Reviews

By Rei Hiroe. Released in Japan by Shogagukan, serialization laughably sort of ongoing in the magazine Sunday Gene-X. Released in North America by Viz.

If everyone has in fact forgotten about Black Lagoon, I wouldn’t be the least bit surprised. I wondered why I’d never reviewed it here, then realized the last volume came out in 2010, before I started blogging manga. Rei Hiroe’s past series have not so much ended as stopped, and I have a sneaking suspicion that this one may do the same. The end of this volume has him a) apologizing to readers for this volume taking so long to come out, and b) adamantly insisting the manga was not on a hiatus. This despite the fact that after putting out this new volume of Black Lagoon, we seem to be in the midst of another drought. Sunday GX’s website has a Black Lagoon section, but it’s mostly about a new game, I believe. In other words: enjoy this volume, but expect to forget it all over again soon.

Of course, enjoying this volume may be difficult in any case. Not because of any real quality issues, but because the author is deliberately reminding readers what sort of world Roanapur is, and how deep Rock is now embedded in it. The last volume had Fabiola calling Rock out on his ambiguous morality, even if he did manage to save the day. Here he seems to still be taking that to heart, to the point where he’s gotten too jaded to actually be himself – much to Revy’s annoyance, as a cynical and bitter Rock is not something she likes to see (or finds attractive). Then there’s the return of Greenback Jane, who was played for mostly light relief in her debut arc but now is pretty much horrible. She cheerfully leads a woman into a deathtrap for her own means, justifying it by the woman’s inability to have a successful cover story. And her sexual activities with Benny have become almost constant, to the point where, after hearing a suggestion that she might drag Rock into them as well, Revy pulls off one of the best threats in the entire series.

But let’s talk about the woman I mentioned above, Feng Yifei, who if pretty much deliberately introduced to be Rock’s female counterpart, and succeeds in that she’s likeable and we are rooting for her, as opposed to most of the rest of the cast where we just sit back and watch the catastrophe. She’s clearly drawn to Rock, and he to her, but my biggest interest was in how Revy saw her, and I was very pleased. I think there is a bit of jealousy in there, though Revy would never admit it. But more to the point, Revy not only sees in her what she saw in Rock, but actually wants to help her as a means of helping Rock out of his funk and getting him to be the moral guy again. It’s terrific character development, really.

There’s a lot more I could talk about here, including the hilarious and disgusting appearance of Sawyer the Cleaner, the Chinese politics that mostly passed over me but seemed serious enough, or the appearance of three goofy assassins for hire who call themselves the Four Brothers (you’ll see). But basically: Black Lagoon 10 is much like 1-9, only you really get it rubbed in your face here what a scummy, amoral world this is. Even Gangsta seems lighter and fluffier in comparison. Despite that, it’s still a good read, especially for action fans. Just… don’t expect Vol. 11 anytime soon.

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

It has to be said, Oda is perfectly fine with repeating himself provided that it makes a good story. And as long as we’re still highly entertained, I think that’s fine. Certainly the Usopp sections of this volume were my favorite part, even if their basic shape felt a little familiar. We see Usopp in over his head, talking about how he’s a hero while having no idea what to do. We see him attempting to run away, only to return because of his guilty conscience. and we see his “victory”, as it’s a truly grotesque face that makes miniboss Sugar pass out and save the day – not unlike what happened with Perona in Thriller Bark. But of course this is how Usopp grows stronger, and I expect big things from him soon. He’s not allowed to start beating up bad guys or anything, due to Oda’s desire to always have that basic ‘type’ on the crew, so you need moments like this.

Meanwhile, you absolutely need Sugar to pass out, because the danger has been ramped up as Robin was turned into a toy. It actually happens so casually amidst the chaos that it’s a surprise when we see her Raggedy Anne body, and we see her desperation as she realizes that her fate is totally in Usopp’s hands now, even if he doesn’t remember her. The concept of the toys in general, and who they used to be, is a grotesque sort of horror even for Oda, and it’s almost a relief when we finally learn what we’ve suspected for some time now, which is that the Tin Soldier who’s tried to protect Rebecca is in fact her father. As I said, the beats may be similar to other storylines, but they’re good beats.

On the lighter side, Oda has occasionally done mild shout-outs to other Jump artists in the past – I’m thinking of the big giant ‘shock faces’ he’s used from Enel on down, which are a straight rip of Bobobo-bo Bo-bobo – and so I have to think that the minor villain whose minions go on about him being too hardboiled is a reference to Gintama, which sadly I think most readers will miss given its cancellation here in North America. Other than that, though, there’s not a lot of room for humor in this volume. Things are turning even more deadly than before, and our mystery savior who’s helping Luffy by taking his place in the arena can’t even stop to reveal who he really is (we all know who he really is, but let me keep up the pretense.)

This is not a perfect volume – Scarlet’s backstory was rather sexist, something Oda’s at least made attempts to avoid in the past, even though he’s been backsliding a lot lately. And of course, being in the middle of 11 chapters that are just ‘a giant fight happens’, the plot moves forward only incrementally. Still, now that Usopp has scared the bejabbers out of Sugar, we should start to see things get cleared up. Unless of course it leads to even wider chaos. But this is One Piece, what are the chances of that happening?

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

This was a good volume of Accel World, though I think I enjoyed it a bit less than the other two. It can be exhausting to read for extended periods. Kirito may rub people the wrong way, but at least in game he’s fairly matter of fact and confident in himself. Haruyuki’s issues – his self-hatred, the bullying he’s endured and can’t reveal, his desperation to keep his friends safe and keep their friendship, and his tortured love for Kuroyukihime, who he still holds up on a giant pedestal – permeate his narrative voice, and while that’s excellent in a realistic way – are visceral and explain the actions he takes, and you understand why he despairs or does seemingly stupid things. But as escapism, you’re left wanting a bit. Particularly as this book has a cliffhanger.

It doesn’t help that Kuroyukihime is conveniently absent from this volume, off to Okinawa and sending Haruyuki adorable videos of herself in a bikini. (I do like that her friends whipped off her hoodie to reveal the bikini, showing that they seem to be supporting the love between the two of them far more than the rest of the school – or indeed Haruyuki himself – might.) So the new threat is dealt with by our trio of childhood friends, one of whom is brand new to Brain Burst, and given this is volume one of a two-volume set (something that Kawahara is very fond of, as SAO fans are aware), they fail rather miserably. (The cliffhanger involves the seeming betrayal by one of said friends, but I suspect that absolutely no one is actually fooled by this. (checks TV Tropes page) No, wait they were. Sigh.)

As for the new characters, Nomi will hopefully gain more depth in the fourth book, as he’s very much the sneering, posturing villain here, determined to bully Haruyuki (who is very quick to accept this, as if nothing else it must feel familiar) and keep Chiyuri as a “pet” (more casual sexism, though given Nomi is about 11 years old at least there aren’t any rape threats like in SAO.) He’s there for readers to hate and root for our heroes to destroy, that’s about all. I liked Sky Raker a lot better, who gets to be the one who trains and inspires Haruyuki in Kuroyukihime’s absence, but who also seems to have an intense backstory involving trying to rise above a disability – and how it can fail despite all your best efforts. I’d like to see that scene someday.

Of course, much of her story is there to give inspiration to Haruyuki – he’s the hero, and that means that most of what goes on is for his benefit. This can be tragic, like with everything that happens with Nomi, but it can also be hilarious, as with the return of Ash Roller, who will not stand for this meek, uncool and despairing Silver Crow, and proceeds to take him on the bike ride from hell just to pep him up. I suspect I’ll enjoy this volume more, though, once the next one comes out and completes it.

(Also, can we get an embargo on any story involving a boy trapped in the girls’ shower? Even if it’s for dramatic reasons?)

By Natsumi Ando. Released in Japan as “Waltz no Ojikan” by Kodansha, serialized in the magazine Nakayoshi. Released in North America by Kodansha Comics.

Natsumi Ando’s back again, this time with a shorter series – this is only three volumes long, I believe. Which is good, as I felt the pacing was very rapid for a shoujo manga like this – it would only make sense if it was going to be wrapping up fairly quickly. I’m not sure if this was deliberate or not – her previous series, Kitchen Princess and Arisa, were both double digits. But short doesn’t necessarily mean it’s a failure, and there’s much to like about Let’s Dance a Waltz, with its grumpy hero held back by an incident in his past, and a self-deprecating heroine with an unfortunate first name.

First off, a word of warning: the moment I saw that our heroine, Hime, was overweight and a bit frumpy, I thought “she’s going to lose all the weight and be gorgeous by the end of this volume, isn’t she?” And sure enough, that’s exactly what happens. She too has a tragic backstory, as her mother, who was the one who named her (Hime means princess, something that gets hammered home quite a bit in this series) passed away from tragic backstory disease when she was just a little girl. (This is a common disease befalling young women in manga – young men tend to have dads disappear (the scum), not die off.) Still, the mother may have had good intentions, but it’s left Hime teased her entire life thanks to the wonderful world of Japanese schools, whose bullying is always important for character development.

Our hero, Tango (no, I’m not making these names up), is dealing with similar peer pressure problems, but from the opposite direction – he’s handsome and popular, and in accordance with his name actually is an amazing dancer. But he doesn’t dance competitively anymore due to a mistake he made in his childhood that haunts him, and prefers to be the class clown, breakdancing and avoiding any mention of the fact that his mother runs a dancing school (because dancing is not “cool”, and kids turn on cool kids who are now uncool faster than anyone except perhaps girls with the name ‘princess’. Tango can be quite the jerk through this volume, but we know he just needs his true love to make him straighten up.

Though there were a few times I was surprised through the first volume – secondary couple Yusei and Sumire, who have no issues whatsoever (possibly as they have standard Japanese first names) are dedicated to helping the two wannabe lovebirds rather than, say, getting jealous, which is what I was suspecting of Sumire when I first saw her – but for the most part this is a manga that runs on timeworn cliches. But this is fine – Ando is an expert at this sort of thing, and it’s nice to sit back and just let a skilled artist take you where she wants to go. At three volumes, this seems like exactly the right length for a sweet manga about a couple who can connect to each other though the wonders of ballroom dancing.

By Miki Yoshikawa. Released in Japan as “Yamada-kun to 7-nin no Majo” by Kodansha, serialization ongoing in the magazine Weekly shonen Magazine. Released in North America by Kodansha Comics.

The debut volume of this series has a war between a plotline I love and a plotline I always find discomforting and embarrassing, and ends up taking it in a rather sedate direction. Of course, this is clearly a slow burner – we’re already a volume in and we have no idea who the seven witches are. But in the meantime we get to see the titular lead, Yamada-kun, make all sorts of amusing faces, and see various high school romantic comedy hijinx. This has been out on Crunchyroll for a while now, so I know that things will ramp up soon, but I was actually surprised at how little happened in this initial volume.

Yamada is a delinquent, which I always love, although he’s sort of a sanitized delinquent. Even Onizuka (who appeared in the same magazine 20 years ago) was allowed to have bad habits. Here he’s just a guy with bad grades who sulks around the school wondering why things aren’t more interesting. He also may seem slightly familiar to those who know of Yoshikawa’s former series Yankee-kun to Megane-chan, which also featured a lead delinquent (of a sort) and their supposedly straightlaced female equivalent. The plot kicks in when he accidentally falls down the stairs, dragging a young girl down with him and forcing them to swap bodies, because they fell down the stairs in a high school manga and that is what inevitably happens in these sorts of things.

Urara is more interesting, if only as she takes much of this in stride. While Yamada is busy freaking out, her reaction is more sedate. Of course, she might be quite happy to take a vacation from her body, as we see (through Yamada’s eyes) that she has a lot she has to deal with. She seems fairly stoic, but as she warms up over the course of the volume it becomes apparent that it’s more repressed emotions than anything else. The dynamic between the two of them is interesting but fairly mild, except, of course, for the kisses that allow them to swap bodies at will. As we gain more cast members (Miyamura, whose attempts to convince Urara to continue high education by trying to find blackmail material and ogling her cup size, did not impress me) we will no doubt gain more dynamics.

At the end of this volume, even with the addition of a new girl who promises to make life miserable for everyone, we’re not one step closer to knowing what’s going on. We haven’t met a witch, and we’re not sure why Yamada suddenly can swap bodies with anyone he kisses. Given the author’s success with her prior work, I imagine she has a lot more leeway to develop things the way she wants without the fear of getting cancelled after 15 chapters. Which is fine, but it does lead to a first volume that’s merely average, even as I know it gets better later. Still, if you like school romantic comedies with an emphasis on the comedy, and want to step in before the inevitable harem plot starts up, this is the volume for you.

By Touya Mikanagi. Released in Japan in two separate volumes by Ichijinsha, serialization ongoing in the magazine Comic Zero-Sum. Released in North America by Yen Press.

Karneval is, I believe, one of those titles that is expected to coast by on style alone for the first few volumes, while it lovingly sets up its plot. And to be fair, it has quite a lot of style. There was never a point in reading this omnibus where I was bored and slipping ahead, though there were perhaps a few times when I desperately wanted an organizational chart or a “here’s how this world works”. But that’s not how immersion goes. In the meantime we have a pretty young boy and his grumpy yet also pretty friend/babysitter/audience identification character, running afoul of the bad guys and being rescued by a crack squad of eccentric superheroes who pose as a circus when they’re not causing major property damage or freaking people out.

I believe that’s Nai on the cover there – I say “I believe” as he’s staring out at the reader confidently, something the Nai in the books would never do. I said Gareki was for the audience, and he’s desperately needed – in fact, I think he’s the main reason I enjoyed this title as much as I did. He stomps through the whole thing carrying Nai around as if he’s in a manga version of Midnight Run, and also manages to be the one member of the cast with no superpowers that we know of, though he gets by well enough with explosives. As for Nai, I actually thought the revelation about who he really is what the best part of the volume – it actually makes his moeblob tendencies make sense in context, even if it ends up giving us more questions than answers.

As for the rest of the cast, there are several men whose characterization seems to involve looking cool and making passes at each other, though I suspect the genuine BL content in this series will be zero. And they are pretty damn cool, if also ridiculous to a large degree – something I’ve come to expect from Zero-Sum titles. There are also a few women in the cast, who range from stoic to overly affectionate to full-on tsundere, but honestly none of them get as much attention as the guys this time around – hope that changes later on. Oh, and we also meet a set of twins and childhood friends who have “I am here to be tragic and motivate our hero” written all over them, which the cliffhanger seems to agree with me on.

There’s a healthy dose of humor here as well (the nurses’ reaction to their obnoxious doctor boss was probably my favorite), which also helps the medicine go down well. There’s nothing here that’s revolutionary or new, but for a manga that knows what its target audience wants, Karneval delivers quite nicely. Don’t try to think too hard about what’s going on, just sit back and enjoy the snarking, acting cool, and one-liners. Recommended for fans of Zero-Sum.

By Atsushi Ohkubo. Released in Japan by Square Enix, serialized in the magazine Shonen Gangan. Released in North America by Yen Press.

And so here we are at the end of another long-running shonen series. And it’s a good, solid ending, wrapping most plotlines up neatly, giving readers a big battle scene with lots of awesome moves and attacks, and resolving Crona as much as Crona was ever going to get resolved. The cover, as you can see, has Crona looming over our protagonists, and that seems appropriate, as in the end the fight is not so much to defeat Asura as it is to get a chance to try to talk Crona down one last time. And, of course, it would not be long-running shonen without the death of one of the main characters, which is done in such a way that even Excalibur is briefly not annoying. (It’s only briefly though.)

It’s also interesting to see the attention paid to Soul and his growth. Soul’s struggles as a weapon have always been closely tied to Soul’s struggles as a musician, and he clearly has a life-or-death performance here. That fact that his music works most effectively when he accepts the madness that roils within himself, and the black blood within, is actually quite well done, even if it makes me wonder if Ohkubo was trying to say something about jazz artists and recreational drugs. But that’s probably just me. More to the point, he and Maka now trust each other completely, which after everything they’ve been through, is a relief. I liked his support when Maka is trying to convince Crona – he says “we believed in what Maka believed in”.

There’s a lot left open after this ending. Kid’s now the new Shinigami, and has already shown that his OCD is not going to magically go away anytime soon. Crona may be rescued someday, but today is not that day, and given all the crimes committed by Crona, it seems appropriate to end with moon sealage. (I have been endeavoring not to gender Crona through these reviews – unlike, say, Hange in Attack on Titan, where an author’s casual joking has spiraled completely out of control, I do believe Crona is quite deliberately not shown to be male or female, and that it works with their character.) As for romance, it was always on the back burner, and remains so – the only couples at the end are Kim and Ox, who get a dance, and Stein and Marie, who are creating new life. You could argue other things might happen in the future (I was rather startled by Maka’s response to Blair’s comment), but for now, things are up in the air.

This wasn’t a perfect ending – the boob jokes at the end fell totally flat with me, even if they do try to justify it in plot as Crona’s subconscious desires, and the “Noah-samas” were just as bad. But it made me happy overall. Eruka Frog was a character I always felt sorry for, so it was nice to see her pardoned and at peace. Rachel had been dropped from the manga the moment she was unpossessed, so it was fantastic to see her with her parents and showing she wasn’t completely broken by what happened to her. And it ends with a party, with everyone singing and dancing in the best One Piece tradition. Well, that and a shot of the city, with its bizarre sun and moon still hovering in the sky. Soul Eater’s world is still strange as hell, and it’s the world that is the main reason I recommend reading every volume of this series.

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

I’ve already discussed some of the ideas behind this concept in my review of the first manga, so I’ll try to skim over that and discuss what I enjoyed about SAO:P as a novel. Again, I don’t think it’s a sort of ‘reboot’ where you can read it in place of the original – I think knowing the characters already adds to the depth. But the main reason to read this is to see how Kawahara develops Aincrad, a world he introduced and essentially abandoned in the first book, sequels and side stories aside. And we also get the addition of Asuna’s POV narration, though sadly only for part of the first arc, after which it’s back to all Kirito all the time.

Despite this, Asuna benefits enormously from the added face time. We see her at the start, having essentially decided that she wants to attempt to die with dignity, or at least on her own terms, something that Kirito is able to talk her out of. As the book goes on (and it is a BIG book – at 360 pages, almost as big as Fairy Dance put together) and Asuna starts to actually pay attention to the rules of the game and how to succeed, she becomes just as good if not better than Kirito – the skills she’s used her entire life as a girl who has to be in the top of the class for everything now benefit her in the RPG environment, and she also has more socialization than Kirito, meaning she can see people in a way that he’s unable to – this really becomes apparent in the second half of the book, where Kirito has pegged himself as an evil person, and Asuna has to side-eye him several times and go “really?”. Kirito, meanwhile sees potential in Asuna, and wants her to be the role model for the game world that he feels unworthy of being himself. They’re not a couple here, but you definitely see why they’re perfect for each other – they’re both quite similar, and their differences complement each other.

There’s no Klein, Lisbeth or Silica here, and Agil is mostly just support. The new addition is Argo, though she’ll be familiar to fans of the anime. She doesn’t vanish after the first few pages, however, and actually gets to show off some character depth and an awesome ‘to the rescue’ bit. In addition, the “Interlude” focusing on her and Kirito is hilarious, the second funniest part of the book. (The funniest part of the book involves Asuna’s inventory and Kirito’s complete ignorance of a maiden’s true heart, as well as measuring rage in gravitational units – I’ll leave it at that.)

The most interesting part of the book takes place right at the end, where a scheme is uncovered that led indirectly to the death of a player (or so they hear), and the concept of PKing comes up for the first time, this time as capital punishment. When does justice become vigilante justice? Kirito has definite views on the subject, but he’s already burned so many bridges (or at least he thinks he has) that he doesn’t want to make any rallying speeches. Luckily, things defuse before we can go there, but everyone is now thinking about it. We’re not at Laughing Coffin just yet, but the seed has been planted.

This book covers the first two floors of Aincrad, and the afterword says there should be 2 floors per novel, so things will likely continue to move quite slowly. This is the main goal of this series, of course, and I’m greatly enjoying what it’s trying to do. And of course there’s also an additional bonus – this is 8 years after the author first wrote SAO, and his prose has improved a great deal. Sword Art Online fans will love this. (Also, I appreciate that ‘Kuroko’ was likely impossible to translate without a footnote, but ‘Blackie’? Geh.)