Reviews

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

It’s worth noting, when reading this volume of One Piece, how much fun Oda is clearly having writing every single chapter. His simple joy in drawing all this crazy stuff comes out from the page and just overflows into your brain. Be it giant slime monsters clearly based off of video games in his youth, the bodyswap continuing to humiliate Nami and Sanji (and ending at just about the right time so it doesn’t get old), or even our heroes happily commenting on how Luffy and Smoker are locked up in another seastone cage again, just like Alabasta! (Bonus points for it being Robin commenting, who was a villain at that point.) This manga is what happy feels like.

Of course, it’s not all fun and games – or rather, the fun and games continues to be contrasted with the atrocities that Caesar Clown is committing. Drug addict giant toddlers, poison gas corpses that look like something out of Edvard Munch, and Luffy getting completely punked in his first fight with Caesar, despite his supposed poison immunity… this is not simply a walk in the park the way other arcs have felt. We even have yet another mole for the bad guy who’s a Vice-Admiral with the Marines (and, Oda-style, has a hamburger affixed to his cheek. As he forgot it was there.)

We also see Kidd and some of the other Supernovas meeting to discuss Caesar Clown’s offer, and it reminds me of something that Oda has been showing us again and again: anyone with power in this world is highly likely to be evil or insane. Luffy and company are one of the few non-evil pirate crews, and, fittingly, Smoker and Tashigi’s group are one of the few non-evil Marine crews. When you live in a world like One Piece’s, with so much raw power out there to abuse, you run into people who will do all they can to hold onto it.

Luckily, our heroes are strong, and can’t be kept down for long. Everyone has their own bodies again, and Kin’emon, the samurai, has his full body back (and is really quite tall now). What’s more, Luffy and Law have formed an alliance! I suspect that Law will rapidly come to regret allying himself with Luffy and company, which to a certain degree involves throwing your self-image out the window and giving in to the goofy. I am amused that once again Luffy says, when being informed of a plan, “Yeah, OK, I got it”, and then merrily go off to punch things again. It’s not something anyone can stop at this point.

If there’s something that feels slightly dissatisfying here, it’s that Caesar Clown doesn’t feel like a big bad. He’s pretty scummy, and I’ll enjoy seeing him defeated, but the revelation that there’s someone behind him who’s the real mastermind makes a lot more sense, and as a reader, I’d really like to leap ahead to that battle. Till then, though, One Piece continues to go where it wants to with unlimited joy.

By Kenjiro Hata. Released in Japan as “Hayate no Gotoku!” by Shogakukan, serialization ongoing in the magazine Shonen Sunday. Released in North America by Viz.

This volume, and the two that follow it, are for me the high point of the entire run of Hayate the Combat Butler. Hata has a tendency to get sidetracked and lost in comedy asides, to the point where he’s started to parody his tendency to do so. Also, it’s becoming quite clear that someone is telling him that he has to keep the series going and can’t wrap things up. But that’s in Japan. Here, we’re finally getting to the good stuff. All the slow character development, glacial plot points, and G*ndam references lead to this confrontation in Greece.

For all that Hayate is a wacky harem comedy, it has some dark tones at its core. Mostly it’s been about the horrible parents of Hayate, Wataru and Hina, and the absent/dead parents of Nagi and Athena. But there’s also been a sense of aiming for your dream and failing that’s come up several times with Hina’s alcoholic sister Yukiji. She’s in Italy because the teacher (and old high-school friend) who has a crush on her is trying to make grand gestures so that he doesn’t have to actually confess. After a chapter of misunderstandings and beatings, the now drunken teacher wonders out loud how the cool, guitar-playing Yukiji turned into the lazy, shiftless, aimless young woman we all know. And the answer is that life happens. It’s why people make wishes, and dream of fairy stories. And create magical luck stones, for that matter.

Speaking of which, we finally get the confrontation we’ve waited 10 years for… well OK, four volumes. Hayate sees Athena, and calls out to her. Unfortunately, she doesn’t know who he is. Or at least pretends she doesn’t know – as a very cute aftershot tells us, she is quite aware of Hayate but has some longer game, which involves that stone. The last volume gave us a few minor villains trying to get their hands on the stone, but now we move on to the more dangerous players. 16-year-old Athena looks like a dark queen, what with her black dress and princess curls (and healthy bust – clearly larger than any of the other girls in Hayate’s wannabe harem). We can only hope that she sides with her feelings over her need for that stone.

And so, having started the volume with Yukiji noting that sometimes things don’t work out, and dreams don’t come true, we end with the dinner date between Hayate and Hinagiku, who is determined to confess. Of course, Hina is mistakenly thinking that Hayate hates her because of her tsundere antics. And Hayate has worked out that Athena was lying, and is wondering what to do now and why meeting Athena is affecting him so much. So the dinner date is a masterpiece of distraction. Tragically, the two characters have revelations exactly at the WRONG time. Hina finally mans up her courage and starts to confess. And Hayate finally puts two and two together and realizes why he’s so devastated by Athena’s disfavor, and why he wants desperately to apologize: he loves her.

It’s an epic cliffhanger, to be sure. Hata certainly thought so, as Vols. 23 and 24 came out in Japan the same day. Sadly, that won’t happen here, where Hayate simply doesn’t have the sales. So we’ll have to check back in another six months to see how Hayate’s admission affects Hina, and whether it spurs him to return to Athena. The tension only gets higher from here.

By Naoko Takeuchi. Released in Japan as “Bishoujo Senshi Sailor Moon” by Kodansha, serialized in the magazine Run Run. Released in North America by Kodansha Comics.

There’s an important thing to keep in mind when reading this first of two collections of short stories that were interspersed throughout the series’ run: they didn’t run in Nakayoshi. They ran in a sister magazine, run Run, which was also home to Sailor V. Run Run no longer exists today, but I seem to recall when it was around that its core audience was girls about 2-3 years younger than the usual Nakayoshi audience. And that’s not even getting into the fact that these are quick side-stories Naoko dashed off in between chapters, so are naturally going to be a bit more comedic and fluffy than the core plotline.

If all of this sounds a bit defensive, well, let’s just say that ‘light and frothy’ doesn’t begin to describe this volume of Sailor Moon extras, most of which are very silly and not exactly lending themselves to deeper analysis. Four of the stories star Chibi-Usa and her friends (with occasional rescues from Sailors Moon and V), while three others detail the struggles of the Inners to pass high school exams. The first one is around the R continuity (Chibi-Usa has just arrived, and is meeting her very busty friend Momo… Ranma fans will immediately be reminded of Shampoo), but most of the stories take place around the SuperS continuity – indeed, a few of them were adapted into the SuperS anime – with the final one seeming to be around Stars, given it has Hotaru.

This is not to say I did not 100% enjoy these stories, as I did. I like Naoko’s style of blatant humor, and she has a knack for amusing caricature faces. The Chibi-Usa stories at the beginning are pure fun for kids, with the kids getting into danger and having to transform to get themselves out of it. The story at the end is slightly longer and attempts to have more depth, but there’s only so far you can go when you find out that Naru’s sister is not only a kogal but is also named Naruru. It’s good to know that Japan has horrible naming sense as well. (Also, kudos to Mari Morimoto for the translation of this chapter, which was filled with topical Japanese slang that Chibi-Usa and Hotaru pointed out and lampshaded throughout, thus making it virtually unadaptable. A very nice job.)

My favorite part of the book, I will admit, are the three stories focusing on the Inners. Makoto’s is probably the weakest, but we do get some amusing scenes of her procrastination through cooking and housework, and also hear about her late parents for what may be the only time in the manga OR anime canon. (They’re killed in a plane crash when Makoto was a little girl, which is used here as both an amusing gag and to have Mako gain sympathy points from her friends.) Ami’s First Love is probably the best written of the three, and it’s no surprise that the anime adapted this into a short film for theaters. Ami can be very tightly wound, so seeing her coming unglued at finding a student who’s just as perfect in studying as she is is hilarious, particularly when she gets so upset by this she seems to make herself ill.

And then there’s Rei and Minako. I’ve discussed how much I love this chapter before, silly as it is, and that hasn’t changed. The manga version of Rei – cool, collection, a bit ‘ice queen’ – is in such contrast to Minako’s extrovert that it makes sense that she’d want to see what Rei’s life at school is like – and yes, she’d want to ask if Rei farted. I think that Minako regards Rei as a bit too perfect, and this is just her own tactless way of trying to reassure herself that Rei is human after all. Of course, all that her visit to Rei’s perfect Catholic school ends up doing is tweaking Minako’s own insecurities – and that leads to Rei seeming genuinely upset at Minako getting angry, showing she *isn’t* the perfect ice princess. Rei is likely very lonely at that school where she only has admirers, and just can’t express her friendships in the way that Minako wants her to. Still, they manage to bond by… well, Rei being possessed and trying to kiss Minako. And afterwards being crankier than ever. But Minako’s feeling good again, and that’s what’s important. Bless these children.

So if the Sailor Moon series was a full-course meal, then this is dessert. Don’t go into it expecting anything more than delicious sweets that are easy on the eyes but not all that good for you, and you should be fine. Also, Rei has never farted. She is better than all of us.

By Tomu Ohmi. Released in Japan by Shogakukan, serialized in the magazine Petit Comic. Released in North America by Viz.

I often joke when discussing licenses that the thing most companies tend to look for is “does this manga have vampires in it? And are they hot??”. But of course in general there has to be more substance to it than that. We need smart, compelling characters, we need some intriguing backstory, and of course we do need some nice seductive romance. With Midnight Secretary we get two out of the three, and I suspect the intriguing backstory will come in future volumes as this develops more of a plot.

Kaya is a young woman living with her mother who is highly skilled but has one big problem (at least it’s a problem to her): she has a face that makes her look far too young. So, in order to get the secretarial work that she’s so good at, she does her hair up in a tight bun and wears glasses, looking very much like the cliche of what we think good secretaries should be. Like most Petit Comic heroines I’ve read about, her family has fallen on hard times, and her father has passed away from being incompetent… um, from stress. Luckily, she has a new job as secretary to the company director. Unluckily, he’s a womanizer, arrogant, and unimpressed with her looks. Oh yes, and he’s a vampire.

I am pleased that we get the reveal to this right off the bat, and that, after a bit of soul searching (and some blackmail on Kyohei’s part) she manages to file “vampire” under “things I have to manage in my boss’ day”. Indeed, Kaya takes her job very seriously indeed, and once she accepts what Kyohei is, she’s quick to research everything about vampires (most of which, amusingly, is wrong) and try to deal with the issues. And yes, sometimes that involves his sucking her blood, but only in emergencies. And it’s totally not one of the most erotic experiences she’s ever had, nope.

Kyohei’s brother is the executive director, and Kaya notes he isn’t a vampire, something I was prepared to have be wrong but no, it appears that is the case. It’s amusing to me that most of the drama in this fist volume comes less from Kyohei’s vampiric tendencies and more from the corporate intrigue. Kaya is far more valuable to him for her smarts and her spying ability than as a free meal ticket. Of course, he does eventually get her hair down and glasses off, and we start to see the smoldering passion that will no doubt justify this series’ 7-volume length. Indeed, by the end of Vol. 1 Kyohei is finding that other women’s blood just doesn’t do it for him, and he adds ‘blood for me’ to the endless list of Kaya’s tasks.

This is a fun series, with a more capable heroine than I’m used to seeing in this type of title. I wonder if we’ll get more of Kyohei’s vampire backstory as the series goes on, or if it will stick to corporate intrigue. And of course how these two will fall deeper in love. It’s another spicy romantic josei series from Shojo Beat. Fans of romance and the supernatural will snap it up.

By Kaoru Shintani. Released in Japan as “Christie High Tension” by Media Factory, serialized in the magazine Comic Flapper. Released in North America by Seven Seas.

The Young Miss Holmes series wraps up here with an omnibus of the final three volumes, and also takes a departure from canon, as only the first story, “The Adventure of the Solitary Cyclist”, is a Watson story published by Conan Doyle. That said, some of the titles of the remaining stories here may be familiar with Holmes and Watson, particularly the “Canary Trainer” mentioned in “The Adventure of Black Peter”, and the infamous “Giant Rat of Sumatra”, mentioned in the “Adventure of the Sussex Vampire” story. Shintani makes a decent effort at leaving the Holmes canon, and it allows him to do a bit more with Christie than simple sleuthing, particularly in the finale, which is basically an action movie with very little detecting.

The canonical Holmes story, Solitary Cyclist, does a decent job of having Christie and Sherlock join forces. Violet Smith is an old friend of Grace, Christie’s governess. Christie herself is chomping at the bit to become more independent, while still retaining a childlike air (particularly in the Circus chapters). That said, she’s not only more mature than most girls her age but far more modern, discussing how she has no desire to be a young lady the way the Victorians see them, and is already taking her savings and starting a pension plan to allow her servants to retire happily. It’s a good way to try to drag Holmes into the 21st century a bit, while still maintaining the charm of the original. (That said, I could have done without the appearance of Queen Victoria herself, in the weakest part of the book.)

The book is not faultless, of course. There is less nudity and gore than the first two omnibuses, but there’s still lots of corpses for an All-Ages rating, and Comic Flapper and Shintani still seem to sexualize Christie more than is necessary on a few title pages. The use of ‘moneylenders’ once or twice comes with some Victorian stereotypes, although it’s not really bad unless you’re looking for it. (Indeed, most of the villains here suffer from “I am ugly and therefore a villain” disease, which is quite common in comics and manga alike.) “The Dying Message” and “The Flying Dancer” aren’t too bad, but are weaker than the other stories we see here.

The Canary Trainer story is easily the creepiest of the book, featuring murder, suicide, child slavery, hypnotic suggestion, and child prostitution. It also merges Christie and Holmes the best of the five stories seen here, as they start out pursuing two totally different cases that only turn out to be the same thing right near the end. However, in a shocking display of canon ignorance, Shintani may have drawn Mycroft Holmes as slim. Luckily, there’s an out: everyone who says “that must have been Mycroft” didn’t actually see him. Perhaps it was Sherringford. Let’s go with that.

Things come to a head with the 7th volume/last third of the book, The Giant Rat of Sumatra. This helps to avoid the stereotype of “foreign villains” by sending a troup of good guys from India to help protect Christie from the thuggee bad guys. They are, of course, led by a young woman who is basically the Indian version of Christie, complete with tomboy mannerisms and snarky retainers. She’s good in a fight, however, which is a bonus, as Christie decides to simply go to ground in her mansion and let the villains come to her. Which they do, in one big final conflagration.

The series ends with the return of Christie’s parents, which marks a good stopping point – I’m sure they won’t totally stop her getting into adventures, but no doubt she will have to slow down a little. Shintani is currently writing a sequel, Christie London Massive, featuring a 17-year-old Christie, a whole new cadre of battle maids (led by Nora, no fear, she’s still there), and perhaps a familiar adversary of Sherlock Holmes thrown into the mix. Of course, that’s Japan. Whether it comes out here or not depends on how well the print and E-Book versions do. I had a ball reading them, particularly as a Holmes fan, and definitely recommend picking up the whole series.

Also, there is a dodo. For some reason.

By Kyoko Okazaki. Released in Japan by Shodensha, serialized in the magazine Feel Young. Released in North America by Vertical.

When I first heard about the new title that Vertical had licensed, and its basic premise, I started to formulate in my head an idea of how it would probably go. We already knew it would be about modeling and plastic surgery in some way. It was not a great leap forward to imagine there would be a younger, more successful rival, a controlling mother figure, and the hubristic slide into inevitable tragedy. And technically, that’s all present and correct in this volume. But that doesn’t begin to describe what a stunning ride this is, and how much you get drawn into its characters and storyline.

Liliko is the star here, and she’s far more self-aware than I was really expecting. She starts at the top of the modeling game, but it’s taken a lot of work to get her there. Moreover, a secondary plotline throughout the book discusses the shady characters who did her plastic surgery, and how the law is getting closer and closer to them. Really, while Liliko is flagrantly horrible at many points in this book – she notes at one point that she’s so broken that the only thing that gives her satisfaction is breaking others – she’s no worse than na lot of the top strata in the business she’s engaged in, which uncaringly throws away stars once they lose their looks or get embroiled in scandal.

Actually, the character I was most fascinated with throughout the book was Hada, the young woman who starts as Liliko’s gofer/assistant and ends up falling for her hard, in all the wrong ways. I was initially expecting Hada to end up killing herself – there are a few suicides in this book, and I wondered if one of the corpses I saw would be hers. Then, as things got worse, I realized that it was more likely she’d wind up arrested. Then I wondered if she’d be the chief witness for the prosecution. Then, as things really spiraled, it became clear that there was no separating Hada and her easily led boyfriend from Liliko for any period… not while they’re still completely codependent on each other.

There was one thing I didn’t think worked here, or at least that didn’t resonate with me as much as the rest of the book. Takao Nanbu, Liliko’s boyfriend at the start of the book, likes to speak in a philosophical, slightly smarmy way, and he simply grated on my nerves with all the Tiger Lily stuff and talk about past lives. Certainly he added a different element to the story (and oh do I feel bad for his fiancee getting caught up in Liliko’s psychotic drama), but especially towards the end I felt his monologues were simply overdone.

It’s hard to discuss the main selling point of this manga, as it’s basically an underlying tone. So much happens here that could be termed a car crash, but Okazaki is so compelling a storyteller that you read on anyway, even as modeling turns to adultery, assault and multiple suicides. The title is completely appropriate – and no, despite the song getting a mention right at the end, I don’t think it’s entirely talking about The Beatles. The Helter Skelter is a British amusement park ride (tornado slide for U.S. readers) that is a wild, out of control ride that makes the reader want to go back to the top when they hit the bottom. Likewise Liliko hits rock bottom at the end of this book, but that doesn’t mean that we should count her out, or that this is the end. Her story (and possible new downfall) is only beginning.

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

Sometimes books just read FAST. You pick up the book, start turning the pages, and the next thing you know you’re looking at the preview. That’s definitely the case with this volume of Attack on Titan, which is nonstop action from beginning to end, and its pace is just unrelenting. We see Armin being clever, Reiner being badass, Eren learning that being in a military organization is a hard thing for a hothead to do, and lots of mass destruction and slaughter of the survey team in general. As if the cover didn’t already tip you off.

Armin noted at the end of the last volume that the female Titan who dominates this volume is intelligent, and boy do we see that here. She knows how to protect herself, she’s mercilessly cruel and sadistic (you can see the amusement in her face when a soldier begs her to let him go, and she starts spinning him around till he’s so much meat before doing so), and far, far harder to get rid of than the run of the mill titans we’d seen to date. It takes Armin, Jean and Reiner all of their combined skills just to get away and try to shove the titan in the right direction.

As for Eren, he’s having the same problem that a reader might be having – he spent 5 volumes training and bonding with a group of friends and comrades, only to be torn away from them and forced into a group he barely knows and who doesn’t seem to like him much (excepting the resident mad scientist). Not to mention people still won’t let him go berserk and just start killing Titans, possibly as it’s incredibly stupid. He does begin to get an inkling of what military discipline is like here, as Levi straight up tells him he can do what he wants but reminds him of what they’ve all been fighting for. In the end, despite his rage and tragic past, it’s just not all about Eren.

Speaking of his new squadmates, I appreciated the flashback where we see how well they work together as a unit. Given a series like this, you tend to dismiss anyone who doesn’t have a bio at the front of the book as “cannon fodder”, and the fact that they had pictures but no text didn’t bode well. But the fact is Levi’s squad has survived longer than Eren has outside the walls, and they’ve killed more Titans than he has too. Their well-oiled machine shows Eren that he can turn his rage and anger into something useful to them. And his trust is rewarded in the end, as the female Titan is captured due to the efforts of the entire team.

This was a thrilling volume, and uplifting compared to previous ones. Of course, that means next time it will likely be even more depressing, but hey, you take your victories where you can. When humanity is fighting an unstoppable enemy, you enjoy seeing them fight back. The art needs more improvement still (Dear Isayama: your faces all look alike. Love, Sean), but otherwise it’s another winner.