Reviews

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

My last review of One Piece was, for me, quite negative, as I was getting very weary of Dressrosa. That hasn’t changed one bit with this new volume, unfortunately, and we’re still here. I am going to make a concerted effort not to bring up Rebecca, despite my teeth grinding so much during the “you are a pretty princess who must not fight” scenes I may need to see the dentist. Instead, let’s be positive and focus on the fun things going on in this arc. And there are fun things, because even when Oda is getting more sexist by the volume and rehashing things we’ve seen before, he can still introduce crazy stuff that makes you grin, or even show us a kid wearing a Bartholomew Kuma T-shirt.

The cover, showing off the Straw Hats (+ Law), reminds us that the main cast may have gotten a bit too unwieldy, given that Oda now has to write out half the Straw Hats in order to not overburden an already overburdened arc. That said, it does allow those who are remaining to have moments to shine. Zoro has done “beyond the impossible” so many times that you’d think it would be old hat by now, but no, it’s always fun, mostly as every time you’re reminded what a complete lunatic he can be when he’s in battle mode. If the enemy needs to be stopped but is much too far away, just have yourself hurled at the enemy. If he shapeshifts too fast to kill his real body, just cut everything so fast he doesn’t have time to get away. And oh yes, use haki to make sure your swords won’t even get scratched. When Zoro isn’t sleeping or getting lost, he’s there to be super cool, and he achieves that here.

Then there’s Luffy, who gets to battle the real Doflamingo at long last, in what is hopefully the climax of this arc. The timeskip has helped to mature Luffy, even if (like the rest of the cast) he can backslide at any time for comedy reasons. True, his reasoning for going all out against Doflamingo is still somewhat simplistic – you made my friends cry, you made my friends mad. But honestly, that’s a good enough reason to begin with, and if anyone deserves to be punched into next week, it’s Doflamingo, who sets up one last deathtrap to kill everyone on the island for the lulz. Flashbacks show that if you tell a young boy filled with rage and fury that he is better than everyone else and give him whatever he wants, bad things will ensue. Luffy is the opposite of this, even though he is also filled with rage and fury here. Abuse of power is the main enemy in One Piece, be it pirates, marines, World Government, or what have you. If you do it, Luffy is here to kick your ass.

So there are many things to like here, but again, I will be very, very glad to see the back of this arc. I believe that in the next volume I finally achieve this.

By Wataru Watanabe. Released in Japan in two separate volumes by Akita Shoten, serialization ongoing in the magazine Weekly Shonen Champion. Released in North America by Yen Press.

The last volume promised we’d see a race, but I don’t know if readers were prepared for the race to take up the entire omnibus, which is to say two volumes of the original Japanese release. Given that it’s meant to be an endurance test to weed out those who aren’t ready for the big time, it makes sense. And, of course, it ends up showing off the character development of our three leads – Onoda discovers the joy of competition, particularly when he gets a real bike; Naruko realizes that he is not in fact top dog here; and Imaizumi finds a desire to win that had been absent in him for some time. In other words, this still manages to embody all the archetypes of sports manga in one handy volume.

Onoda is still the star, and we see him coming to terms with the fact that he can’t make it on pure guts alone – though god knows he tries, particularly when he gets his racing bike. There’s a lovely bit where he sees the car of team captains behind him (they’re there to pick up those too far behind and say they’ve lost) and despairs, but no, they’re here to give him his racing bike, which got stuck in traffic before the event. The team captains (and Kanzaki, who continues to boggle at Onoda’s raw potential, though this being a sports title, and an Akita Shoten one at that, I expect boggling is all she will do) also get to play Greek chorus along the way, explaining why *this* is the exact point that Onoda will finally run out of steam, only to be proven wrong time and time again.

Of course, he eventually does collapse – your male sports lead does not end up winning against the veterans in the early volumes. The course is designed to kill anyone who doesn’t plan on being a “cycling uber alles” sort, which means most of it is a giant hill. Onoda wins the race to the top of the hill, but that’s all he has in him. As for Imaizumi, there’s some lovely characterization here as he unconsciously finds himself riding as he did when he was a child (something noticed by Kanzaki, who was a childhood friend of his), and also overexerting himself despite knowing it’s not the right thing to do in order to efficiently win the race. Stoic types in manga are always at their most interesting when they go up against something that threatens their facade. It doesn’t necessarily have to make them emotional, but it’s good to see.

So now that Onoda has made a name for himself, to the point where even Kanzaki’s non-cycling BFF says that he seems to have more presence than before, what’s next? My guess is more cycling, and probably an intense training regimen. Are we too early for an inter-high meet? What does the author plan to do with the eccentric yet clearly intelligent and wily coach we’re introduced to? I definitely plan on finding out next time.

By Makoto Yukimura. Released in Japan by Kodansha, serialized in the magazine Weekly Morning. Released in North America by Dark Horse Comics.

The 2nd omnibus volume of Planetes has as many powerful moments as the first, including possibly the most iconic marriage proposal in all of manga. But, just like its subject, one gets the feeling that the series has proven a bit too big for its author. The 2nd half of the series has a series of story arcs that feel like endings, but it keeps going on for a bit, and reminds me somewhat of a series that has been extended by its editors rather than its author. Of course, this offers us the opportunity for a magnificent arc focusing on fee, so I shouldn’t complain too much. But space has no ending, and neither does Planetes, which simply keeps rolling along till the very last page.

Of course, Hachimaki is still the star, and after his vision quest he’s almost a different person, though it’s touch and go as to whether he’ll survive at all – not that he did himself any damage, but he seems to have lost the will do live his life, something that Sally has to bully out of him with a combination of yelling and nudity. Moreover, he needs someone like Tanabe, even if marrying means they immediately won’t see each other again for seven years. The aforementioned marriage proposal, done as a game of shiritori, is justifiably famous, but I think may be surpassed by two other scenes – Hachimaki comforting a sobbing Tanabe as she reveals she has no idea what she can possibly write in her will should she be killed in space, and Tanabe’s complete inability to explain why she loves Hachimaki or why she married him – except that she loves him a lot. Tanabe is still the heart of this series.

And then there’s Fee. (Sorry, Yuri, you are forever “the other one”.) Fee has always tried to avoid making the personal political, probably as it’d be so easy for her to do, as we find out here. But with the world superpowers waving their dicks around and blowing up so much stuff in space that an entire orbit is now forever lost, even one person finds it hard to make a difference. We contrast adult Fee’s attempts to balance a job, a family life, and a newfound, unwanted fake with Fee’s childhood, which she liked to spend with her uncle out in his shack in the woods. This allows Planetes to take on the quiet racism of the countryside, adding in a handful of prejudice against the mentally disabled as well. It’s handled with a surprisingly gentle touch, and also allows Fee to realize that she and her son are far more alike than she’d like, but also that she belongs in space.

There’s more I haven’t touched on – Locksmith continues to be a very ambiguous villain, and Hachi’s father gets a nice flashback chapter. But as I said, the manga does not end, but keeps flowing onward till the last page. Hachi’s message to the Earth from Jupiter reflects that, talking about the need to explore space, and how it needs to be done while not losing sight of humanity. It’s a subtle rebuke to Locksmith, and also a great, down-to-earth speech. Planetes remains one of the best space-oriented titles out there, and I’d recommend it to any reader.

By Kaoru Mori. Released in Japan in two separate volumes by Enterbrain, serialized in the magazine Comic Beam. Released in North America by Yen Press.

After the last omnibus proved to be quite depressing at times, it’s a relief to see that this new one contains a happy ending, of sorts. Given this is still an interclass relationship in Victorian England, of course, the definition of happy is a lot more repressed than you’d expect, but it works. I was somewhat relieved to see that Emma’s arranged abduction by Big Daddy Campbell was less ‘let’s have her murdered’ and more ‘let’s dump her far away from London and remind her she is merely a working-class girl’, something which Emma sadly takes to heart. Luckily, after a thorough search of all of England (the coincidences fly thick and fast in this volume, but I suspect Mori is well aware of how ridiculous it is – it feels Dickensian), William and Emma are reunited, he managed to break off his engagement to Eleanor (and also his family’s upward mobility, though hopefully that’s temporary), and Emma prepares to enter high society.

While things are mostly dramatic, there are moments of humor that serve to lighten the mood. Eleanor has been treated horribly by the narrative, and her emotional breakdown would be incredibly depressing were it not for the presence of Hakim’s identical triplet concubines doing their best “staaaaaaaaaaaaaaaaaaaare” at her. And the scene of Mrs. Jones, Mrs. Molders, and Emma trying to sort out the many and varied rules of etiquette, some of which contradict each other, is pure gold. That said, William and Emma’s romance is played with the utmost seriousness, and seeing her decked out in fine fashion at the end of the main story is breathtaking. Mori can draw, and it’s still one of the best reasons to get her works.

Emma proper ends here, but there were three volumes of side stories which were collected as well, and the first of these is the second half of this omnibus. We get to see a young Kelly Stownar and her long-dead husband when they were young just-barely-getting-by newlyweds, trying to save up to see the Great Exhibition, in a very sweet and touching chapter. Eleanor, having been exiled to Brighton as a disgrace by her evil father (presumably she is a disgrace for now being good enough to keep William Jones’ attention despite his being – ugh – a merchant), gets to meet a young student who turns out to have been William’s underclassman at school, and they bond, although I am pleased to see it doesn’t seem to be a rebound relationship – indeed, Eleanor seems to want to emulate him more than romance him. I also liked the chapter devoted to Tasha, the clumsy maid who befriended Emma, and her huge family that she goes home to visit.

Emma is always best when it evokes mood and shows us gorgeous things, and there’s a lot of that in this omnibus. And, of course, if you like William and Emma’s romance, you will be pleased as well. More side-stories follow in the final omnibus, including, I understand, an actual wedding, though it does take place several years after the main plot.

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.

Well, I suppose I asked for it. In the last few reviews of this series I kept mentioning how the mechanics of the series meant that Hestia, the supposed female lead, kept getting less screen time than everyone else. Now we have a book where she actually comes along on a dungeon crawl in order to rescue Bell, and it’s sadly fairly cliched. She can’t use godly powers in there, so she’s useless in the fighting. She spends much of the time post-rescue jealous of the fact that every girl in the entire series has fallen in love with Bell (though honestly, I think what Aiz is feeling is deep jealousy of Bell’s progress, but that doesn’t matter to Hestia), *and* she gets kidnapped and has to be rescued.

The others fare better. Bell too needs to be rescued, but that’s not really his fault, and he, Welf and Lilly show off their excellent teamwork here. (Lilly also shows a lot of jealousy, but she’s more cynical and sarcastic about it, and thus appeals more to Western readers.) Bell’s reputation is starting to precede him, and much of this volume is devoted to the fact that if you are an overpowered character in what is for all intents and purposes an RPG, you’re going to have players assuming you’re cheating, or getting help, or just plain old “who does he think he is?”. And so we see the return of some old bullies from Book 2, who decide to teach Bell a lesson – and by that I mean beat the crap out of him. The trouble is, Bell is just too good for that to work.

The big debut this volume is Hermes, who’s the standard trickster god type, also out to teach Bell a lesson: stop being so naive and realize that some humans are bad people. This lesson does not work, because Bell is Bell, and this isn’t Black Bullet. Hermes is amusing, and I love the fact that everyone just accepts that he’s something of an asshole – indeed, when we get the standard “whoops, Bell is peeking on the girls at the hot spring, lol” scene, literally everyone there knows this isn’t something Bell would do, and blame Hermes instead. I was ecstatic to see that. He also lets the cat out of the bag about Bell’s ancestry, but honestly I think everyone had guessed that by now anyway.

For those who enjoy battles, the one in the last third of the book is very epic, with a huge cast of characters all teaming up to take out a nightmarish monster. Lyu, one of the waitresses from our favorite pub, gets a tragic backstory and a serious chance to show off. In fact, I’d argue the series has more women kicking ass than men by a large margin – which is partly for the service, but it’s also simply nice to see. In the ‘odd’ department, we meet one of the Japanese gods and his all-Japanese human team, who do well but feel out of place in this land of Greek fantasy archetypes. On the whole, though, it’s another strong volume, though I hope Hestia can get over her jealousy soon. (Yes, I know.) Also, we’ve now caught up with the anime, so the next book should be new to viewers.

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

Sometimes, when I review a new series, I come into it relatively unspoiled beyond a basic premise. And then there are times where the series is somewhat infamous, and so I’m spoiled no matter what I do. The Irregular at Magic High School, aka Mahouka, is one of the latter. It’s become somewhat infamous on the internet for its immense volume of technobabble, for its bizarre and skewed views of world politics, but most of all for its hero, who tends to get even more flak than Kirito for being perfect in every way. The term “Mary Sue” has been used to incorrectly in recent times that it’s become meaningless, and “Gary Stu” was never really anything more than a desperate attempt to try to not look sexist. That said, one has to admit: Tatsuya’s pretty cool.

The basic premise is that our hero and his adoring sister (more on that later) go to a school for magic users. Miyuki is a magic prodigy. Tatsuya, while brilliant in every other way, does not have much in the way of actual magic power in him. As a result, which she’s handpicked for the student council and the freshman representative, he’s placed in Course 2 with the other students who have skills but not actual power behind them. And, this being a typical high school with typical teenagers, that means there’s a lot of bullying and prejudice against Course 2 students. Tatsuya, though, is not going to let a little thing like magic power stop him from using his analytic abilities and natural-born intelligence to be the best. Oh, and his martial arts. So he’s scouted by the discipline committee in order to help keep peace on the campus.

Tatsuya, thank goodness, is not your typical schlub light novel narrator. He’s somewhat stoic and emotionally stunted, and frequently has difficulty grasping the basic concept of people actually wanting to be friends with him – I suspect his past is filled with bad things. We already know he’s estranged from his parents. Luckily, he has a close relationship with his sister – too close, possibly, for many readers. There is a whole load of incestuous subtext in this first book, and it’s not all on Miyuki’s end, though she’s the largest supplier. This plot point, plus the fact that Tatsuya sometimes bends the narrative his way like he’s the star of a Dark!Grey!Independent Harry Potter fic, means the book can be hard to take. Oh, and the technobabble is just as bad as people said it would be.

There are some bright spots. Tatsuya’s narration can be quite amusing, and helps to define his character in much the same way that Kyon’s defines his – I wonder how much of his inner monologue was left in the anime. Mayumi, meanwhile, is a delight – my favorite character so far, a classic student council president type who knows she’s that type and plays it to the hilt. Tatsuya’s frank description of her as “evil” is hilarious but not inaccurate. In general, though, I think this series is one for those with a high tolerance for heroes who can do everything without breaking a sweat, and who don’t mind that the younger sister has an obvious crush on her brother. Yes, that does sound a bit like Sword Art Online as well, but multiply both of those factors by two in this case.

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

As this series goes on, and more and moe horrible demons attempt to break into Japan for some reason or another, it has become more and more apparent that Maou and company are eventually going to have to go back to Enta Isla and deal with the giant power vacuum that they have left in their absence. I don’t expect it will be permanent – the whole point of the series would be lost if you take Maou away from McRonald’s for long – but Maou seems a responsible enough guy, and Emi definitely is, to try to fix what they may have inadvertently broken. We see part of that in this book as well, even though if you don’t look too closely it feels like a typical “beach episode”.

The best part of the volume is when the author builds on the character development we’ve seen in prior books, particularly in regards to Chiho and Emi. Chiho is starting to realize that, as the only person in Maou’s circle without any power, there’s little she can do beyond be emotional support, and is resolving to better herself so she can help in other ways as well. (Her declaration that she wants to be one of his Four Generals is possibly the funniest part of the book.) As for Emi, she’s made of stronger stuff than I had envisioned at the end of the last book, and it only takes a few well-worded lectures from Chiho to have her helping out Maou in both his attempt to restore a beachside cafe and also defeat an invading demonic army – without killing them, much to Suzuno’s surprise. Emi is realizing that not everything is clear-cut.

There were parts of the book that didn’t work as well for me. I enjoyed Amane more as a relaxed and absent-minded shop owner more than I did a Guardian of Earth, and I felt that this was shoehorned in just a bit in order to avoid padding out the already substantial volume with too many fights. And I was just as annoyed as the rest of the cast with Camio’s unfortunate tendency to peep every other sentence due to being trapped as a cute little bird. On the other hand, the best part of the book was once again seeing how well Maou can do middle management when he tries hard. Seeing the run down and decrepit beach cafe transformed into a bustling popular spot is impressive, and shows off everyone’s talents (and comedic foibles) at their best. Yes, even Lucifer, who is still unloved and unlovable, but proves here to be far more aware of external events than some of the other demon generals around him.

While not the best volume in the series – the ending also felt very rushed, and I suspect the book may have been heavily cut in editing – this is still a solid addition to the series, and will please those who have been following Maou and Emi’s adventures in the past. I am hoping that the next volume will give us more fast-food shenanigans – that’s where the series seems to do its best.

By Reki Kawahara and abec. Released in Japan by ASCII Mediaworks. Released in North America by Yen Press.

As I was reading this volume, I kept thinking that there was a pacing issue, and that events were happening far faster than I was expecting. As I came to the end, the reason why occurred to me: other than the first book, this is the only stand-alone Sword Art Online novel. In the main series, Books 2 and 8 are short story collections, 3-4 and 5-6 are two-volume arcs, and 9 onward is an epic 9+ volume arc. But this book completes its story in one compact volume, and it’s even pretty short compared to some other books in the series. Once the brain has adjusted to that, the reader can see what’s really going on: this is one of the best books in the series, where Kawahara finally balances storycraft and emotional manipulation perfectly, to the benefit of Asuna, who’s the co-star and narrative focus of this book.

Fear not, Kirito isn’t the other star of the book; for once he only has a small supporting role. (Though he does appear on the cover, apparently at the request of the editor.) No, the other star is Yuuki, the spunky girl with the sword you see next to Asuna on the cover. The first half of the book introduces her to us and has as its main mystery why she is so good with a sword – to the point where she can defeat Kirito, twice. She defeats Asuna as well, but Asuna gets closer than anyone else, so Yuuki introduces her to the rest of her Guild and asks for her help in taking down the boss of one Level – in a party of seven. Boss fights normally have at least 50. Clearly there’s another reason why they’re so desperate, and as Asuna discovers it despite Yuuki’s best efforts, we get the last third of the book, which will put a lump in your throat.

The second half of the plot is Asuna’s stormy relationship with her mother, who has demanded that she transfer out of the SAO survivor school and also set up a marriage for her (with her second cousin, because Japan). The repressed frustration and anger that Asuna feels whenever she talks to her mother will be achingly familiar to many readers, and it’s through Yuuki and her own struggles that Asuna finds the strength to fight back and stand up for her own life and experiences. (As an aside, I note that Yuuki seemed quite happy when she talked about getting married to Asuna in order to get around one of her problems.) SAO may have been a traumatic death game in many ways, but it did allow Asuna to really grow and reach out to others, and her refusing to be put back in her mother’s little box is a triumphant moment.

I’m trying to avoid spoiling more than I usually do in a review, but the book isn’t perfect. I am not a medical person, but even I could see that a lot of the details of the medical treatment and cause for it was a bit sketchy here. Also, I grow rather weary of the plot continuing to talk about how noble and good Kayaba was long after his death, given that he trapped 10,000 people in a game where they were allowed to die as his thought experiment. That said, Asuna and Yuuki are pitch-perfect in here, and for once the emotional and gut-wrenching final feels fully earned (Bonus points for not featuring sexual assault as a plot point, at last). Even if you gave up on SAO during Fairy Dance, I’d recommend getting this volume, as it’s one of the best in the series.

By Shiden Kanzaki and Saki Ukai. Released in Japan by ASCII Mediaworks. Released in North America by Yen Press.

When an author is writing a grim dystopia of a series, they have to be very careful sometimes. Because let me tell you, as a writer, the temptation to have horrible things happen to your characters can be unbearable. And I imagine this is particularly true in Black Bullet, where the only levity of the entire series of books is provided by wacky lolicon jokes. (We do get more of those here, and they’re worse than ever.) It’s entirely possible that the events of this book, and the ending in particular, are part of a long-term plan to advance the growth of Rentaro as a character and stop having him try to take on everyone’s problems. But I can’t help but hear the author, in a Beavis and Butthead sort of voice, telling me no, killing off 20 or so innocent young children in a horrific way is really brutal, and therefore cooler.

(As a side note, that cover has so much stuffed into it that it verges on the incoherent. As long as I’m complaining.)

This book, which starts the popular light-novel schtick of a two-volume arc, begins with a bunch of killings as well, but those at last are plot-relevant and not there to make you gape at the page in a stunned silence. One of the monuments that protects the Tokyo area is breaking down, and once it collapses the Gastrea from outside will enter and basically kill/convert everyone in the city. As a result everyone has to band together to head off the monsters until a replacement can be built. This includes our heroes, who are asked to put together a strike force in order to be part of the maneuver. Of course, there’s a problem with this – Rentaro is a high school aged kid who’s moved up 10000 ranks in the last two books, and no one likes or trusts him.

This does lead to the best parts of the book, as we see him and Enju slowly trying to get anyone to work with them. The pairs he ends up with are not the most original in the world, but they bounce well off of a miserable stoic like our hero. We also get some lovely scenes between him and Kisara, who gets slightly more to do here than in the previous two books. I suspect her burning desire for revenge is going to come back and nite her in the ass one of these days, but as long as we get scenes of her and Rentaro staring at the stars and almost but not quite confessing, I’ll deal with it.

The volume ends with the beginning of a protracted battle that I suspect will take up all of Book 4. It’s a battle to save the citizens of this city, including the Cursed Children. So ending the book the wey it does sort of kicks the feet out from under the reader, making them, if not Rentaro, think “is it really worth saving a world like this?” More importantly, is it really worth slogging through so much death and hopelessness? Black Bullet continues to be well-written, and has good introspection, but if I wanted grimdark, I’d be reading American mainstream comics.

By Q Hayashida. Released in Japan by Shogakukan, serialization ongoing in the magazine Hibana. Released in North America by Viz.

Well, I said last time that I thought Dorohedoro might get a little more gory in the next volume, and I was not wrong. Dorohedoro is something of a horror-fantasy-comedy, and frequently the horror elements take precedence, as they do in this volume big time. It mostly plays out with the fates of Shin and Noi. Noi’s love for Shin has seemed a bit one-sided at times, but we no know that he does want to protect her, even if it means slicing her brain open and inserting Sho’s ‘thingy’ into her head. (I’m sure the sexual implications are intentional.) Of course, he should maybe think about protecting himself, as somehow (as always, it can be difficult to follow chains of events without a reread) Shim ends up in a corpse factory, and seemingly killed and turned into a murderous zombie. Whoops.

Not that things are any better with the other groups. Fujita’s invisibility has worn off, and he’s forced to make an uneasy peace with the cross-eyed guy, though we hear both of them ;planning to double cross each other later. (Fujita is good at being idealistic and self-sacrificing, less good at scheming.) Of course, given they run into zombie Shin, neither plan is really going to come off. Noi, once she recovers from Shin’s lobotomy, ends up finding a trail of body parts, Hansel-and-Gretel style. And Nikaido’s group is torn up as well, as the department store is going to hell – possibly literally – and Risu and Asu both end up getting taken out over the course of the volume. This may not, admittedly, matter much to Nikaido, who is getting more like a Devil than ever, and spends most of the volume with a giant :D expression on her face.

In between all this gore, there is still something of a plot, most of it taking place with Kasukabe, who through a wacky set of circumstances ends up inside his wife Haru’s devil body, as the devils attempt to figure out what the hell is going on with Ai. Your guess is as good as mine, but we do see that Ai and company apparently have a revolving set of heads, although some are already dead. Whatever it is, it leads to a cliffhanger that I wasn’t expecting, as Nikaido discovers Caiman – with his lizard head, and seemingly with his regular old gyoza-lovin’ memories. The reunion will have to wait for next time, though. Oh yes, as an added bonus, we see what’s happening with En in hell, and it’s not pretty, though it is pretty funny.

I’ve often said Dorohedoro is not for the squeamish, and this volume proves that more than ever. But if you don’t mind blood, gore and dismemberment in graphic detail, it’s hard to think of a title out there with more style than this one. Which, as anyone will tell you, is far more important than pesky things like a coherent plot.