Reviews

By Junji Ito. Released in Japan by Asahi Shinbunsha, serialized in the magazines Nemuki+ and Shinkan. Released in North America by Viz.

I’ve never read Junji Ito before this volume, believe it or not. I used to say it’s because I don’t like horror, but I think we know that’s pretty much a lie. The truth is that I like horror if I can find an in, such as the characters and humor (Kurosagi CDS), the promise of a happy ending for these sweet kids (Higurashi), and seeing a well-crafted cast be horrible to each other (Umineko). So I never really thought about reading Uzumaki and Gyo. Reading this, though, I can see the appeal – the stories are not so much scary as unnerving, and while I didn’t feel particularly frightened as I read the book, I got more unnerved as I went along, and it sticks with you long after you put it down.

In an afterword, Ito talks about the fact that he hadn’t done a short story collection in a while, and feels the first one was rather weak. I’m inclined to agree with him, it’s the weakest in the book. In fact, the book almost succeeds in having each story be better than the previous one, though I think its peak for sheer disturbing is Blackbird, the tale of an injured hiker and the creature who helps him survive. And I will admit, there is some grotesque humor to be found here as well, from the woman who loves the house she’s boarding in – literally – to the entirely of Magami Nanakuse, which seems to combine grotesque horror and stand-up comedy in a way I can’t quite explain. Those expecting your typical American slasher story… or even Japanese titles like Ringu… are going to be startled, as this isn’t much like those.

It helps that Ito’s style of drawing faces and expressions hearkens back to a 1980s style rather than the more modern or cute manga styles we see today. Actually, a lot of his work reminded me of Makoto Kobayashi, author of What’s Michael and Club 9, who also enjoyed drawing long-faced, highly expressive men and women doing very, very silly things. I can also see fans of Furuya Usumaru liking this as well – the cover art is very reminiscent of one of his “Short Cuts” collages.

It’s hard to review a short story anthology without giving everything away, but I will note there were a few stories that went more for the melancholy than the creepy. Gentle Goodbye was sweet and sad, and makes you wonder what a world where this is possible would be like. It also has the most likeable viewpoint character of the series. And Whispering Woman was sad in a different, more sinister way, as we see someone desperately trying to deal with an abusive relationship, with tragic results. But really, the best thing to say about this collection is that I think even non-horror fans would get something out of it, though I’d certainly keep it away from young children (there’s also some nudity here, mostly in the story Wooden Spirit). Ito is a master, this book shows you why.

By Sui Ishida. Released in Japan by Shueisha, serialized in the magazine Weekly Young Jump. Released in North America by Viz.

I am highly amused at the cover art for the first volume of this series, designed to draw in readers. It shows our hero, Kaneki, posing artfully on a chair, shirt untucked and collar undone, a hand to his head, a glowing red eye sdtaring at the reader, and a small fake-looking smile on his face. It is a look that says “Ladies, I am undead and hot. Please read my story.” It does not bear any resemblance whatsoever to Kaneki in this entire first volume, who from the moment he is attacked by a ghoul is in a state of panic, hunger or guilt. But then seeing him crying and creaming on the cover wouldn’t give the manga the right image. And while I think it’s a decent start, this manga does seem to be more about looking cool than plot and characters.

The premise is simple and easy to understand. Our hero is a bit of a nerd with a crush on a gorgeous girl who reads the same erudite horror novels he does. On their first date, however, he discovers she is a ghoul out to kill him and eat his flesh. Fortuitously, she is killed by a passing act of God – or possibly some I-beams to the head – and he survives, albeit on the brink of death. The doctor, wanting to save his life and having a convenient corpse handy, replaces some of his organs with those of the ghoul. Thus when he wakes he finds himself a hybrid, not human or ghoul… but still craving the taste of human flesh.

There is some horror here, rest assured, but I’d say it’s far more of a thriller than a horror series, like most of the current zombie genre. I will admit to one pleasant surprise in this first volume. We see a young woman with her hair draped over one eye, who was giving our hero and his love interest/ghoul the stink-eye early on. I was fairly certain he would end up being rescued by her, and that she would turn out to be a ghoul hunter or somesuch, showing him their dark organization and asking if he wants to destroy ghouls with them. Totally wrong, in fact. In fact, Touka is also a ghoul, and the dark organization she belongs to is basically a ghoul halfway house, dedicated to allowing them to live relatively safely without becoming serial killers, like Kaneki’s crush turned out to be. She also (supposedly) wants nothing to do with Kaneki. I’m sure that will change.

This is a solid first volume. The villains we do meet are nicely nasty, and it’s nice to see a damsel in distress be male for once. That said, I didn’t really find much here that would make me want to read past the first volume. If I’m going to be reading horror, I’d like a bit more humor – this is a Very Serious title – or a bit more complexity, a la Umineko. But for those who enjoy zombies – pardon me, ghouls – and action thrillers with seemingly high body counts, you’ll get a kick out of Tokyo Ghoul.

By Shimura Takako. Released in Japan by Enterbrain, serialized in the magazine Comic Beam. Released in North America by Fantagraphics.

It’s always interesting to see which expectations this series plays into and which ones it subverts. Nitori and Anna are still dating throughout this volume, and it’s really, really cute. I adore them as a couple. And when Nitori confesses about wanting to wear girl’s clothing, Anna is not only seemingly fine with it but by the end of the volume is getting them matching accessories. But the question is, is this where the series is actually going to go? Because I think a lot of folks are expecting that Nitori and Takatsuki will end up together, because they’re the leads, and because that’s the sort of things that happen in romance titles like this. Except Wandering Son isn’t really a romance title.

Speaking of Takatsuki, after last volume’s explosions with Chiba, it’s interesting to see that they’ve patched things up to a degree, though this does lead to the most awkward foursome ever when they come across Nitori and Anna on a date and everyone ends up at a karaoke booth. Takatsuki is trying to fittle victories this time around. Sarashina is the sort who can wear a boys’ uniform to school and not fear consequences. Takatsuki has to make do with things like wearing a tie rather than the school ribbon. And then there’s the hair, which is starting to grow out and “become more feminine”. Takatsuki’s gender identity has always felt more ambiguous and conflicted than Nitori’s, and that’s evident here, as we’re dealing with a child who’s still trying to decide between two states.

I was surprised to see the addition of Doi, who seems to be starting to move on from his ‘bully’ stage, but it was a nice moment, as it led to a) some very funny business for when he actually meets Yuki, and b) the revelation to him that yes, trans people an be incredibly attractive and are not the stereotypical drag queens with stubble that Japanese entertainment enjoys showing them as (see One Piece as an example of this). Doi and Nitori’s scenes together are filled with awkwardness, but it’s also his desire to see Nitori dressed as a girl, compounded on top of Nitori’s budding relationship with Anna and some well-meant advice from Sarashina, that leads to the cliffhanger ending of this volume.

Last time I wrote a review of this title, I talked about how it was harder for Takatsuki to do this, and now we’re seeing the inverse of that. Takatsuki can, in a pinch, get away with dressing in a boy’s uniform at school and get off with nothing more than mild scoldings. When Nitori goes to school dressed in a girl’s uniform, there’s immediate punishment – Nitori’s parents are called. We don’t see what happens next – we’ll have to wait for the as-yet unscheduled Vol. 9 for that – but I can’t imagine it’s going to be anything good. The first 3/4 of this volume were perhaps the lightest this series has gotten. The next one is, I suspect, going to be deeply unpleasant and yet utterly fascinating. Still highly recommended.

By Go Ikeyamada. Released in Japan as “Kobayashi ga Kawai Sugite Tsurai!!” by Shogakukan, serialization ongoing in the magazine Shoujo Comic (“Sho-Comi”). Released in North America by Viz.

In general, I’m a sucker for over-the-top comedic shenanigans in a shoujo manga, but it can be very difficult to actually achieve this. The author has to be ridiculous while still keeping the reader interested, and suspend disbelief without hanging it by the neck. It can also be very easy to slide into drama, particularly if you run in a magazine like Sho-Comi. When done right, though, it can be pure fun. I think the first volume of So Cute It Hurts!! shows a lot of promise, and while not perfect, has enough fun that I will be reading more.

The author was previously best knows for Suki Desu Suzuki-kun!!, an 18-volume series that I thought might be licensed by Viz but never was. (Not that you’d know that by the back of this book – all the extras are included, including the cast of SDSK talking to us about the new title.) This new one is 11 volumes and counting, and for once actually feels like it was planned out to be a long series rather than a short one that catches on and gains plot points afterwards. Our heroes are identical twins, one male and one female. Mitsuru is good at athletic things, a bit of a playboy, and a bit of a delinquent. Megumu is a history otaku who plays Edo-period datesims. Together, they do not fight crime at all – in fact, they don’t really interact as much as you’d expect. But when Mitsuru’s grades are in danger, he asks his lookalike sister to swap with him for the week and take the tests for him.

To her credit, she refuses. Of course, he then proceeds to switch anyway, as he’s that sort. Mitsuru spent the first volume annoying me, to be honest, and I had to occasionally remind myself that his character development is part of the point. He does despise bullying, of course, like all manga heroes, and when he comes across a deaf girl who is being harassed by the queen of the school, he not only falls head over heels but starts to study sign language. As for Megumu, she’s in at the deep end at the boys’ school, not even trying to act like her brother and accidentally winning fights by tripping and headbutting the opponent’s crotch. She does meet a sexy aloof guy, though. With an eyepatch.

If all of this sounds melodramatic, you are absolutely correct. Naturally, the deaf girl seems to be in love with the eyepatch guy. Naturally, the Queen of the School ends up falling for Mitsuru (in another disguise), and absolutely everyone is completely amazed at the feelings in their heart! The humor is broad but fun. I like that the twins never even bother to try to imitate each other beyond the outfit swap, and how it works anyway. I like Mitsuru’s cocky ‘I can’t believe I’m this cute’ persona, which provides the title for us but also tells me he’s being set up for a fall. I like how Megumu may be a shy girl falling in love, but she’s still happy to rabbit on about Masamune for minutes on end in front of her crush.

this first volume doesn’t knock it out of the park. It’s fun but slight, and I hope it will continue to develop its characters as it goes along. If you’re a Shojo Beat fan, this should please you.

By Karuho Shiina. Released in Japan by Shueisha, serialization ongoing in the magazine Bessatsu Margaret (“Betsuma”). Released in North America by Viz.

I’ve been reviewing this title in the ‘Bookshelf Briefs’ section for a long time. There’s been a lot going on since my last review, but one thing that amused me is that I was discussing Kento never shutting up, saying the wrong thing, and generally being extroverted all over the pages of what’s trying to be a quiet, peaceful manga. And hey, guess what’s still happening! After a brief period where I was beginning to like him and hoping he and Yano would work out, he’s back to being my least favorite. Meanwhile, another old villain makes a reappearance, and as she has in the past, spurs Sawako to try to apply herself and chase her dreams.

Given how Kurumi was originally introduced to act as a contrast to Sawako’s purity and general niceness, it’s highly amusing to see that they both want to pursue similar careers – though only Kurumi really gets this, and she is properly annoyed by it. In fact, Kurumi spends most of the volume on a low boil, possibly as all the main characters have hooked up with each other and she’s watching them all be happy. But Sawako has bigger concerns – she’s finally found happiness with Kazehaya, and while she doesn’t want to leave the town, she does envision going to a college that would temporarily separate them. While Kazehaya knows this and decides to try to pull his grades up so that he can go to college as well, he makes it clear to Sawako that this is her choice and she should feel confident in it. As always, they’re both really sweet.

Yano has never been described as sweet, but she’s usually tried to be the most mature of the bunch, and the most level-headed. Now we’re starting to see that facade crumble, particularly around Pin, who is easily able to see through her facade to the anxious teenager beneath it. And it’s fairly clear that, while Yano is happy with what she currently has with Kento, he’s not really factoring in what she really wants – college in Tokyo, a much farther distance away than the others are talking. It’s also far more difficult, and Pin admits she needs to pull her grades even higher if she wants sure success. (Pin is pure awesome in this volume, by the way, and while teacher/student romances are iffy, I totally get why this is also a ship.)

So while Yano frets, Kento is there… to propose to her, saying he wants to spend the rest of his life waking up next to her. Kento has always been forward and blunt, but my jaw actually dropped at this moment, and I wondered if it was a setup for something more. I got my answer later in the volume, where Pin has a disastrous meeting with him, where Kento admits he’d like to study interior design, but going to the same college as Yano is more important. His face in this scene is a sort of goofy, happy-go-lucky type that makes me want to hit it, as he’s not thinking about Yano here at all. To make things worse, she actually hears this outside the teacher’s office. Kento wants Yano as his girlfriend/wife, but seems to take it as read that she’ll be OK with this. And she isn’t.

A cliffhanger seems to show Kento starting to realize that something is wrong, but we’ll have to wait for a bit to see if it sinks in, or if things continue to go south. In the meantime, this remains must-read shoujo, and if you dislike angst, there’s always Sawako and Kazehaya, whose stressful situations are resolved through honest communication. Funny, that.

By Satoshi Mizukami. Released in Japan by Shonen Gahosha, serialized in the magazine Young King Ours. Released in North America by Seven Seas.

Well, I can’t say I didn’t warn myself in my last review, where I described everything coming to a halt so that the author could do plot setup. And now that it’s set up, the guns are fired, with lots of cool action scenes, character development, and the introduction of Animus’ sibling Anima, who doesn’t talk much and seems to be able to grant even more superpowers. The series also continues to show off the connection between having cool superpowers and teenage angst and grief, which as fans of old school superhero comics know if the classic way to go about things. I have to say, however, that perhaps the most ridiculous yet tragic thing about my last review is when I was discussing Hanako’s oddness and suggested that she might not survive the series. Wow, in hindsight that is the worst thing ever.

This is not a series afraid to kill off its main characters, and to be fair I should have realized what was coming. Taro was one of the most ‘normal’ of the cast, and we weren’t sure what his wish was. The one thing we were sure of was that he was totally in love with Hanako and hadn’t told her yet. And, despite what her familiar tells her, he dies in a heroic, amazing way. Yes, he made his wish to resurrect her if she was killed and then tried to stop her getting killed anyway. But that’s love for you, and I thought it was fantastic. I also liked how Taro’s impact was felt on other characters through his food – his other main personality trait besides ‘likes Hanako’. I’m not sure how much I like the observation that his death is Hanako’s punishment for what her wish was, though – I think that’s placing too much of a burden on her.

I’d mentioned above that Anima has started to give powerups to the various Knights, and we see Yuuhi fight to ensure that he gets one… and lose. Yuuhi has always been at the low end of the totem pole when it comes to kicking ass, and I don’t see that changing as I think it’s perhaps the only thing keeping him likeable. We do see his growth here, though, as he encourages Samidare to talk with her estranged mother (who can’t seem to balance work and family well at all) even as he’s still estranged from his own grandfather. I’m still of the opinion that the Earth is not going to be destroyed, and I suspect it will be because he stops being such a nihilist. Leave that to the resident Nihilist Knight… I mean Owl Knight.

In the end, the scene that sticks with me most is the final one of the volume, where Hanako uses her ice powers to take out one of the golems in a fit of suppressed grief and rage, showing the emotions on her face that we haven’t seen since we met her. It extends to the others as well, as the death of Taro’s killer and Hanako’s sobbing allows all the other knights to show their own grief… even Yuuhi. It’s a good sign for the future. I eagerly await the next omnibus.