Reviews

By Kyoko Okazaki. Released in Japan by Magazine House. Released in North America by Vertical.

It took me a while to get through reading Pink, and even after reading it I was somewhat confused at my basic reaction to the title. I’d enjoyed Helter Skelter, another josei work by Okazaki, but it was a walk through some very dark places, and the characters were ultimate very difficult to sympathize with. Pink is from a much earlier period in Okazaki’s career, but also deals with women who do a lot of horrible things to each other, and men who are unable to stop themselves from being drawn to said women. As for why I’m confused, well, it’s the fact that I found this title to be quite light-hearted and fun.

I’m not really sure how I came away with that impression. Our heroine, Yumi, is an office lady by day (whenever she feels like she wants to work) and a prostitute by night (as that’s where she makes most of her money). She has a poor relationship with her step-mother, but a strong one with her little sister, who is a young tween who’s far too intelligent for her own good. Yumi tracks down Haruo, who is a college student and aspiring writer who is currently sleeping with her step-mother, but soon he’s also sleeping with Yumi. Oh yes, and she also has a pet crocodile, who she feeds dead animals to (she mentions several times feeding humans to it, but there’s no real sense she’s ever done that). As for her johns, some are sweet, some are nasty, some leave her huge piles of cash, and some just rob her. It’s not especially pleasant, but it gets her what she wants; cash to buy things.

Yumi’s attitude may have a lot to do with the feel of it. She’s constantly living in the moment, and tends to let bad news just pass her by bar the odd temper tantrum. She mentions at one point the close relationship she had with her mother, and how she found her body after she hung herself. So it’s a sort of calculated attitude, one that keeps people at arm’s length while allowing her to still have the benefit of their positive emotions. Despite her self-centredness and petulant actions, you never really see her as unsympathetic per se. Certainly you side with her against the stepmother.

But I think in the end I feel Pink is fun because of the way it’s written – it feels like fun. Even the ending, which could be considered suitably tragic, will affect our heroine only a little bit in the long run, I expect. The writing, particularly the narrative, feels very much like a Bridget Jones sort of work – I particularly liked the description of Haruo’s college classmate/lover as “shockingly skilled at cooking, skiing, and fellatio”. It’s not just Yumi – the author is also doing her best to make this a light, breezy work despite the content. The dissonance that provides is what will make it a good book for a reread. But on this first read, I felt it was a hell of a lot of fun. Even if that thought confuses me a bit.

By Ume Aoki. Released in Japan as “Hidamari Sketch” by Houbunsha, serialization ongoing in the magazine Manga Time Kirara Carat. Released in North America by Yen Press.

When I last reviewed this cute 4-koma series, I noted that this volume might be the last as clearly Sae and Hiro were close to graduating. Well, by the end of this volume, they’re definitely closer, but haven’t quite gotten there yet, and it seems that it will be Volume 8 where we find out how the series can keep going without two of its big players. That said, attention is paid to all six of the main cast here, along with a few of the bit players we’ve seen sprinkled throughout, so maybe it doesn’t need to end quite yet, despite the loss of its main not-yuri couple.

Sae and Hiro haven’t left yet, though this volume gives them a bit less attention on the grounds that they’re studying for finals and applying to art colleges. We see some nice interaction with the first-years, as Hiro tries to teach Nazuna to cook (which doesn’t go as well as she hoped) and Sae discusses the nature of nightmares and the value of a printed book vs. an online one with Nori. We also get the most character development we’re ever likely to see for Natsume, the tsundere who loves Sae but can only express her affection through harsh words. Luckily, things thaw a bit as Natsume is invited to be part of a Christmas Party thrown by the gang, and cuteness ensues rather than frustration. Still no confession, though.

There really aren’t very many jokes here that we haven’t really seen variations on before, just with fresh settings and slightly redone. Yuno is short, Miyako is eccentric, Hiro constantly binge eats and then binge diets, and Sae frets (this is especially clear when her sister comes for a visit, annoyed that Sae may make her college choice based on what others want rather than what she wants.) Aside from Sae and Hiro’s college stress, the one sense that time is actually passing comes when Yuno runs into Arisawa, the sempai she’d met a few books back who’s now in college.

If there’s a theme to this book, it’s “even though life moves on, you should always treasure your friends no matter what”. I suspect Sae and Hiro leaving hasn’t quite hit Yuno yet (that may be in Volume 8), but when it does, it’s going to be tough. It will be less tough for Sae and Hiro themselves, as they’ve managed to find colleges that not only have the program they need but are also right next to each other! Yuri continues to tease but be mostly absent – in fact, there’s not even a lot of teasing here, beyond their beaming faces when they note their colleges. They really need to find an apartment to share once they get to college. With a big pluffy bed.

The art school aspect, as always, isn’t pushed as much as it is in GA Art Design Class, the other 4-koma art student manga. But in the end, even if it doesn’t really knock it out of the park, Sunshine Sketch inspires smiles and “awww, cute” remarks, and the occasional giggle. It’s an excellent comfort manga – provided, as ever, you don’t mind the characters being squished like pancakes sometimes.

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

(Note: this review is based on a copy provided by the publisher. Also, this review spoils this volume even more than my reviews normally do. I recommend reading it first. Also, don’t discuss post-Vol. 10 spoilers in comments.)

This is not exactly a relaxing, peaceful volume of Attack on Titan. Not that we’ve seen any of those to date, but this one in particular is pretty much wall-to-wall action, with only a few flashbacks to distract us from what’s going on. We get a few more Survey Corps deaths, as the Titans show that when they’re led by a clever bastard (the Beast Titan), they can be nastily effective. Luckily, so can our heroes, as even without gear on, they manage to take on a couple of Titans and survive, though not without injury.

This does lead to one of my favorite funny bits in the series, where Krista tears her skirt to make Reiner a sling/bandage and Ymir, watching silently from the sidelines, says “Hey, Krista, my hand got skinned.” Those of us watching Ymir from the start, however little attention has been paid to her until the previous volume, know that whenever she’s seen she’s looking at Krista, or protecting Krista, or otherwise does not have context without being next to Krista. After this volume, I think it’s pretty safe to say that Ymir is in love with Krista. (Indeed, the author’s website notes it is a romantic attraction.) Of course, this being Attack on Titan, that doesn’t mean it’s a healthy or pure love. Ymir and Krista both have issues beyond simply fighting Titans.

I must admit, I’m not really sure how well Krista’s martyr complex has actually been telegraphed in the story besides Ymir simply stating it. We do get a flashback after the fact to try to explain it, where we see more of what I’ve taken to be their usual relationship – Ymir being cutting and nasty, Krista being stubbornly nice to the point of near-death – as they try to rescue a wounded colleague in the middle of nowhere during the winter. Of course, the other characters are just as surprised by Ymir’s words as we are – they’ve never really seen much of Krista beyond “beautiful, angel, goddess”, etc.

As for Ymir’s secret, well, she’s a Titan Shifter. Not particularly a surprise given the hints and buildup we got leading up to it, though her being the Titan who destroyed Reiner and Bertolt’s hometown was a bit of a shocker. Needless to say, the reason this gets revealed is that they are at the very bring of death – or rather Krista is, I’m not sure that Ymir would really do this for any of the others, though she does show them affection. Ymir’s battle is pretty badass, even if she ends up seriously wounded – she clearly has experience doing this sort of thing. Also, given Krista’s reaction to Ymir’s fighting, I think it’s safe to say that Ymir’s feelings are not simply one-sided. Though in this series, a happy ending is almost impossible.

Speaking of Reiner and Bertolt… if Ymir’s reveal was given lots of buildup and flashbacks with Ilse’s Notebook and such, leading to a bit dramatic fight scene, then here we have the polar opposite – a conversation so casual that you turn the page before you even realize what was just said. It’s almost comedic in its own way – “Oh, by the way, Eren, we’re the Armored and Colossal Titan.” There is at least some attempt to show how so many Titan shifters managed to make it into the same squad – Annie, Reiner and Bertolt are all from around the same place, and the records were lost or damaged so it took hem this long to figure things out. Also they were damn good soldiers. Indeed, they still seem to be – Reiner and Bertolt’s motivations are somewhat murky here, and I presume future volumes will show why they feel that thanks to Eren, they can stop destroying humanity. Also, why they need Ymir, unless it’s revenge for what she apparently did to them as kids.

With more and more Titan shifters showing themselves, the question now becomes “are all the Titans transformed humans?” And if so, how innocent are they meant to be? A few of the Titans seen in the battle act much like kids would playing around their dad, and one shudders to think whether that’s really the case. There’s a nice little cliffhanger here, with the Shifter Titans on the run – some unwillingly – from the rest of the Military. Mikasa, for one, is likely to take this badly. Assuming she’s able to move – come on, some of these near-fatal wounds must slow her down, at least? In any event, despite some awkward exposition designed to move the characters around on the board to where the author needs them to be, the series remains as addicting as even. Beware, though – the speedup is almost over.

By Hidekaz Himaruya. Released in Japan by Gentosha, originally serialized as an online webcomic, then in Comic Birz. Released in North America by Tokyopop in association with Right Stuf, Inc.

After a long wait, Tokyopop and Right Stuf bring us not one but two volumes of Hetalia just in time for the holidays. As you’d expect, there’s lots of historical in-jokes, wacky 4-koma humor, and stereotypes galore. You’d think that this would get tired eventually, but I’ve found myself enjoying the series even more, especially as the cast has widened from the main eight. Indeed, the back cover of Vol. 4 shows that Himaruya has done his best to add more female countries in order to balance things out – Hungary is a major player, of course, and Ukraine, Belarus, Belgium and Liechtenstein have had substantial roles. But in these two volumes we see Seychelles, Monaco, Vietnam, Taiwan, and even the Principality of Wy, though that last one may drive you to Wikipedia.

There seems to be a return to World War II after the previous volume, with many strips detailing the battles in Africa. These are all done with a light touch, of course, but there are historical facts sprinkled throughout – Italy’s poorly-designed tanks, Germany not realizing how hot Africa would be, and America barreling in ready to win at everything and getting his ass handed to him. There’s also examinations of prior military skirmishes, as Austria is forced to make a very dangerous decision when he’s on the verge of losing the Seven Years war and ask Russia and France to ally with him. And in the “Battle of the Ice”, a young Russia encounters Prussia and realizes that he is far too stupid to be allowed to live.

As you’d expect, there’s a lot of modern-day stuff as well. In fact, we get an alternate universe high school section in both volumes, based on the Hetalia otome game that came out in Japan a while back. Don’t worry, BL fans, Seychelles isn’t the star here. It has our three Axis Powers as the newspaper club, trying to do an article about the various school clubs and finding that almost all of them are eccentric and weird. In the 5th volume, we also get an examination of horror movies in many of the major countries, which vary greatly in mood and scare tactics.

There are two serious chapters in here, and strangely they both involve France, who is normally one of the most flamboyant of the Hetalia cast. In Volume 4 he runs into a young tourist visiting Paris, who is hinted to be a reincarnation of Jeanne D’Arc, France’s lost love. In the 5th, a construction worker meets France, and is somewhat taken aback by the fact that his grandfather had also met him, but France hasn’t aged a day. France has come to terms with it, but the man’s wife points out how sad it would be to never age while you watch your loved ones dying, and for a moment we understand the inner tragedy of what it must be like to be the personification of a country. (Himaruya has stated that Prussia lives on, by the way, first as ‘East Germany’ and now basically just as Prussia in modern times, living in Germany’s basement. I wonder how the nations face the death of a country.)

As long as there is history to be mined, there will still be Hetalia coming out, most likely. We get some development of Netherlands here as well, an amusing look at Southern Italy’s relationship with Spain, China dealing with a rebellious Hong Kong asking for more freedom, and Taiwan attempting to give Vietnam a makeover. There are character profiles which detail each nation’s flag, as well as the reasoning behind the design and colors of that flag. There are cute sidebars explaining weird laws in various countries, and a look at various foods. And we see Hungary forcing Austria to wear cat ears for Belgium’s festival, which satisfies the shipper in me. Those who find the premise rubs them the wrong way won’t want to pick this up, but fans of the series will find lots to love here. Definitely recommended.

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

The majority of this volume of One Piece is composed of running around and fighting, as we tend to get when we’re 2/3 of the way through most story arcs in this series. Everyone is coming together from various disparate points (or, in the case of Luffy, getting dumped way the hell away from everyone) to try to stop Caesar Clown, who is upset that he has to kill them all in his secret base rather than out on Punk Hazard’s surface. We also get to see more of the fighting styles of minor villains Monet and Vergo. And thankfully we also get lots and lots of silliness.

One thing that gets a bit more attention this volume is the way that trust works in the world of One Piece. Luffy is, let’s face it, a man who inspires devotion and loyalty in his crew, but he’s not the only one. Most of the pirates, marines and mooks we see here are all fiercely proud and supportive of their leader, to the point almost of mindlessness. This is where Luffy’s crew stands out, of course – being real characters, they’re allowed to disagree with him or tell him he’s being stupid. The nameless marines and villains, however, don’t have that option, so they remain trusting and gullible to an extreme. When it’s someone like Tashigi who inspires them, that’s fine – she would never tell them to do something stupid, and indeed tries to protect them by stating that their foe is not the real Vergo. When it comes to Caesar, though…

Let’s face it, Caesar is a terrible, terrible liar. His “I am a good guy trying to help you all” act is pathetic, and it doesn’t say much for his mooks that they buy into it wholeheartedly. At least the little kids have the excuse of being too young to really understand. (though kudos to the one kid who sacrifices herself for the others, after Chopper finally convinces her what’s really happening). Caesar is not quite as scummy as, say, Spandam, but it’s still very satisfying to see Luffy beat the ever-loving snot out of him here.

There’s also Zoro and Tashigi, who get a lot of spotlight here. Tashigi’s character has always been fairly problematic, and it doesn’t really get any better here, as her compassion wars with her fierce competitiveness and her belief that Zoro is holding back whenever he’s near her because she’s a woman. Zoro, of course, is not about to tell her the real reason, and in any case is so far beyond her skill level now that he can take out Money, let her get in the final blow, and then agree to have her take the credit for it. Makes no difference to him, as that sort of thing is irrelevant when you’re on the level he is. In short, their relationship is still just as amusing yet awkward to read about as ever. (I did love her nerding out about his new sword as he carries her away from the gas, though.)

So overall another solid volume. The crew get chances to show off (Even Nami, whose weather control works well briefly against someone like Monet), and the collective treatment of Brownbeard is a comedic masterpiece. I am, however, looking forward to this arc being done in a volume or two.

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

One of the most enjoyable things about Soul Eater is the way that the author balances out the seriousness and humor throughout the story. A lot of shonen fighting series tend to have long serious parts, then chapters that are pure goofy. Ohkubo, though, simply lets the humor come in anytime he feels like it, even if it’s in the middle of a pitched battle for everyone’s life. This is not to say that there aren’t pure comedy bits here (the middle chapter, which features Maka’s dad trying to be sympathetic and failing spectacularly – again) but the fact that you can find a goofy face or a silly moment anywhere actually helps add to the mood of the overall work. Soul Eater has always thrived on being one step off the edge, leaning slightly into madness.

The converse of this, of course, is that any silly moment can turn on a dime to become serious. Thus Black*Star’s self-aggrandizing has a serious point – the reason why he can push back Crona so easily is due to his own self-confidence and ego, while Crona is simply filled with hatred and loathing. Crona’s “I DON’T KNOW WHO MAKA IS!” is a cry of anguish that once again makes you realize that Crona’s entire life (the manga may choose to say he, but I prefer to be awkward – Crona is genderless on purpose) has been mental torture and abuse by Medusa. Speaking of Medusa, she’s back to being a mad scientist, and is perfectly content to justify her actions by noting she is a witch – not that all witches automatically stand against our heroes, but as Kim has shown us, they are generally assumed to be evil until proven otherwise.

As for Kid, once again we get the goofy stuff – his obsessive-compulsive disorder comes to the fore in a very funny way, as you realize that the one who’s really best at torturing Kid is Kid himself – followed by an unnerving scene where Kid meets another one of the Great Old Ones whose presence has made this world what it is – and is seemingly taken over by it, as the cliffhanger shows. Soul Eater does star Maka and Soul, but has been excellent at giving Black*Star and Kid enough character arcs and development that they also feel like co-stars.

And then there’s the gender-bending. Rule 63 has been around the Internet forever, but has appeared in actual canonical works less so. As such, it’s highly amusing to see the cast transformed into their opposite-gendered selves (though I do have a little niggle with the explanation why – it makes it sound like gays and lesbians don’t exist), particularly as Maka and Soul have to deal with the thing that most annoys them about the other – Maka’s male body is tempted by the succubus, and Soul bemoans the fact that it’s “just big boobs” that turn men on. Judging by the previous, this swap won’t take up too much time, but it’s fun to see.

In the end, this is why Soul Eater is one of the best shonen titles coming out here. It’s fun, but with a tinge of madness that never quite goes away. It skitters at the back of your brain.

By Quin Rose and Mamenosuke Fujimaru, based on the game by Quin Rose. Released in Japan as “Clover no Kuni no Alice – Cheshire Neko to Waltz” by Ichijinsha. Released in North America by Seven Seas.

(Note: this reviews mentions THAT Alice spoiler later on. You know the one.)

Now that this series has finally come to an end, I think it’s a good time to take a look at it in a larger context. Volume-wise, it’s the longest Alice series to date. However, many of these volumes were bloated up with side stories – some featuring Alice and Boris, some not – to the point where I suspect the actual content would struggle to make it to 5 volumes if put together on its own. Overall, I think the series was successful, but its tendency to meander and focus on the romance over the darker themes make it perhaps midrange in overall quality. Let’s see if we can pin down what it did best.

First off, the premise of the Clover world spinoffs (as opposed to Hearts) is that Alice has been there longer and is finding love with someone she already has a friendship with, as opposed to a sudden passionate love. I think it does a pretty good job of that here – much as I’m not a fan of the romance part of this series in general, the author does a good job of showing us Alice and Boris’ friendship, and how that’s affected by their growing love. It also shows off dealing with Boris’ cat-like tendencies – he can wander off, or seem aloof, and is quite changeable – as well as Alice’s mood swings and anger issues. And, of course, jealousy. It didn’t really knock me out, but as a romance it’s perfectly sweet.

The other thing I think this manga did very well is the attention that it gave to the ‘faceless’ inhabitants of Wonderland. Our view of this world has almost entirely come from Alice and the 12 ‘role-holders’, all of whom are naturally drawn to her by their very existence. The faceless are meant to be bodies filling out the story, so unimportant they don’t even get eyes. And yet Alice can tell then apart, something that mildly astounds everyone else. What’s more, here they are shown to have goals and lives beyond support of the heroes and heroine. Some are plotting a takeover against the hatter, some are jealous of Alice’s ability to get someone to love her whether she likes it or not, and some are just doing a job, even if it means their death. I’m still not certain about the faceless overall, but I have a much greater understanding of them after reading this.

And then there’s Lorina. This is the second book we’ve seen recently where Alice is shown abandoning the real world and staying in Wonderland with her love. I’ve discussed how this makes me slightly uncomfortable, something I think is entirely intentional on the author’s part. Cheshire Cat Waltz is not as dark and twisted as, say, Joker and Liar’s Game, however, so we see Alice, who’s having another post-traumatic breakdown, visited by Lorina’s spirit, who reassures her that it’s OK to forget and move on, and that her death (looks, it’s been 15+ books, I am now prepared to reveal the horrible secret of the Alice books) was not Alice’s fault. So her stay in Wonderland is couched in terms that make it look less like escaping from reality and more like accepting this is her new reality. How you feel about that depends on how you view the Alice series as a whole, I think.

As for the major drawback of the series, well, it meanders. It meanders even more than my reviews do. And just when each volume seems to be leading up to an exciting bit, the story ends halfway through so that we can get either side-stories of Alice and Boris in the Hearts world, or even worse, Crimson Empire side-stories that have nothing to do with this world at all. Read all at once, it must be more tolerable. Read over the course of a year, it’s a mess.

Still, overall, I’m pleased to have read this. Alice and Boris are cute, and it fleshed out the personalities of the non-Hatter cast a lot more. (The Hatter cast got a lot to do as well, but they always do.) It’s a good read for fans of the series. Just be prepared for the story to start and stop a lot.