shueisha, serialization ongoing in the magazine Weekly Shonen Jump. Released in North America by Viz. Translated by Stephen Paul.

Well, I did not quite get my wish, as we’re still in Dressrosa at this end of this volume, but the final battle has finished, and Doflamingo is seemingly defeated for good. This is done through a combination of Luffy, who uses his Gear Four rubber monster and a bunch of haki to finally punch Doflamingo into next week, and the rest of the cast, who help Luffy when he needs ten minutes to recover by fighting off minions, pushing back on unpushable deathtraps, knocking over entire buildings, or even (sigh) being a pretty princess and not fighting, because yes, Rebecca is still a massive failure of a character. One Piece shows what happens when everyone puts differences aside and fights for a common goal, and even when the goal is mere survival, it’s still cool.

The fight is good, but the aftermath is where things really pick up. One Piece has never been too much about current political events, insofar as Oda would much rather base Marines on caricatures of old Japanese actors then connect them with military atrocities. But there is a point in this volume where Fujitora, having seem enough (metaphorically speaking) of what’s going on in Dressrosa, gets onto his hands and knees and bows to the ground, apologizing to the King what what has happened, and saying that the World Government allowed it. This wouldn’t be so bad were it not being broadcast worldwide, and he ends up in a huge shouting match with Akainu later (Akainu, you may recall, murdered Luffy’s brother Ace, so is the opposite of a moral compass). There is a great discussion about ‘losing face’ vs. accepting blame and gaining trust. It’s really hard not to imagine this may be commending on some real-world events (Iraq, perhaps).

As with most epilogues in One Piece, we get several chapters showing off where everyone else has been and what they’ve been doing while Luffy and company fight. We see more of the Eleven Supernovas, including fan favorite Eustace Kidd. We see Fujitora resolving to continue to chase after and capture Luffy and company, thus literally taking the place of Smoker, still recovering from the Caesar Clown stuff, and Tashigi, who seems to have literally turned into a kindergarten teacher. We get the backstory for Sabo at last, showing how he was indeed rescued by Dragon but had lost his memory, which is why he never tried to find Luffy and Ace afterwards. It was only seeing news of Ace’s death that triggered his old memories to resurface again. (Also, again, I totally ship Sabo x Koala, as much as any couple in One Piece can ever be shipped.)

And, at last, we see the rest of the Straw Hat Pirates, who have apparently been having unpleasant adventures of their own, being chased after for harboring a mystery girl. I can’t tell you how happy I was to see Nami doing what she does best after all this time: scream in frustration about being surrounded by idiots. I am very hopeful that the next volume will unite all the Straw Hat Pirates, and most importantly get them the heck away from Dressrosa, though I fear we are going to be seeing a few Pretty Princess Dresses and No Swordfighting Ever Again before it’s over.

By Mizuho Kusanagi. Released in Japan as “Akatsuki no Yona” by Hakusensha, serialization ongoing in the magazine Hana to Yume. Released in North America by Viz. Translated by JN Productions, Adapted by Ysabet Reinhardt MacFarlane.

The cover to this first volume features our heroine, Yona, surrounded by swords, and on the back cover we see her confidently wielding one. But on the front she’s looking at them with a look of melancholy, and I feel that this fits the tone of the volume. For although this is the story of a princess who will take up the sword and become a warrior, we’re not there yet. Instead, what we get here is a sweet, sheltered young girl with a crush on her cousin and childhood friend and an antagonistic relationship with her bodyguard and other childhood friend. In other words, were it not for the fantasy castle setting, this could easily be any other shoujo high school romantic comedy. Then… things happen.

The layout of this volume actually ends up being very odd. We start off with the love triangle setup, and then things rapidly turn serious and deadly with the murder of Yona’s father, the king. We’re told that, as a king, he wsa rather conciliatory, so it’s no great surprise that someone wishes to replace him, but it’s still a chapter of Yona avoiding also being put to death and running for her life. The second half of the book is a series of flashbacks, told as Yona and Hak (the aforementioned bodyguard) hide in the woods and deal with things like leeches and snakes, things that Yona is clearly totally unfamiliar with. The flashbacks show us more of the relationship between Yona, Hak and Su-won (said cousin she’s in love with, and again it’s really sweet and shoujo-ey, as she turns to Hak for advice on how to deal with suitors she doesn’t want, and how they all get colds as kids after a snowball fight and the King tries to make broth for them, which is ridiculously awful but makes her happy.

In other words, we are shown a tragedy, then we get to see why it was so tragic after the fact. Yona’s father does indeed seem to be a rather ineffectual king most of the time, though there’s a hint or two that this is all just a facade. There’s also some backstory that I’m sure will be developed more later, with Su-Won’s father having been killed before the book began, and various tribes (there are five, and one is the “wind tribe”, so I won’t be surprised if we see a water and fire tribe at some point down the road) all jostle for political influence. And then there’s Hak, who is apparently an incredibly strong warrior, but is also devoted to Yona, both because he was “tricked” into doing it by her father, and also because he clearly loves her, though he keeps that hidden for now.

Yona of the Dawn’s first volume is good setup, with an interesting story structure, and I look forward to seeing how its naive and sheltered heroine becomes the confident swordslinger on the back cover. Oh, and we also have a serious dark-haired good guy and a nice but secretly evil blond bad guy as rivals for Yona’s affection, for those of you who play shoujo manga bingo.

By Tadatoshi Fujimaki. Released in Japan as “Kuroko no Basket” by Shueisha, serialized in the magazine Weekly Shonen Jump. Released in North America by Viz. Translated by Caleb Cook.

I’ll be honest with all of you. Of the ‘big four’ North American sports, I’ve always found basketball the least interesting. Sure, I’ll get excited by March Madness, but the pros do nothing for me, and watching the games on TV just makes me want to do something else. That said, I can’t deny that the sport has an allure that attracts a lot of people, particularly high school kids and promising young manga artists. And now that it appears Viz has vanquished the curse of sports manga in the States once and for all (with the possible exception of baseball – sorry, Adachi), we can see why this series was absolutely huge. The only reason it wasn’t licensed sooner, I expect, is that Viz was still releasing Slam Dunk, the ur-basketball manga, and didn’t want the two to compete.

Kuroko is the blue-eyed stoic on the cover, and the title is pretty telling, as Kuroko’s style of basketball is very much not like the rest of the team, as it’s designed around his own lack of a personality. While this is, for the most part, a typical fiery sports manga, it has its fair share of humor, and a great deal of it revolves around Kuroko’s stoicness and ability to not be noticed even when he’s literally standing in front of someone. Most other basketball manga would star the redhead behind him – indeed, Slam Dunk did, as Kagami is very clearly modeled after that character. But it’s Kuroko that makes this interesting, as he uses his quasi-invisibility to the team’s advantage. He can’t make shots, of course, but it makes him a near-perfect passer. And with Kagami on the team, who is driven by the desire to compete against the strongest teams and win, they become well-nigh unstoppable.

Basketball does not appear to be all that big in Kuroko’s school itself. The manager, also pictured on the cover, is the coach as well, and they sometimes have trouble with school discipline. Riko, by the way, seems to be the sole female in the manga so far, and there’s no hint of romance. Because the other big reason that this manga is getting licensed is that, like many other recent Jump series, it has an absolutely huge BL fandom. There’s none of that in the actual manga itself, of course, but you do get an awful lot of handsome guys sweating and being athletic, and combined with the usual Jump goals of friendship, training and victory the combination can be irresistible. Heck, Kise, Kuroko’s old teammate from middle school introduced as the first semi-antagonist, seems to behave very much like the ex-boyfriend who wants to get back together really badly.

I haven’t talked much about the basketball itself, mostly because, as I said, it’s not my thing. But it’s the majority of the book, and it’s exciting, well-told and well-drawn – I was never confused or bored. Still, you read this for the characters, and I greatly look forward to more of Kuroko and his quiet, eccentric linefaced self.