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Black Bird 2 by Kanoko Sakurakoji: B-

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blackbird2Misao is the bride of demon prophecy, and marrying her will bring her childhood friend Kyo, leader of the Tengu clan, prosperity. Misao is drawn to Kyo, but she resists this arrangement because she can’t be sure whether Kyo actually loves her for herself or because of the benefits she could bring him.

The answer to this question arrives in the form of Kyo’s eight vassals, a group of young men who’ve got intimate knowledge of Kyo’s past, his real feelings for Misao, and how hard he worked to become clan leader so that he could have the right to claim her as his bride. The original heir, Kyo’s older brother Sojo, also makes an appearance and nearly ravishes Misao, but not before allowing her a glimpse of her forgotten childhood memories.

The backstories of the characters are fleshed out nicely in this volume, and I’m pleased with the rate at which information is doled out to the reader. One confusing point, though, is that Kyo is shown in flashbacks and the testimony of the vassals to be a kind, nurturing guy, but his present-day treatment of Misao runs contrary to this assessment. Sure, he comes to her rescue as needed, but he also says things like, “Shall I shut your mouth for you?” and punishes her for being a flirtatious drunk. Worse is Misao’s reaction: she accepts his use of force as his way of communicating and finds that it makes his gentle moments that much more meaningful. That’s seriously disturbing!

Ultimately, I do enjoy this series but its creepy moments ensure I feel rather guilty doing so.

Review copy provided by the publisher. Review originally published at Manga Recon.

Oh! My Brother, Volume 1

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Oh! My Brother
By Ken Saito
Published by CMX

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Ordinary high school student Masago has always lived in the shadow of her charismatic older brother, Shiro. Things change suddenly, however, when Shiro dies saving Masago from being hit by an oncoming truck. Grief-stricken and unable to accept that Shiro died in her place, Masago is unable pull herself together even to attend his funeral service, but Shiro’s best friend Yasaka soon gets quite a shock when Masago turns up on his doorstep claiming to be possessed by her late brother’s spirit. Though they first speculate that Shiro’s unfinished business is the upcoming school festival he worked hard to put together, it eventually becomes clear that his true mission is to help his little sister live a full life (as long as that doesn’t include romance with Yasaka). Though Masago claims to be happy with the arrangement and in no hurry for her brother to leave, how long can she truly be content letting him live on her body?

Though Oh! My Brother‘s concept sounds like a lot of fun, its execution is uneven at best, mainly due to the lack of time taken with character development, especially of the story’s supporting characters. The relationship between Masago and Shiro is certainly intriguing enough to be a fine candidate for a body/gender-switch scenario (and I think I may be the only reviewer to date not creeped out by Shiro’s sister complex) and the artist does well giving them individual traits and mannerisms when one or the other of them is in control of the same body. What’s tragically underdeveloped at this point is other people’s relationships with Masago and Shiro and how those relationships are impacted by Shiro’s death, particularly in the case of Yasaka, who is the only person aware of Shiro’s remaining presence in his sister’s body. Everything after Shiro’s death moves so quickly, it’s difficult to believe most of it and though there are some strong moments (Shiro’s explanation of his circumstances to Yasaka, for example) they aren’t given enough weight to effectively drive the story.

With its playful concept and strong artwork, Oh! My Brother has potential, but it will have to come a long way in its second volume to see any of it through.

Rasetsu, Vol. 3

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By Chika Shiomi
Viz, 208 pp.
Rating: T+ (Older Teen)

The volume begins with a mission to the home of Rasetu’s mother who is being haunted by a malevolent spirit of which she is blissfully unaware. Fortunately, Rasetsu easily sidesteps an attempt by the spirit to intimidate her by dredging up fears from her own mind, and as a bonus, Rasetsu finally finds out the truth behind the name she’s always blamed her father for (whether she’s ready to believe it or not). The volume’s second mission involves an old acquaintance of Yako’s, Dai Tendo, who is the little brother to Yurara‘s Mei (the boyfriend of the girl whose guardian spirit was Yako’s first love). His appearance brings back a wealth of sad (and not sad) memories for Yako and awakens some real jealousy in Rasetsu. This volume’s real treat, however, is a final side-story telling the tale of Aoi’s arrival to the agency and the development of his close relationship with its owner.

Fans of Yurara may be happy to see more of Yako’s story coming to the fore here, but the way his past with Yurara’s guardian spirit is brought up so blatantly again just after the previous volume has a bit of a gimmicky feel to it, or at best resembles flogging a dead horse. If Rasetsu is going to come into its own as a spin-off series, it’s going to need to rely on the here and now to keep readers interested. Though Yako’s past is surely sad and definitely a draw for fans of the previous series, perhaps this time would be better spent developing Rasetsu‘s original characters so that they have some chance of rising to that level. There are a few compelling moments in this volume, particularly some new hints at Kuryu’s true agenda, but overall the volume is only saved by the charming side-story at its end.

Though it may provoke protests from fans of the original series, the real key to making Rasetsu work is going to be letting it evolve a life of its own. Let’s hope this happens soon.

Review copy provided by the publisher. Review originally published at PopCultureShock.

NANA, Vol. 19

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By Ai Yazawa
Viz, 194 pp.
Rating: Mature

The bit of future story at the beginning of this volume reveals a stunning amount of information about upcoming events and it’s not hard to see how things begin to derail as the volume continues. As Hachi focuses on getting Nana and Ren back together with the magic of Valentine’s Day chocolates, Reira abandons all her defenses in pursuit of her long-held love. Meanwhile, Ren is falling further into darkness all on his own. Shin is released on probation, but it’s a bittersweet moment at best as Nana lets out all her own anger and frustration out on him. Though Shin and Nana reach an inspiring agreement by the end, there’s a pervading sense that it’s all too late to change anything significant in their futures.

Fans of Hachi will have a lot of difficulty with this volume but since that is due only to Ai Yazawa’s incredibly insightful writing, it’s hard to complain even with the sensation of a rusty knife twisting in one’s gut. Also, even though it is an incredibly painful volume when viewed from Hachi’s point of view, there is also a sense of impending freedom if one can shake off the accompanying humiliation enough to get there. “No matter where Takumi went, even if he completely forgot about me when he was gone,” she says in one of the volume’s between-chapter narrations, “I thought I had to make a sanctuary for him to return to when he got tired. That’s the only way I could win.” It’s one of the saddest narrations in the series so far, and that’s saying quite a lot.

Yazawa is brilliant in this volume, capturing the feelings of each of these damaged characters as though they were all her. Even Yuri shows unexpected depths in this volume, as she’s finally face-to-face with a real break in her career which would upset the plans she’s made with Nobu. As painful a destination as everyone seems to be imminently headed for, this story remains so poignant and so real, it’s impossible to leave the road.

Review copy provided by the publisher. Review originally published at PopCultureShock.

Angel Diary, Volume 10

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Guest Review: Angel Diary, Vol 10
By Kara and Lee YunHee
Published by Yen Press

Review by Megan M.

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This volume concludes the conflict between Dong-Young, Bi-Wal, and Bi-Wal’s brother Ryung (who would be the King of Hell were it not for his white hair). I have read all the licensed series from this manhwaga team (the others being Demon Diary and Legend>) and Angel Diary is my favorite of the three, but I haven’t enjoyed the most recent volumes as much as I did the previous. I signed up for the story of the crossdressing Princess of Heaven who is hiding out on Earth to escape marriage to the King of Hell, her mysterious admirer, and all the otherworldly shenanigans that surround them. Recently, it’s been delivering less on that and more on “he’s not really an evil villain, he just does bad things due to an angsty past!” Unfortunately “he’s only bad because of his angst” characters tend to not work for me.

This volume seems to bring an end to that, however, returning the focus to the series’ more interesting characters. Namely Dong-Young, Bi-Wal, their friends, and Queen Hong. This volume has some real highlights, particularly Dong-Young’s rather ill-timed explanation of her relationship with Bi-Wal, and her rather limited idea of what a relationship between brothers should be like. I was annoyed, though, at the regular reminders that she isn’t very smart. Still, I like my love confessions in fiction to occur in the middle of battle and I’m glad that the series is letting her rescue both Bi-Wal and Doh-Hyun in battle. Bi-Wal also finally seems to be returning to his old outgoing and clever self, hopefully putting aside his more recent “silent, angsty, and inscrutable” act. Hopefully, the next volume will have more of the charm of earlier volumes, and will fully return the focus to the story’s principal characters.

Kara’s art, I suspect, leans a bit too close to the standard “cute” shoujo style, but I’ve always been fond of it, big eyes, pointy chins and all. Their (Kara is actually a team of two artists) lines tend to be clean, their character designs distinctive, and the layouts are easy to follow. It is, I think, very well suited to what is essentially a very fluffy approach to an epic, mythic romance.

Angel Diary may not be for everyone. It’s very lighthearted for a story about star-crossed love between the Princess of Heaven and the King of Hell, and rarely focuses on romance as much as one would expect for the setup. It also avoids falling into the territory of being a light comedy, and the seemingly conventional takes on genderbending mask rather unconventional roots. It’s always been right up my alley.

Review copy provided by the publisher.

Honey Hunt 3 by Miki Aihara: B+

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honeyhunt3After being deserted by her celebrity parents, Yura Onozuka decides to best her mother at her own game: acting. After bombing several auditions, she’s landed the lead role in a commercial with a TV series tie-in and, after struggling through the first table read, manages to go back in and nail it thanks to the efforts of her friends Q-ta and Haruka Minamitani, a pair of fraternal twin pop stars, who both help by either encouraging her or smoothing things over with her less-than-impressed costars.

Yura has developed a crush on Q-ta and doesn’t realize that Haruka, one of those “kind on the inside, surly on the outside” types, has feelings for her. When he gets the idea that seeing him in concert will make her fall for him, he promises to answer all her questions about Q-ta if she’ll come to his shows. She does go, and is enthralled by his performance, but her mind’s still on Q-ta, forcing Haruka to finally make his intentions clear.

Honey Hunt is briskly paced and lighthearted, with Yura attracting near-instant notice in her career and in romance alike. It’s also completely engaging—the Minamitani boys are both genuinely sweet and Yura herself, though given to bouts of insecurity, is sensible and sympathetic. One thing I particularly like is that she always thanks those who’ve done nice things for her; too many shojo heroines get all embarrassed and feisty in similar circumstances.

If you’re in the mood for frothy fun, Honey Hunt would surely fit the bill. Too bad there’s a five-month wait for volume four!

Review copy provided by the publisher. Review originally published at Manga Recon.

Honey Hunt 1-2 by Miki Aihara: B+

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honeyhunt1It’s not easy being the daughter of famous parents, as Yura Onozuka well knows. Her mother’s a sought-after actress and her father a renowned composer, and people are always expecting Yura to have that special celebrity air. She walks a tightrope at school, trying to appear neither aloof nor smug, and the only person who really sees her for herself is her childhood friend, Shin. She dreams of leaving her parents behind, but they beat her to the punch, as she learns when her mother comes home one day and spontaneously announces that she’s divorcing Yura’s father and selling the family home, and that he’s having a baby with his girlfriend. Yura thinks to turn to Shin, only to catch him in her mother’s arms. The betrayal is too much and she ends up declaring on live TV that both her parents can go to hell.

Determined to beat her mother at something, she accepts an offer from her father’s manager, Keiichi, to represent her and starts staying with him while going out on auditions and bombing terribly. Along the way, she meets a pair of twin brother pop stars, Q-ta and Haruka, and advice from Q-ta gives her the confidence she needs to intrigue the director of a commercial enough to finally get a callback. It’s not until Yura’s cast as the main character that she learns that a TV series is part of the deal and that, though he pledged to keep her parentage a secret, Keiichi broke that promise pretty much immediately, since it’s his job to make her popular. Most of the second volume involves Yura coming to terms with this reality and also trying to work out how to intentionally access the “switch” in her that flips and allows her to become a character.

honeyhunt2Superficially, Honey Hunt has some similarities to Skip Beat!. Both Yura and Kyoko have been betrayed by male childhood friends they had feelings for, both have cruel mothers, and both seek to achieve fame as a means of revenge. In execution, though, it’s really a lot different. For one thing, with two fairly sweet male rockers hanging around and offering encouragement, the potential for and emphasis on romance is much stronger. Also, Yura is much calmer than Kyoko is. In fact, one of the best things I like about her is that she’s refreshingly normal. She has bouts of insecurity, true, and sometimes her refusal to believe that people could like her for herself gets a little tiresome, but on the whole she’s smart, interesting, sympathetic, and free of over-the-top smackworthy behavior. If Yura were a real person, I’d be happy to know her.

Miki Aihara’s art is generally good. Her interior backgrounds are lovely, and she’s a master of the profile angle. Sometimes, though, the three-quarter view seems to give her a bit of trouble; either that, or the characters’ eyes are supposed to look kind of misshapen and weird at those moments. In any case, I like Yura’s character design a lot, I like how the twins will occasionally look very much alike when taken unawares, and I like how Yura’s confidence when really getting into a role is portrayed.

It’s kind of unusual for me to like a shoujo heroine this much; I’ve been feeling lately that I’ve been rather down on them, so it’s nice to be able to really like one for a change! While the story interests me, it’s really for Yura that I’ll continue reading.

Honey Hunt is published in English by VIZ and three volumes have been released so far. The series is up to five volumes in Japan and is still ongoing.

Nora: The Last Chronicle of Devildom, Vol. 8

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By Kazunari Kakei
Viz, 200 pp.
Rating: T + (Older Teens)

As the battle with Fall continues, Nora’s body has been put under the control of Fall’s ally, Deuce, whom Fall later kills without a moment’s hesitation when she is overcome by the combined efforts of Nora and Kazuma, an action which shocks Nora to his core. When Fall uses his power to transport their battle into the human world, Nora’s determination not to let any more of his friends die lends him enormous power, but in the end it is his relationship with Kazuma that gives him the power he needs to fight against Fall’s efforts to absorb his power.

After two volumes of action, revelation, and fairly significant character development, this volume, which consists mainly of action without all that much of the other two, is a bit of a letdown. Granted, there are some new developments for Fall, especially in terms of his relationship with the former Cerberus, Deigree, but Nora’s big declaration, “I’ll win ’cause I’ve got something worth fighting for!!!” seems anticlimactic now that his awareness of the importance of friends is a couple of volumes old. The relationship between Nora and Kazuma is still the most compelling thing about the series and there are definitely advancements made here, but they are a bit lost in the din of battle.

What would have been a pretty exciting volume earlier on in the series fails to quite live up to the new heights reached in the last two volumes, but the conclusion to this storyline is still quite satisfying in the end. Whether Kakai can continue to build on the series’ new strength from this point forward remains to be seen.

Review copy provided by the publisher. Review originally published at PopCultureShock.

Pandora Hearts, Volume 1

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Pandora Hearts, Volume 1
By Jun Mochizuki
Published by Yen Press

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Oz Vessalius, aged fifteen, is a carefree young aristocrat with an absent father whom he has emotionally replaced with his kind, attentive uncle. On the morning of his coming-of-age ceremony, he goofs around with his little sister, Ada, and teases his young servant, Gilbert, who is mortified to hear that Oz wishes him to be part of the ceremony, not as a servant but as a friend. The day is filled with oddities, such as the discovery of a hidden grave on the mansion property where Oz’s family ceremonies are held, accompanied by strange visions of an angry girl in a surreal, lonely place, and Oz’s sense of uneasiness begins to grow.

As his ceremony finally gets underway, Oz is shocked to find himself surrounded by cloaked figures ready to cast him into The Abyss, a place he has heard of only in stories as a terrifying prison where the world’s worst sinners are locked away forever. Though the proceedings are disrupted by the appearance of the girl in Oz’s earlier vision (whose dual appearance as an enormous black rabbit has earned her the nickname “B-Rabbit”), the cloaked crowd ultimately has its way and, branded with a sin he knows nothing about, Oz is thrown into The Abyss.

Once there, he finds himself battling “chains” (creatures of The Abyss who are anxious to eat him), though again he encounters the girl from his vision who introduces herself as Alice. Alice is also a chain, she tells him, and as Oz struggles for his life, she lures him into a contract that would allow them both to escape The Abyss. Upon their escape, they are greeted by three members of an organization called Pandora, who use Oz’s devotion to Alice (and Alice’s desire to recover her lost memories) as a tool to convince them to join in on their quest to discover the motives of the Baskervilles–the group who sent Oz to The Abyss in the first place.

That’s a lot of plot to spell out in a single review, though it really only scratches the surface of this whirlwind shonen fantasy. Impressively, though the story races along at an exceptionally fast pace, it is very easy to follow and its characters immediately take shape, evoking both sympathy and great interest from the beginning. Both Oz, whose carefree attitude hides significant intelligence and compassion, and Alice, whose aggressive, fearsome persona seems crafted to protect the psyche of a very damaged young girl, are immediately compelling. Even the three from Pandora–Sharon, whose youthful appearance seems a bit suspect, Break, whose attachment to a possibly supernatural doll-like creature (Emily) he keeps on his shoulder paints him as pretty much off his rocker, and Raven, a tall, dark, sullen man who seems unusually protective of Oz–are already distinctive and fairly enthralling, thanks to Jun Mochizuki’s clear writing and artistic skill.

Mochozuki’s art is central to the atmosphere of this manga, with its detailed character designs and settings. Much inspiration is taken from John Tennial’s vision of Lewis Carroll’s Wonderland, with the addition of Mochizuki’s own style which excels particularly in the story’s creepiest moments, such as Oz’s adventure in The Abyss. Mochizuki also has a tendency towards generously-sized coats and shirtsleeves that hang over the characters’ hands, which might suggest typical moe infantilizing if not for the fact that it is applied to male characters as often as (or more than) female characters. It is the costuming in particular that shapes Break’s character, for instance, rendering him strangely endearing instead of just terrifyingly crazy. These observations are not meant to belittle the writing at all, of course. In fact, it is the combination of both that creates these distinctive characters so quickly and with apparent effortlessness. The story’s actions sequences are unusually coherent and easy to follow, with a very dramatic use of contrast and paneling, matching its surreal setting beautifully.

As with any story as elaborately set up as this one, the real question at the end of a strong first volume is whether or not the author can effectively follow through with what’s been put into play. The series has offered more questions than answers at this point, relying mainly on the strength of its characters to hold the reader’s attention through the din. That said, there is enough promise in this fun, mysterious fantasy to ease all doubts for the moment and simply anticipate. Fast-paced, enigmatic, and attractive to the eye, Pandora Hearts is easy to recommend.

Review copy provided by the publisher.

Time and Again, Volume 1

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Time and Again, Volume 1
By JiUn Yun
Published by Yen Press

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Baek-On Ju is lazy, selfish, frequently drunk, and generally rude. He’s also a gifted exorcist, who makes a living hiring out both his talents and those of his companion, Ho-Yeon, a martial artist who acts as his bodyguard. Though this episodic volume hints at tragic histories for both characters, it is mainly concerned with their involvement in the tragedies of others. Some of their clients (such as a mother and son plagued by by the ghost of the son’s wronged wife) are suffering tragedy caused by themselves, while others (such as a couple horrified to hear that their newborn son is destined to die in his teens) face tragedy that has been dealt to them by fate. Included, too, are a couple of seemingly unrelated stories (one gruesome, one sad) which match the others in tone, if not in particulars.

Though this volume’s storytelling is somewhat uneven, especially in terms of character development, there is more than enough to chew on for readers interested in ghost stories, or even eighth-century Chinese culture. The author includes a little bit of Tang Dynasty history in the volume’s end notes, and though she deliberately states that this comic is a fantasy and not meant to be faithful to history, her interest in the period is evident throughout. The stories are steeped in a solemn stew of religion and folklore, finding their inspiration in Chinese poems (like Li Bai’s “Writing in a Strange Place”), Japanese fables (“The Tongue-Cut Sparrow”), and other sources of varying East Asian origin. Even its original title is borrowed from a Goryeo Dynasty-era Korean poet. Though the result of all this inspiration is not nearly as profound or thoughtful as one might expect, the book is intriguing and emotionally affecting all the same.

Though Baek-On is sought out mainly to rid people of their woes, quite frequently there is actually very little he can do for them, as most have created (or had created for them) circumstances from which there is no easy escape, a truth that few of them are able to receive gracefully. The parents of the infant fated to die young, for instance, are unable to accept the fact that there is nothing that can be done to change their child’s future, and even go so far as to camp outside Baek-On’s home until he will give them some kind of hope. That the “hope” he is able to offer them will cause future misery for their son is obvious, though the parents’ insistence on pursuing it anyway is both painfully understandable and inexpressibly sad. The laws of fate and karma held as truth in the story’s universe are unyielding and indifferent to pain or compassion, just its people are stubborn and undeniably human, unable to compromise present happiness to avoid long-term tragedy. What makes this manhwa work best, however, is Baek-On’s bad humor and irreverence juxtaposed over so much grave suffering, providing a wry perspective on the failures of humanity (including his own).

The characters of Baek-On and Ho-Yeon are yet undeveloped, though there is a lot of potential in these early stories. The characterization is very much like the story’s art at this point–surprisingly sparse in places and occasionally difficult to follow–like a work not quite finished, yet still well-formed enough to have a recognizable shape. The story’s paneling in particular is confusing at times, without a clear path for the eye to follow, yet just as with its characters, the story is intriguing enough to inspire some extra effort.

Though Time and Again gets off to a somewhat rocky start, its ominous tone, historical setting, and idiosyncratic characters are certainly encouraging, and suggest strong potential for its future as a supernatural series–a refreshing addition to Yen Press’ manhwa catalogue. I definitely look forward to future volumes.

Review copy provided by the publisher.

Beast Master, Volume 1

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Beast Master, Vol. 1
By Kyousuke Motomi
Published by Viz Media

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Yuiko Kubozuka is a seventeen-year-old animal lover whose over-exuberance unfortunately sends the animals she so loves running away from her in fear. When Yuiko’s intrusive attention finally drives her own cat up into a tree, a mysterious young man emerges from the tree’s branches, rescuing the cat and running off into the night. The young man is Leo Aoi, who is soon officially introduced as a new student transferring into Yuiko’s high school class. Leo, who was raised on a remote island and later lived in other areas sparsely populated by humans, is more comfortable with animals than people, a trait that makes him appear frightening to the other students in his class. Eager to thank him for rescuing her cat, Yuiko follows him up to the roof of the school, where she easily befriends Leo, who is grateful to meet someone who isn’t scared of him.

As she gets to know him, Yuiko discovers that Leo actually has a warm, almost childlike personality (as well as a close connection with animals that Yuiko truly envies). Unfortunately, he also has a rather terrifying mental condition that sends him into a violent frenzy whenever he experiences intense fear coupled with the sight of blood. Though this reaction served him well in the wilderness (where he was frequently under attack by wild animals) it makes him a real danger to other humans, and even his legal guardian, Toki, is unable to control him by any means other than shooting him with a strong tranquilizer. It is Yuiko, then, who discovers that she alone has the power to soothe the beast in Leo and bring him out of his frenzy.

Despite its horror-movie title and fairly implausible premise, Beast Master‘s opening volume can best be described as sweet. Both Yuiko and Leo share a kind of open innocence that is undeniably adorable, even when it is responsible for some of their greatest areas of ignorance (such as Yuiko’s consistent failure to understand animals and Leo’s difficulties with humans), and watching the two of them together is pretty charming. This volume includes standard shojo-friendly elements like cute animals, gang leaders with a heart of gold, innocent cuddling, and people doing their best, but regardless of the levels of believability and cliché associated with any of these items (and more) there is an unforced warmth running throughout the story that is pretty difficult to dismiss.

Also, though the premise is pretty simplistic, there is some real depth to be found in the execution for anyone who’s looking. Yuiko’s inability to connect with animals is incredibly painful for her, blinding her to her own strengths. Despite her focus on animals, she possesses an understanding of people that is unusually well-developed, a fact finally pointed out to her by a friend late in the volume, which is undoubtedly responsible for her ability to recognize Leo’s true self while everyone else views him with fear and suspicion. Because of this, she’s able to offer Leo the opportunity to actually live with other humans instead of being caged by them, something she clearly does not recognize the significance of at this point. With Yuiko at his side, Leo is able to safely make a place for himself in the human world, while Leo offers Yuiko the opportunity to learn how to truly love animals rather than simply forcing her will on them, something of which perhaps he truly does not recognize the significance.

With both characters maintaining a level of innocence unusual for their age, the thing that seems most difficult to imagine is romance, though the artwork gracing the volume’s cover (as well as its individual chapters) would indicate that this is where things are headed. This incongruous tone is a bit jarring at this point, and it will be interesting to see how smoothly the author manages to pull that off as the series continues. That said, the fact that the two leads are currently unconcerned with romance is one of the story’s nicest characteristics. Both characters are strong and nicely layered, even early on, and it’s nice to read a school-based shojo manga in which the heroine’s focus is on something other than getting a boyfriend. This is quite nicely reflected in the internal artwork, which is effective (if unremarkable) and nicely restrained, especially in terms of toning.

Though Beast Master is not as immediately addictive as some of its soapier shojo neighbors or as emotionally complex as others, it is both warmer and more thoughtful than its premise would suggest, making it a promising new addition to Viz’s Shojo Beat lineup.

Review copy provided by the publisher.

Claymore, Vol. 15

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By Norihiro Yago
Viz, 200 pp.
Rating: T+ (Older Teen)

Volume fifteen opens with the conclusion to the battle with awakened warrior “Bloody Agetha”—a battle that will soon seem utterly insignificant in comparison to what comes afterward. As the fight ends, the rebel warriors finally reveal their true intentions to Galatea, Clarice, and Miata, after which Miria goes on to divulge what she’s discovered over her many years investigating the Organization, including its origins and true purpose. The truth she’s uncovered is genuinely shocking and as the rebels (along with their new allies) prepare for what may be their final battle, Clare embarks on a side mission of her own to reunite with Raki, the boy she left behind so many years before.

This volume’s new revelations are really quite stunning, pulling the story further into darkness and creating a deeper atmosphere of pathos around both the young women whose futures were sacrificed to make warriors and all the the citizens whose villages have long been plagued by Yoma. It’s difficult to discuss any of it without ruining one of the story’s best plot twists so far, but suffice it to say that the new information is a game-changer all around, giving the series a significant boost of momentum. Adding to this fresh strength is the reemergence of Raki, now a powerful young man, still traveling with Awakened One Priscilla who has become smaller (if not weaker) thanks to several years’ abstinence from eating human flesh.

Those who have followed Claymore to this point have already reaped many of the rewards of Norihiro Yago’s slow and steady approach. Both its plot and characterization have become significantly more complex over the course of the series. Volume fifteen moves all of this yet another great step forward, transforming this series into a real must-read for fans of dark fantasy.

Review copy provided by the publisher. Review originally published at PopCultureShock.

Goong, Volume 7

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Goong, Volume 7
By Park SoHee
Published by Yen Press

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A fire in Daebi-Mama’s quarters sends the palace into an uproar, particularly the Queen who finds Daebi-Mama being relocated to her quarters by order of her husband. Meanwhile, Chae-Kyung overhears something that leads her to believe that Shin may have been responsible for the fire and is surprised by her impulse to protect him regardless of his actions. Still reeling from Shin’s public kiss during a recent press conference, things are made more uncomfortable for Chae-Kyung when the Queen Mother arranges for them to share a room on their class trip. Shin, finding himself intensely attracted to Chae-Kyung since their forced night together in the palace, is no more comfortable than she is, and though a string of misunderstandings and their usual stubborn pride keeps either of them from being completely honest about their growing feelings for each other, they come closer to in in this volume than they ever have before. Most surprisingly, as Shin becomes increasingly aware of both Yul’s ambitions and his own father’s stealthy maneuvering against him, he actually begins to push back, suggesting that he may wish to remain Crown Prince after all.

It’s quite a relief to finally see Shin taking some steps to open up to Chae-Kyung, even bringing himself to thank her when she rescues him from an embarrassing situation on stage in a student play. Whether this is due to a real desire to break down walls between them or just stark fear of losing her to Yul remains to be seen, but either way it’s a pleasure to see. Similarly, his speech to his father in the final chapter of the volume gains him new respect when it’s most needed.

Though it was easier to sympathize with Yul earlier in the series, it is now Shin who seems like the good guy (despite his dismal communication skills) and it will be exciting to see where things go from here, now that he’s really standing up for himself and those he most cares about. Most importantly, he finally reveals to Chae-Kyung the reason behind his early dislike of her and why his feelings have changed. “You looked right into my eyes and asked me so many things,” he says to her, in a flash of rare vulnerability. “You asked me if I ever went to Myungdong or to Dongdaemoon Market or if I’d ever watched a movie in a movie theater. When you talked about your life, I felt like my life was fake.” It is an extremely revealing moment we (and Chae-Kyung) have waited seven volumes to see, and the payoff is definitely worth it.

If last volume’s strife could be mainly chalked up to Shin’s inability to explain his feelings, in this volume the credit goes to Chae-Kyung’s inability to let him. Conditioned now to protect herself against Shin’s coldness as a preemptive measure, she’s having difficulty recognizing what’s changing in him enough to actually let it happen. Fortunately (or unfortunately) it looks like the two of them may soon be in a position where they must stick together just to survive, which will certainly be a trial for each of them as well as for their relationship. Watching the two of them slowly learn to truly care for and depend on each other is one of the best things about this series and though the pace may seem excruciating at times, it’s hard to imagine it playing out any other way.

Though this volume is less emotionally volatile than the last (despite the obvious drama of things such as Shin’s potential as an arsonist) the fact that it actually begins to veer towards romance at long last makes it a real page-turner of the very best kind. Goong continues to be one of the most compelling girls’ comics (Korean or otherwise) I’m currently reading, and definitely a personal favorite.

Review copy provided by the publisher.

Shoujo Art Studio

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By Yishan Li
Watson-Guptill, 128 pp.

The subtitle of Shoujo Art Studio is “Everything You Need To Create Your Own Shoujo Manga Comics,” an interesting choice considering what is (and isn’t) inside. The fine print on the attached CD points out that users are required to own Adobe’s Photoshop Elements (at the very least) in order to use the files provided—an additional $50 investment casual buyers may not be expecting. On the other hand, one could argue that the CD actually includes so much of “everything,” there isn’t all that much left for the user to create.

What Shoujo Art Studio provides is 67 pages of basic instructions for manipulating the provided images (using Photoshop) in order to create a shojo-style comic, followed by a visual catalogue of the contents of its accompanying CD. The collection of images includes line art for several characters, backgrounds, basic effects, page layouts, word balloons, and accessories (like a bicycle and a cell phone), along with a variety of tones. Characters come complete with an array of possible outfits, hairstyles, poses, and facial features, each in its own layer to be added and removed at will, creating the equivalent of a digital paper doll. Two pages on the topic “Pacing Your Storytelling” are the deepest it goes into anything beyond the most surface elements of manga. The instructions are brief and fairly easy to follow, though Photoshop novices may find that things are not quite as simple as Shoujo Art Studio would have them believe. Though the book is far too basic for even intermediate users, it may move too quickly for some beginners.

<i>Say it isn't so, Kyo-kun! (Click to enlarge.)</i>

Say it isn't so, Kyo-kun! (Click to enlarge MJ's creation.)

Just as experienced digital artists will find this book of little use, dedicated readers of shojo manga may react negatively as well, particularly to the author’s statements about the nature of the genre which emphasize tired shojo clichés—an attitude that is further reinforced by the choice of artwork included. That said, non-artists will find some enjoyment in being able to “create” something that somewhat resembles a page of manga without having to acquire much in the way of skill. Some elements are more difficult to use than others (this reviewer gave up on toning after one disastrous panel) but the process is surprisingly fun, if undeniably superficial.

Little Fluffy Gigolo Pelu, Vol. 1

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Poignant — now there’s a word I never imagined I’d be using to describe one of Junko Mizuno’s works, given her fondness for disturbing images and acid-trip plotlines. But Little Fluffy Gigolo Pelu is poignant, a perversely sweet and sad meditation on one small, sheep-like alien’s efforts to find his place in the universe.

The story is simple: on the “cute and pink” planet of Princess Kotobuki, Pelu lives with a beautiful race of women and a “calm but carnivorous giant space hippo.” Pelu has always been aware of how different he is from his fellow Kotobukians, but when he learns that he will never be able to have a family of his own, he falls into a terrible funk, begging the hippo to eat him. When the hippo demurs — Pelu is just too woolly to be appetizing — Pelu borrows the hippo’s magic mirror and teleports to Earth in search of others like him. What Pelu discovers, however, is that Earth women view him as an  exotic pet, a companion who’s entertaining but disposable. He careens from one unhappy situation to another, meeting young women who are down on their luck: an aspiring singer with a lousy voice, a homely orphan who’s raising an ungrateful brother, a pearl diver plying her trade in the sewer.

Like Mizuno’s other works, Little Fluffy Gigolo Pelu aims for maximum shock value by depicting cute characters engaged in degenerate behavior: popping pills, doing the nasty in nasty places. Yet Fluffy Gigolo leaves a very different aftertaste than Mizuno’s other manga. Pure Trance, for example, is far less coherent, a set of vivid, Hieronymus Bosch-meets-Hello Kitty set pieces, with doll-like girls binging and purging, brandishing chainsaws, and enduring medical procedures that might give Dr. No pause. One could argue that Pure Trance was intended to point out the absurd lengths to which women go to achieve physical perfection, though one could also argue, as Shaenon Garrity does, that Pure Trance is really a vehicle for Mizuno to draw whatever crazy-ass things popped into her head (i.e. naked, chainsaw-wielding Bratz dolls). Either way, Pure Trance feels like a stunt, its Grand Guignol excesses trumping whatever social commentary might inform the story.

By contrast, Fluffy Gigolo‘s shock tactics serve dramatic and thematic functions, inviting the reader to feel sympathy for Pelu while prompting reflection on pregnancy and motherhood — or perhaps more accurately, the way in which childlessness is dramatized in manga, movies, and soap operas, as if being childless were worse than being afflicted with a terminal disease. “I’m better off dead!” Pelu declares. “I can’t have a baby, and I’ll always be alone for life.” Whether or not Mizuno is striving for deeper social commentary is hard to gauge — after all, her story features copious nudity, drug use, and a teleporting, man-eating space hippo from the Planet of the Dolls — but in Pelu’s odyssey, many readers will recognize the way in which biology, social conditioning, and hormones can prompt us to make compromises in pursuit of motherhood.

LITTLE FLUFFY GIGOLO PELU, VOL. 1 • BY JUNKO MIZUNO • LAST GASP • 168 pp. • RATING: MATURE (NUDITY, SEXUALITY, STRONG LANGUAGE, VIOLENCE, DRUG USE — IN SHORT, THE WORKS)