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pandora hearts

My Week in Manga: September 14-September 20, 2015

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My News and Reviews

Two in-depth manga reviews were posted last week! As part of my monthly horror manga review project, I took a look at Yuki Urushibara’s Mushishi, Volume 5. I still love this series tremendously and wish it wasn’t out-of-print, but at least it’s available digitally from Kodansha Comics now. The second review last week was of Masayuki Ishikawa’s Maria the Virgin Witch: Exhibition, which is a collection of side stories, both prequels and sequels, focusing on the characters of Maria the Virgin Witch. For fans of the original series, it’s a very nice addition. The volume probably won’t appeal to or make much sense to anyone who hasn’t read the main manga, though.

There were a ton of interesting articles, reviews, and news announcements that I saw last week. Deb Aoki has been busy at Anime News Network with a two part interview with various Kodansha folk, mostly focusing on the Kodansha Advanced Media digital manga efforts, as well as an interview with those involved with the new Ultraman manga series, including the creators Eiichi Shimizu and Tomohiro Shimoguchi and Mike Montesa from Viz Media and Ai Shimizu from Hero’s Magazine. Over at Publishers Weekly, she takes a closer look at Tokyopop’s most recent efforts. Elsewhere, Kristin of Comic Attack interviewed Arina Tanemura at Anime Fest; AM Cosmos writes about the different perspectives of bullying found in A Silent Voice and Haven’t You Heard? I’m Sakamoto; and Organization Anti-Social Geniuses concludes its Advice on Manga series with advice on manga editing from manga editors.

In licensing news, the fine folk of MASSIVE will be working with Koyama Press to translate What Is Obscenity?, the comic memoir of sculptor and mangaka Megumi Igarashi (aka Rokudenashiko). In addition to the three original short manga, the English-language edition will have additional content, such as a new introduction by the artist and an interview between Rokudenashiko and Sion Sono. Yaoi Con was held over the weekend and there were some other licensing announcements made. SuBLime Manga picked up Rihito Takarai’s Ten Count, Bohra Naono’s Midnight Stranger, and Yonezou Nekota’s Don’t Be Cruel. (I’m especially looking forward to Ten Count, but am always happy to see more of Naono’s work translated.) As for Digital Manga, the Juné imprint is adding twenty-four new titles… except that they’re all digital, no print. (Interestingly, Project H’s recent license announcements were all digital-only as well, which really makes me wonder about DMP, especially as it’s starting to gear up for its next Tezuka Kickstarter.) And speaking of yaoi and BL, Kathryn Hemmann’s academic article “Queering the Media Mix: The Female Gaze in Japanese Fan Comics” takes a look at BL doujinshi based on CLAMP’s works.

Quick Takes

Devils and Realist, Volume 3Devils and Realist, Volumes 3-4 written by Madoka Takadono and illustrated by Utako Yukihiro. Sometimes the two major aspects of Devils and Realist (it’s humor and it’s drama) mesh well and sometimes they make the manga seem like it’s trying to be two entirely different series. Despite the demons that have become students in order to be closer to him, William’s school life remains fairly mundane, though humorous. That part of the story isn’t so different from any other school-based manga. What makes the series more interesting is the drama, politics, and intrigue surrounding the selection of the next ruler of hell. Heaven is getting involved now, too. Not only does William have to deal with demons vying for his attention, and in some cases his life, angels are beginning to make their presence known, causing even more problems for him. Also, angels can be just as big of jerks as their fallen brethren. Although I’m not in a rush to find out what happens next, I am still enjoying Devils and Realist; the art and character designs are pretty and I generally find the series to be entertaining.

King CityKing City by Brandon Graham. The first half of King City was initially published by Tokyopop but the series, like so many of the publisher’s other original English comics, was left unfinished. However, unlike all but a very select few of the series that met that particular fate, King City found a new home and was able to be completed, in this case thanks to Image Comics. Although there are some dramatic battles and rescues in King City, there really isn’t much in the way of a plot. What there is a bizarre futuristic city filled with some very strange residents. The comic focuses on Joe, his friends and acquaintances, and Earthling, his extremely intelligent and multi-talented cat. Joe is a Catmaster—with a little help from an injection, Earthling can turn into or do anything. What I love most about King City, besides Earthling and the rest of the cats, is that it is absolutely crammed with wordplay and visual puns. It’s worth taking time to thoroughly examine every page because Graham has incorporated so much humor in the small, seemingly inconsequential details. King City is very strange, but it’s the kind of strange that I tend to enjoy.

Pandora Hearts, Volume 1Pandora Hearts, Volumes 1-3 by Jun Mochizuki. I know so many people who absolutely adore Pandora Hearts that I’ve been meaning to try the series for a while now. To be honest, After reading the first volume, I wasn’t so sure about the manga—I found it to be extremely chaotic and confusing, and almost nonsensical (maybe I just wasn’t reading closely enough)—but after the second volume it started to click for me and by the third I was completely hooked on the series. Mochizuki’s artwork is pretty great, too. I definitely plan on reading more of Pandora Hearts. I’ll admit, I’m still not entirely sure what’s going on yet, but that mystery is part of the point. Most of the characters don’t understand everything, either, and those who do know at least part of the truth aren’t necessarily sharing that information anyone else unless it serves their own purpose. Tragedy and psychological trauma are major components of Pandora Hearts. There is violence and horror, betrayals and lies, but also obsessive loyalty and kindness. The characters are struggling with loneliness and the intense desire and need to belong and feel wanted.

Fanservice Friday: Pandora Hearts Art Preview

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This year at New York Comic Con, publisher Yen Press gave out copies of their upcoming Pandora Hearts art book, Pandora Hearts ~Odds and Ends~, as prizes during their panel presentation. I was unable to attend this year, but fortunately for me, Sean is not a fan of the series, so he generously offered me his prize!

As you probably know, I am a big fan of Pandora Hearts, and the series has been featured in this column pretty heavily in the past, most notably in discussion of female-aimed fanservice in shounen manga and delectable manga costuming. So for a treat this week, I thought I’d share a few snapshots as a taste of what’s inside. If you were worried about a potential lack of fanservice, the very first image should quell your concerns immediately. Enjoy!

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Look for Pandora Hearts ~Odds and Ends~ in bookstores later this month!

Pick of the Week: Pandora Hearts, Doubt, Negima!

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potw-4-21MJ: The shipping list this week is formidable, and while I expect Tezuka’s Unico will get a lot of the manga blogosphere’s attention, there are also new volumes forthcoming of favorites like Bunny Drop and even an intriguing debut series, Doubt. But given my personal excitement over the latest volume of Jun Mochizuki’s epic fantasy series, Pandora Hearts, I’ve got to do the predictable thing and give that series another boost. I got a chance to read volume fifteen this weekend, and I have to say that it’s even more dramatic than I expected; Even as a consistent fan of the series, I’ll admit I’m blown away but several of the volume’s major revelations, and… yeah, wow. That’s all I can really say. Despite the fact that most of my favorite characters barely register in this volume, it’s got me firmly in its thrall. And I may have new favorite characters. This remains to be seen. Oh, Pandora Hearts, you intrigue me so!

MICHELLE: Gah, I don’t even know what my pick is this week. I’m a few volumes behind on Pandora Hearts and I’m feeling a little trepidatious about Bunny Drop these days. So I guess I’m going with Doubt, a series that I know virtually nothing about except that it involves a deadly survival game of some sort.

SEAN: Despite my many issues with its abrupt, inconclusive ending, my pick of the week is going to be the 38th and final volume of Negima!, mostly as I enjoyed the series for so long and it produced so many awesome characters to root for. A series that started as merely “Harem Potter” turned into a very emotional, action-oriented battle manga, even if it never quite abandoned what Kodansha wanted Akamatsu to write: more nude girls. I hope that someday he revisits it to answer a few of the questions the audience still has after this volume.

Readers, what looks good to you this week?

Bookshelf Briefs 12/17/12

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This week, Sean, MJ, Anna, & Michelle look at recent releases from VIZ Media, Yen Press, Kodansha Comics, and Vertical, Inc.

crossgame8Cross Game, Vol. 8 | By Mitsuru Adachi | VIZ Media – And so Cross Game comes to an end (for the record, I started sniffling at page 305). While it’s an extremely satisfying ending, Adachi stops short of adding scenes that fans might like to see, but which are ultimately superfluous to the story. Wakaba’s dream was always of Ko pitching at Koshien, not necessarily winning Koshien, so most of this omnibus is devoted to the riveting final came of the North Tokyo tournament. We never see the Seishu team at Koshien itself, nor do we see Ko and Aoba openly profess their love for one another. But the thing is… they don’t need to. They’ve always been so much alike, after all. It’s a lovely, understated, uplifting ending, and possibly my favorite thing about it involves Akaishi. (Dang it, I’m about to start sniffling again.) There’s something profoundly comforting about sports manga that Cross Game encapsulates perfectly. I couldn’t recommend it more highly. – Michelle Smith

kamisamakiss11Kamisama Kiss, Vol. 11 | By Julietta Suzuki | VIZ Media – I’m always struck by how well done Kamisama Kiss is. The story that started off this volume provided a glimpse into human kamisama Nanami’s past as she slips through a mystical gate and becomes a child again. Her shinshi Tomoe sticks around to observe Nanami as a young girl back when her parents were still alive. He begins to have a newfound appreciation for Nanami’s strong personality when he observers her flighty father and her strong mother. Nanami clearly gets much of her personality from her mother, even if she doesn’t remember her clearly. While some of the adventures in Kamisama Kiss might seem a bit repetitive as Nanami always seems to encounter new otherworldly spirits due to her habit of rushing into action without thinking clearly, Nanami’s adventures are always filled with such interesting and well-executed illustrations that this manga continually seems fresh. I particularly enjoyed a story where Nanami and Tomoe venture to a New Year’s market to buy essential shrine supplies, only to find themselves shopping for shoes, dodging the stompy feet of giants, and talking to a rabbit fortuneteller who has a fondness for leaf umbrellas. – Anna N.

fairytail22Fairy Tail, Vol. 22 | By Hiro Mashima | Kodansha Comics – This is one of those ‘fight’ volumes we see so often in shonen manga, but Mashima does a very good job of balancing the fights with plot, humor, and heartwarming. We’re starting to see the different sides of the villains, and that not all of them are simply evil for the hell of it. Erza and Gray are able to return, which allows us to get what we knew was coming – Erza fighting her evil doppelganger. We get to see more about what’s actually happening here, and the huge gulf between the cat race and the humans. And, of course, this being a Magazine title, we get tons of fanservice, mostly from Lucy, as it is her duty (she does get to be awesome as well, which is a relief). Essentially, this is a very solid Fairy Tail volume, and will not disappoint readers of the series. -Sean Gaffney

limit2Limit, Vol. 2 | By Keiko Suenobu | Vertical, Inc. – The second volume of Limit sees us expanding a bit beyond our main cast, showing us the school starting to figure out what’s going on and the bus company panicking (I sense a cover-up coming soon). What this translates to is not a lot of help coming anytime soon for our heroines. Meanwhile, while Mizuki does manage to bond with some of her fellow survivors in basic things like catching fish and making fires, the class strata are still at work. Everyone is coping in their own different way, especially Chieko, whose way of thinking the sentimental Mizuki just doesn’t get. And then there’s Chikage, who’s not really coping at all, and decides to remove herself from the entire picture. Gripping and compelling, the soap-opera style confrontations don’t feel all that forced, and you still really want to find out what’s next – and if there can even be a happy ending. -Sean Gaffney

pandorhearts13Pandora Hearts, Vol. 13 | By Jun Mochizuki | Yen Press – Well, wow. This volume is full of revelations, particularly regarding the Baskerville family, but also concerning Elliot Nightray and his valet, Leo, who are not only caught up in something that seems inevitably horrifying and tragic (by no fault of their own), but also suddenly stand as the series’ most slashable couple—and in this series, that says a lot. That’s not to say that there’s anything remotely romantic about this volume—in fact, it’s filled with truly horrible events, some of which are quite painful—but it’s exactly this kind of thing that reveals people’s deepest bonds, isn’t it? Jun Mochizuki certainly understands this to be true, and she uses it to her best advantage here, marrying love and pain in an irresistible display of emotional theatrics. As a bonus, this volume makes more sense than Mochizuki’s displays sometimes do—not that lack of such has ever deterred me from reading. Pandora Hearts, never change. Love, MJ. – MJ

madokamagica3Puella Magi Madoka Magica, Vol. 3 | Story by Magica Quartet, Art by Hanokage | Yen Press – The only real downside of having watched the anime series Puella Magi Madoka Magica, is that having done so, it’s impossible to know for sure what it would be like to experience the story by way of its manga adaptation for the very first time. That said, my best guess would be “utter confusion,” especially as it reaches its third and final volume. Two of the series’ biggest revelations occur in this volume—the history of magical girl Homura Akemi and the truth of Kyubey’s mission—yet the former is rushed through at such breakneck speed, it lacks any real impact or even basic coherency. Though Kyubey’s revelation (and existence) still manages to be massively creepy, without a real understanding of Homura’s devotion to balance things out, the series has essentially been robbed of its heart. For completist fans of the anime series, this adaptation may be a necessary part of their Madoka collections, but it’s hard to recommend on its own. Sadly disappointing. – MJ

rin-ne10Rin-Ne, Vol. 10 | By Rumiko Takahashi | VIZ Media – As I’ve noted before, this series has very little regard for its ghosts that drive much of the plot. If there’s a message in Rin-Ne’s comedy one-shots, it may simply be “don’t hold on to attachments after you die, as it will never be worth it.” The ghosts we see here are whiny, despondent, and histrionic. The ones that they leave behind, however, tend to be more like the series’ heroine, Sakura – practical, pragmatic, and moving on with their lives. Now, that said, this makes Rin-Ne sound a lot deeper than it really is. This particular volume doesn’t even have any advances in the love quadrangle, which is par for the course with Takahashi, but usually she at least mentions it once or twice. Still having the same pluses and minuses as the previous nine volumes, this is for the reader who misses Ranma 1/2 and wish it had more ghostbusting.-Sean Gaffney

souleater11Soul Eater, Vol. 11 | By Atsushi Ohkubo | Yen Press – A danger of releasing a series as popular as Soul Eater is that you want to put out the spinoffs as well – even if the spinoffs are far newer. As a result, Soul Eater Not! 2, which came out in 2012, spoils a major plot point for Soul Eater 11, which was released in Japan in 2008. That said, it’s not like Kim was a major character in Soul Eater to begin with. Unfortunately, the Witch Hunt surrounding her goes about as well as real-life witch hunts did, and I have a feeling that we may be seeing some brainwashing coming really soon. Other than that, Maka and Soul get to be extra awesome here, mostly as Black * Star has run off and Death The Kid is getting even more OCD with every chapter. And that’s not even mentioning Crona. There’s a whole lot of plot going on here – don’t miss it. -Sean Gaffney

wallflower29The Wallflower, Vol. 29 | By Tomoko Hayakawa | Kodansha Comics – It says something about what this series has become when the author praises herself for writing a chapter that’s meant to be heartwarming rather than ridiculous. And to be fair, she does deserve some of that, as it’s the best chapter in the book, and uses a peculiar time skip that gives it a fairy-tale quality (and makes the backstory more depressing). That said, it’s not like this series wasn’t ridiculous to begin with as well. And the ridiculous is in top form here as well, particularly in the fanservice-laden chapter where, to combat a heat wave and a stubborn Sunako revoking AC privileges, the boys decide to walk around naked. It’s every bit as funny as it sounds. (Kyohei as a nerdish rule-driven class president comes close, though.) No romance whatsoever, but lots of laughs, and a bit of sweetness at the end.-Sean Gaffney

Bookshelf Briefs 10/22/12

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This week, Sean, Kate, MJ, and Michelle look at recent releases from Kodansha Comics, VIZ Media, Yen Press, and Vertical, Inc.

Cage of Eden, Vol. 7 | By Yoshinobu Yamada | Kodansha Comics – Yes, the fanservice is still as gratuitous as ever. That said, there’s a lot to like here. For one, we get more casualties, reminding us that the longer everyone stays on the island, the more the cast is going to be culled. The fact that the group is taken out by what turns out to be ticks is quite chilling. Akira’s open show of determination and leadership, meanwhile, gives everyone inspiration and makes them want to keep up with him. This then takes a much darker turn, as we see the consequences of everyone not wanting to be dragging the group down – the cast getting altitude sickness that nearly kills them because no one will rest. And finally the cast start to hallucinate (a genuine symptom of altitude sickness) – which allows for a cliffhanger involving more horrific extinct animals. Shonen madness! – Sean Gaffney

A Devil And Her Love Song, Vol. 5 | By Miyoshi Tomori | VIZ Media – Maria’s first instinct when confronted with conflict is still brutal honesty, and I admire the fact that the manga shows this remains ultimately a good thing. Indeed, it’s not just Maria in this volume, as Shin shows off his own tendency to say exactly what he thinks. He thus ends up meeting Maria’s friend from her old school, Anna. I knew from the moment we started Volume 1 that Anna would be appearing at some point, and would be an antagonist. Thus I am once again pleased at how believable Tomori-san makes her. Maria, meanwhile, is still having trouble dealing with her feelings for Shin. This fails to surprise anyone, given how she has trouble with friendships, much less love. But I can’t wait to see what happens next. – Sean Gaffney

Fairy Tail, Vol. 21 | By Hiro Mashima | Kodansha Comics – There is a WHOLE lot going on in this volume. We meet most of the Fairy Tail cast doppelgangers – including Lisanna, who’s dead in Natsu’s universe – and find Erza’s working for the bad guys. Speaking of the bad guys, they’re the usual eccentric lot, ranging from obviously sympathetic to completely insane. There’s a healthy dollop of humor here, as we see Lucy’s double showing off how alike the two are and Loki ignoring Lucy’s call to battle as he’s on a date (presumably with Aries). And there are sad and heartwarming moments, such as Carla’s realization of what she’s been involved in, as well as the identity of the cats who briefly harbor them. Most of all, I’ve finally stopped thinking about how much Fairy Tail rips off One Piece when I read it. Which is quite the accomplishment. – Sean Gaffney

The Flowers of Evil, Vol. 3 | By Shuzo Oshimi | Vertical, Inc. – Though I had high praise for the first two volumes of The Flowers of Evil, volume three is a weaker and less psychologically plausible installment than what preceded it. Saeki’s increasingly desperate attachment to Takao seems more like a plot contrivance than a natural progression for her character, while Nakamura’s bullying sails over the line from nasty manipulation to outright sadism. The two girls’ tug-of-war isn’t beyond the realm of possibility; nor is Saeki’s unfounded belief that Takao represents something more interesting or profound than what other boys her ages could offer. What feels wrong is the way in which that conflict manifests itself, culminating in a scene that only a teenage boy would feel was an accurate representation of how girls think and behave. I’m not ready to throw in the towel just yet, but I’m no longer convinced that Oshimi has as a firm a grasp of his characters as he did in the first chapters of the series. – Katherine Dacey

The Flowers of Evil, Vol. 3 | By Shuzo Oshimi | Vertical, Inc. – I wrote in my brief review of volume two that I “pretty much hated” The Flowers of Evil and couldn’t see myself continuing with it, and yet here I am. I suppose curiosity got the best of me. Volume three deals with the aftermath of Kasuga and Nakamura’s classroom vandalism, during which it becomes clear to Saeki and Kasuga’s mother that he is the one responsible. I actually did like certain things about what follows—especially Kasuga’s admittance that he was only reading Baudelaire in an effort to convince himself he’s special and that he’s scared of facing the real Saeki as opposed to his idealized vision of her—but spent a lot of time baffled by the characters’ actions and reactions. What is clear is that nobody is the person that others thought they were, which seems like a decent note upon which to end the series, but it actually continues from this point. I’m still not sure if I’ll be reading it. – Michelle Smith

Jiu Jiu, Vol. 2 | By Touya Tobina | VIZ Media – First of all, that cover is far saucier than a typical Hakusensha shojo title – something the author lampshades in one of her notes! Despite that, this title is becoming for females what Cage of Eden is for males. There’s lots of rampant fanservice of Snow and Night looking half-naked and sweaty. The plot is still a bit ‘make it up as you go along’, but I’m used to that with Hakusensha. The author hasn’t made it clear whether we – and Takamichi – are supposed to think of the two male leads as pets, or as children/family, or as love interests. It’s somewhat uncomfortable, and I think that’s at least partly deliberate. The addition of a few new cast members is nice to see, but for the most part this is still a three-hander about young people who are very bad at social interaction and the laughs and awkwardness that comes with that. Hope it continues to improve. -Sean Gaffney

Library Wars: Love & War, Vol. 8 | By Hiro Arikawa and Kiiro Yumi | VIZ Media- Okay, seriously, how did Library Wars end up being so shoujoliciously good? I mean, the premise is rather silly and the characters are far from convincing as soldiers, but the past couple of volumes have been genuinely enjoyable. In volume eight, the truth of why Iku’s being interrogated regarding a book-burning incident comes to light, which ultimately leads to her finally realizing that her commanding officer, Dojo, is her prince, whereupon she freaks out in a pretty awesome way. Combined with her composure under questioning and her reaction to this news, I am finally beginning to like Iku at long last. This volume also prominently features Iku’s awesome roommate, Shibazaki, who is one of those “I am jaded and unable to fall in love but will protect my idealistic friend with all I’ve got” characters whom I always adore. I’m looking forward to volume nine! – Michelle Smith

Pandora Hearts, Vol. 12 | By Jun Mochizuki | Yen Press – As tension ramps up over Oz’s questionable origins and the return of a mysterious villain with a penchant for beheading, I’ll admit that what really makes this whole volume for me is a (presumably) throwaway section in which Oz’s younger sister Ada reveals her secret obsession with the occult. That may not sound funny on the face of it, but trust me… it’s honestly hilarious, surprisingly charming, and makes it even harder to continue to hate the supposedly evil Vincent Nightray, to whom she bares her magically-consumed soul. Too, this section highlights one of the strengths of Mochizuki’s writing. No matter how dark and complicated her story becomes, she never loses her sense of whimsy or her deep love for her odd little cast of characters. Humorous interludes aside, volume twelve is full of terrific little nuggets of characterization—just part of the series’ considerable payoff for fans who have stuck with it so far. Still recommended. – MJ

Skip Beat!, Vol. 29 | By Yoshiki Nakamura | VIZ Media – I am probably somewhat of a broken record where Skip Beat! is concerned, because not only do I genuinely enjoy every new volume, I also always wish that I had twenty more of them waiting in the wings, that’s how much I adore it. In this volume, Kyoko has realized that she’s on the verge of sprouting feelings for Ren, which scares her very much, since he is able to slip past her defenses so easily. She’s so distracted she allows a male costar to make her over for a wrap party, which yields two developments: Kyoko becomes convinced Ren sees her as too childish to pursue and she gains confidence in her ability to transform herself for a role. That’s Skip Beat! in a nutshell—even when there’s a smidgen of romantic progress, there’s a healthy dollop of career progress for the awesome heroine to go along with it. Perennially recommended. – Michelle Smith

Off the Shelf: In which we grant a request

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MJ: I’ve just realized how few jokes I know. You always open with a joke. I’ve got nothin’.

MICHELLE: That’s okay. I freely admit that most of mine aren’t very good. And even if you’ve got no jokes, you’ve surely got manga to talk about!

MJ: Indeed I do! Should I go first?

MICHELLE Please do!

MJ: Well, I know we have a special request to grant at some point here, but before we get to that, my big read for this week was the debut volume of Puella Magi Madoka Magica, adapted from the popular anime series. This is obviously a highly-anticipated release. In a rare twist, I’ve actually seen the anime series, and since I enjoyed it very much, I’d have to admit that this manga series was even highly anticipated by me. Ultimately, I’d say that this is not necessarily in the manga’s favor, though there is a quite a bit here to enjoy.

The series begins just as you’d expect from a magical girl story. Madoka is an ordinary girl with ordinary friends, who is suddenly approached by a talking catlike creature (Sailor Moon shout-out, I assume?) named Kyubey who offers her the opportunity to have a single wish granted if she’ll sign a contract to become a magical girl. This is understandably exciting for Madoka (and her friend, Sayaka, who is also invited), but nothing is quite as it first seems. Madoka’s magical dreams are quickly tempered by the reality of untimely death in a magical girl’s future, as well as by a mysterious new girl, Homura, who for some reason insists that it is of vital importance that Madoka not sign on with Kyubey—to the point that she makes repeated attempts on Kyubey’s life in an effort to save Madoka from him.

Having watched the anime series, there isn’t a lot of mystery in this for me, but even taking that into account, there are ways (mostly visual) in which the manga pales in comparison to its source material. For instance, one of the most spectacular elements of the anime series is the ornate visual fabric of the dimension inhabited by “witches” (the beings our magical girls are being asked to destroy). These encounters with witches are elaborate and rather psychedelic, and they really help to emphasize the series’ darker take on the magical girl formula. In the manga series, these sequences just look kind of drab and lumpy, and they are glossed over so quickly, the sense of real danger and anticipation is lost along with the general aesthetic. Even the fight scenes could really stand to be longer (did I really just say that?), as they seem to lose a lot of their tension and significance.

On the other hand, this story is compelling no matter how it’s told, and if the artist has failed to quite capture its eeriness, its pathos remains intact. I’m happy to see, too, that Madoka’s family life, headed up by her fearless corporate shark of a mom and her homemaker dad, is just as charming here as in the anime series (if granted slightly less screen time).

MICHELLE: This sounds a bit like Bokurano: Ours, in which middle-school-aged kids are duped into a contract that requires them to destroy aliens and die in the process. I do think, though, that you’ve sold me more on the anime here than on the manga.

MJ: Well, and perhaps I mean to, though I feel a bit bad about it. I have a lot more stake in the manga industry than I do in anime, yet in this case I can’t deny that the manga suffers in comparison. It is still quite interesting, though, and I’m looking forward to the second volume. It really is a very compelling story, regardless of how it’s being consumed.

One little oddity (and this applies to both mediums)— Puella Magi Madoka Magica is a magical girl series that resembles modern series for a male audience much more than a female one. You can easily identify all the usual suspects: the glasses-wearing girl, the spunky girl with fang teeth, the pretty girl with long, black hair, the self-conscious yuri jokes… you could be watching Lucky Star in that respect. This doesn’t detract from the series at all for me, but it definitely gives the series a bit of a male otaku vibe—at least that’s how it reads to me.

So, what’s next?

MICHELLE: Well, I’ve also read something that’s an adaptation from another medium, though this time it’s from a dating sim for girls!

You may recall that I talked about Alice in the Country of Hearts way back in our second ever Off the Shelf column. There, I initially referred to it as “bishie land” then instantly reconsidered, since the plot focused more on the mystery of the world in which the heroine, Alice, found herself than in her myriad romantic prospects. The series was much better than I expected, and I liked it so much that I sought out the sixth volume in Japanese after TOKYOPOP’s demise meant the series would not conclude in English (though it will be released in its entirety by Yen Press this summer).

Alice in the Country of Clover: Bloody Twins is an adaptation (by a different artist) of another game in the series, and though certain elements are reset, it functions fairly well as a sequel. Alice remains in the world that she believes is a dream and has become fairly comfortable there. Nearly every male resident is interested in her, but her constant companions are twin boys “Dee and Dum,” who constantly proclaim their love for her and who like to a) glomp her all the time and b) kill people. A shift in the dream environment moves everyone to the land of Clover, where the twins gain the ability to turn into grown men, whereupon they act the same as ever, causing Alice to get flustered and blush a lot.

This is another case of a series suffering in comparison to something else. Where Alice in the Country of Hearts surpassed my expectations for a manga adapted from a dating sim, Alice in the Country of Clover meets them fairly exactly. There is no focus on the mystery of the world at all. Instead, this reads entirely like a “what if” scenario: what if Alice fell in love with the twins? She’s still a reasonably likeable character, rather embarrassed that she’d dream up such a scenario, but Dee and Dum are so empty as people that it’s disturbing that she’s not disturbed by them. It’s utterly impossible for me to root for this romance, but perhaps I was never intended to, as the short stories rounding out the volume explore different “what if” pairings for Alice.

That said, Alice in the Country of Clover isn’t outright bad. I definitely smiled a few times at the humor, and can see myself checking out the next Clover installment, Cheshire Cat Waltz, which Seven Seas is publishing next month.

MJ: I suppose my feeling here is that you’ve perhaps sold me on Alice in the Country of Hearts rather than on this sequel, which sounds… not bad, but probably not worth prioritizing over better manga.

MICHELLE: And, like you, perhaps I meant to, but I feel bad about it! I definitely hope that people support Seven Seas by checking out the Clover titles.

And now… the special request. A few weeks ago, you reviewed the tenth volume of Pandora Hearts in our Bookshelf Briefs column, and we received a comment from Releona, who said she’d like to see it featured in an Off the Shelf column, as she was interested in our thoughts on it in greater detail.

Your wish is our command, Releona!

MJ: Since I’ve already done a review of sorts, would you like to get us up to speed on the series’ plot at this point?

MICHELLE: I’ll take a shot at it, though Pandora Hearts is one of those series that makes sense in the short-term but is not exactly clear in terms of its long-term plot trajectory.

Oz decides that the best bet for restoring Alice’s lost memories would be to visit Sablier, scene of a great tragedy a century before. Separated as they approach the epicenter of the disaster, Oz, Alice, and Gilbert see illusions from the past, each of which introduces some intriguing twists to the story, mostly in the form of answers about how the tragedy came to be. All of this is quite interesting, but mangaka Jun Mochizuki is adept at making the story about the characters, so the most compelling aspects are sympathizing with the character who brought about the tragedy as well as watching Gilbert angst oh-so-prettily about his memories and the possibility of being driven mad by them.

Probably I could read a manga that was all about Gilbert angsting prettily, but it sure was nice to get a little more shape to the story at this point.

MJ: Most readers by now have probably figured out that I’m a big fan of this series, and given that I’ve gone on in rapturous delight about its costuming, it’s probably a given that I’d happily read a whole manga about a prettily angsting Gilbert as well. But I certainly agree that this volume was a balm for the muddled brain. Not only was it a relief to understand Gil’s full history at last, but it also helped me to despise another character much, much less. And really, I wouldn’t have thought that could happen. Though probably I now hate Glen Baskerville much, much more.

Also, though Alice takes a back seat in this volume, the scene in which she confuses a kiss with a bite on the cheek is one of her most charming moments.

MICHELLE: It was, though I was startled to see how very obnoxious she was in the past. She may actually be a better person without her memories, which I’m sure is Mochizuki’s intent. Speaking of nice moments, I was also very happy that Oz actually feeling free to complain about something for the first time was given the significance it deserved. Gil desperately needs to be needed, and Oz still relying on him in a crucial moment brings him back from dangerous thoughts that still seem to be plaguing him, even at the volume’s end.

In addition to Gil’s violent impulses, another thing I’d like to see Mochizuki explore soon is Jack’s relationship to Alice and how much it influences Oz’s feelings towards her. In fact, this ties in to another important reveal in this volume, namely why Jack was consigned to the Abyss to start with.

I suppose my bottom line is, “this volume is not to be missed.” Not that I would advocate missing any of them, really.

MJ: Oh! And another thing that was a fairly big deal in this volume is Oz’s increasing ability to become one with the B-Rabbit. It was frightening, for sure, but pretty interesting.

And yes, I agree. This volume is not to be missed. It’s a substantial payoff for some of the confusion we’ve endured (amidst all the beauty) thus far.

Readers, if you (like Releona) have any special requests for Off the Shelf, feel free to let us know!

Bookshelf Briefs 5/21/12

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This week, Sean, Kate, MJ, and Michelle look at recent releases from Yen Press, VIZ Media, Digital Manga Publishing, and Kodansha Comics.

Ai Ore!, Vol. 5 | By Mayu Shinjo | VIZ Media – I have completely given up on these characters – especially Mizuki – growing or learning from any of their experiences. And honestly, doing that makes it much easier to get into the groove of this melodramatic, silly manga. From Akira’s desperately trying to be taken seriously as a guy while wearing a kitty hoodie, to Mizuki’s over-the-top “MY WORLD IS ENDING!” reaction to her first fight with Akira, the situations here are made for amusement. Sure, there’s some soap opera dramatics – the fight I mentioned earlier – but even the serious backstory for Akira, where he reveals that his tutor once brought in an older woman to “make a man of him” – is played with its tongue in cheek. The ending seems to hint we may be seeing the return of “Dark Akira”, though – let’s hope he’s merely firm and seductive, and not the callous ass he was at the start. Fun stuff. –Sean Gaffney

Arata: The Legend, Vol. 10 | By Yuu Watase | VIZ Media – The latest installment of Arata: The Legend features body-swapping hijinks. Usually these kind of comic interludes are a sign that the artist is marking time between big fight scenes, but Yuu Watase uses this time-honored trick to advance the plot in a meaningful fashion, allowing Hinohara to infiltrate Yataka’s stronghold. The body-swapping gimmick also provides the characters an opportunity to reflect on their feelings for one another, giving us greater insight into Hinohara and Mikusa’s personalities. The only drawback to the out-of-character behavior is that it grants Watase license for fan service — something that the series doesn’t need to be funny or sexy. That minor gripe aside, Arata remains engrossing, finding the perfect middle ground between shojo angst and shonen action. Recommended. -Katherine Dacey

Hana-Kimi, Vols. 4-6 Omnibus | By Hisaya Nakajo | VIZ Media – A lot of this second omnibus deals with the class culture festival, where most of Mizuki’s class is dressing up in drag. This gives her an excuse to wear a dress most of the time, even if it’s as Alice in Wonderland. After a strong start, the author seems to have realized that the series will be a long one, so the actual romance between Mizuki and Sano isn’t moved forward as much. Instead, Nakatsu gets the focus, as he struggles with his repressed feelings for a “guy”. He’s mostly comedic, but I liked how he handled telling the girl who likes him that he was breaking it off – he’s a sweetie pie that sadly is doomed in a series like this. The addition of a female friend – as well as a new rival – for Mizuki is also welcome, and I look forward to the third and presumably last teaser omnibus. –Sean Gaffney

Itazura Na Kiss, Vol. 8 | By Kaoru Tada | Published by Digital Manga Publishing – There are times when Itazura Na Kiss is so frustrating, one wants to hurl it against the wall. Usually this is because the protagonist, Kotoko, is almost aggressively incompetent. In this latest volume, she has decided that what she wants to do is become a nurse and help Naoki with his medical practice, so she enrolls in nursing school with practically no idea what this will entail. Naoki is cutting in his criticism, as usual, but what’s interesting is that one of Kotoko’s classmates objects to how Naoki treats his wife and eventually presents himself as an alternative. Naoki, faced with jealous feelings for the first time, is thrown for a loop and it’s what he does to win Kotoko back that makes up for every bit of irritation caused by other elements of the series. Still recommended, despite its flaws! – Michelle Smith

Pandora Hearts, Vol. 10 | By Jun Mochizuki | Yen Press – While the series’ last few volumes have posed many more questions than they have answered, things finally come to a head here in volume ten. This volume is chock full of revelations, particularly regarding Gil and Vincent Nightray, and the atmosphere is tense in exactly the way that shows off Jun Mochizuki’s fast-paced storytelling style to its best advantage. Though crystal-clear plotting has never been Mochizuki’s strong point, clarity in the moment is, which is what makes a volume like this work so well. Panel-to-panel, she maps out these characters’ emotional truths so clearly that the text becomes nearly irrelevant to our understanding of their plights. That said, some of Mochizuki’s dialogue is so delightful (Xerxes Break owns my soul), it would be a tragedy to do without it. Still recommended. – MJ

Psyren, Vol. 4 | By Toshiaki Iwashiro | VIZ Media – I’m starting to enjoy this the more I get into it. The lead is likeable and talented while retaining that ‘everyman’ spirit, the cast isn’t too overpowered yet, and of course hard work is emphasized, as in the best Jump works. The introduction of the Elmore Wood kids is well-handled – they act like typical kids, ranging from bratty to shy to stoic. They help Ageha to figure out how to control his powers (well, we presume – we haven’t seen it in action just yet) by virtue of a simpler mindset and learning at a younger age. And, as a cliffhanger shows, they may be mankind’s last, best hope. Of course, they may all be killed at the start of the next volume, too. The only downside here is Kabuto, who lacks enough likeable traits to make a good comic relief character – you want him to fail. Otherwise, very good stuff. –Sean Gaffney

Sayonara, Zetsubou-Sensei, Vol. 12 | By Koji Kumeta | Kodansha Comics – “We’ll have to start a new campaign with easier content so that even first-timers can understand Zetsubou-Sensei,” declares suicidal teacher Itoshiki Nozumu in the first pages of volume 12. What follows is a sharp, funny deconstruction of a common manga practice: the catch-up chapter. I wish the rest of the jokes in volume 12 were as accessible to a Western reader as “The First-Timer Condition,” but the intricate wordplay and cultural allusions often sailed over my head. (Word to the translator: I know what Comiket is! More explanation of the yakuza jokes and economic references, please!) Zetsubou-Sensei ought to be in my wheelhouse — there was a Stendahl joke in chapter 112, for Pete’s sake! — but requires too much explanation to elicit more than an appreciative, “Oh, I get it. Very clever.” -Katherine Dacey

Bookshelf Briefs 1/23/12

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This week, Kate, Michelle, & Sean look at new releases from Kodansha Comics, Viz Media, and Yen Press.

Animal Land, Vol. 3 | By Makoto Raiku | Kodansha Comics – What a difference a volume makes! Now that Taroza can walk, talk, and kick butt, Animal Land has taken a turn for the better. The action sequences are imaginatively staged, allowing Taroza to display a wider range of abilities and fight more formidable opponents. Volume three is also noteworthy for the introduction of the series’ second human character, a feisty blond girl who’s allied herself with a pride of hungry lions. While the interactions between her and Taroza are predictable (Capri is puzzled by her attraction to Taroza), Makoto Raiku manages to eke some fresh laughs out of their awkward courtship. A good choice for the middle-school crowd, in spite of the 13+ rating. – Katherine Dacey

Bokurano: Ours, Vol. 5 | By Mohiro Kitoh | Viz Media – I hadn’t originally planned on reading this right away, figuring it might be nice to have several volumes of this series to consume sequentially. But then I read that there’s a major revelation in this volume, and I just couldn’t resist. Actually, for a series about children who are conscripted into piloting a giant mecha with their life force, this is what passes for an upbeat volume, in that one boy successfully completes his mission then donates his heart to a very ill friend and one of the girls is able to catch a glimpse of her newborn baby brother before passing away. I thought the “major revelation” was telegraphed a bit too strongly beforehand, so it wasn’t as shocking as it could’ve been, but it’s certainly an intriguing twist. Kitoh’s sketchy, minimalist, and distinctive art style is growing on me, as well. Definitely still recommended. – Michelle Smith

Gon, Vol. 3 | By Masashi Tanaka | Kodansha Comics – If you dutifully purchased all seven volumes of Gon in late 2000s, fear not: the new Kodansha version is nearly identical to the old CMX Manga edition, save for the trade dress. If you missed out on Gon, however, now is a perfect time to explore this delightful series. As you’ve probably heard, Gon features a small orange t-rex who has a ten-year-old boy’s penchant for causing mischief. In volume three, for example, Gon floats down the Amazon, accidentally ingests some hallucinogenic mushrooms, and goes mano-a-mano with a tiger. All of Gon’s escapades are rendered in breathtaking detail; Masashi Tanaka’s linework is impeccable, capable of suggesting the texture of a reptile’s skin or a pine tree’s bark. Tanaka also has great comic chops; only Chuck Jones is his peer when it comes to drawing funny animals. Highly recommended. – Katherine Dacey

Kimi Ni Todoke, Vol. 12 | By Karuho Shiina | Viz Media. – We continue to focus on Sawako and Kazehaya’s new relationship, and how neither of them are quite sure what to do now. Sure, they’re dating and all, but how do two basically shy people go about holding hands, or even *gulp* kissing? To add to Kazehaya’s nervousness, Sawako’s parents now know they’re together. Luckily Kazehaya is a sweetie pie – indeed, her father is irritated that he can’t forbid Sawako to date him as he’s basically swell. There’s also a fantastic chapter showing how Chizu and Ayane met – Chizu, who always speaks before she thinks, makes a wonderful contrast to Ayane’s calculated speech and cognizance of the way others think. One could argue very little really happens in this volume, but who cares? Still fantastic.-Sean Gaffney

Pandora Hearts, Vol. 8 | By Jun Mochizuki | Yen Press – As we approach a volume count in the double digits, we’re starting to get plenty of information about the past, including some significant revelations about Alice. My reactions to this material can best be summed up by one of the characters, who says, “Hrm… ‘twould all seem to make sense, but not quite.” Here’s another applicable quote: “It’s been one crazy story after another, so my head’s still working on catching up.” After demonstrating some sympathy for her readers with this dialogue, Mochizuki gets back to the present, sending Oz to a local festival while suggesting that Gilbert’s about to go all crazypants. Rounding out the volume is the original one-shot concept for the series which is, I am sorry to say, both confusing and dull, but offers some entertainment in the form of familiar characters in unfamiliar situations. – Michelle Smith

Psyren, Vol. 2 | By Toshiaki Iwashiro | Viz Media. – I always find these mid-range Jump series difficult. There’s nothing inherently wrong with Psyren – the hero is fun in a Jump way, he contrasts nicely with his more competent friend, and the heroine is cute and more sensible than her other two friends. Still, there’s nothing here that demands I go out and get the next volume IMMEDIATELY, as I always feel with One Piece. It’s not a great series, it’s merely pretty good. Still, pretty good isn’t that bad. Matsuri is a fun addition to the cast, and there’s some great humor here with Ageha completely failing to use his psychic powers… then overdoing it when he finally gets it. The fighting scenes aren’t really as interesting yet, though. Given it’s a Jump manga, I hope that gets sorted out soon. Again, recommended if you like the Jump style.-Sean Gaffney

Off the Shelf: the good & the great

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MICHELLE: Hey, MJ. How is a majestic field different from a gaudy shrimp?

MJ: Hmmm, I don’t know, how *is* a majestic field different from a gaudy shrimp?

MICHELLE: One’s a proud lawn and the other is a loud prawn!

MJ: Ba-dum-dum *chick*

MICHELLE: That one can be blamed on Stephen Fry. Now that I’ve done my obligatory bad joke, want to get on with the real reason why we’re here?

MJ: Sure! My turn?? Me, me, me??

MICHELLE: You, you, you.

MJ: Okay! I’m actually pretty excited to talk about both of my selections this week (in case you couldn’t quite tell), as both of them really embody the beauty and power of the medium.

I’ll begin with Kaoru Mori’s A Bride’s Story, published in hardcover splendor by Yen Press. The story is set in nineteenth-century Central Asia, along the Silk Road, where 20-year-old Amir, daughter of the semi-nomadic Halgal tribe is meeting her betrothed, twelve-year-old Karluk, for the first time. Karluk is the oldest son of the Eihon tribe who are settled near the Caspian Sea, and whose culture differs significantly from that of the Halgal. Though the age difference is a shock for both of them, the greater challenge for Amir is finding her place in her new tribe and proving her worth to Karluk’s family.

So much about this manga is beautiful and refreshing, it’s difficult to know where to begin. Though there is some tribal drama here in the background, with Amir’s tribe determined to take her back from the Eihon in order to marry her more advantageously, the story’s focus is much more on the day-to-day, as Amir and Karluk adjust to their marriage and to each other—a much more compelling subject in my view.

Though Amir is clearly the center of things (she is the title character, after all), the story’s narrative remains staunchly objective, with no particular insight into anyone’s inner thoughts or feelings. While a lesser writer might easily lose the thread without a clear point of view to cling to, Mori uses the opportunity to focus on detail. No expression or bit of dialogue is wasted. Every moment is deliberate and carefully crafted to eke out these characters and their burgeoning relationships. As a result, we feel that we’re getting to know the characters just as slowly as they are becoming comfortable with each other, something I found to be incredibly effective as a reader.

This is a quiet, slow-moving manga, with an emphasis on character development, yet it also has some of the most thrilling moments I’ve experienced in my comics reading to date. Perhaps most spectacular is a scene early on, in which Amir has gone off to catch the ingredients for rabbit stew (something her new family has never eaten). Concerned for her welfare, Karluk follows after her, only to witness her deftly hunting rabbits from horseback with a bow and arrow, a skill his tribe has long forgotten. Amir is full of moments like these, quietly winning Karluk’s heart (and ours) with her knowledge and ability, so different from anything he’s grown up with. More tentative are her efforts towards consummating her marriage, which obviously requires some patience and delicacy.

And “delicacy” is the key word here. While there are any number of things that could be either completely creepy or played for laughs in a story about a 20-year-old bride and her child groom, there is absolutely no trace of either in this manga.

Have I mentioned, too, that it’s just completely gorgeous? From the meticulous period details to the truly adorable livestock, this series is a feast for the eyes. It’s really just a treat in every possible way.

MICHELLE: That sounds wonderful indeed. I love stories where the introduction to the world and its people feels completely organic, especially when you’re able to see how the way they’ve lived has influenced the person they are now. My copy is literally six inches from my left arm, so I will definitely be reading this soon.

MJ: It’s really the loveliest thing, Michelle. I think you will love it. I should also note that I am one of the two manga bloggers still in existence who hasn’t yet read Emma, but seeing this, I feel I have to rectify that immediately.

MICHELLE: I’ve only read part of Emma, though I own all of it.

MJ: So what have you got for us tonight?

MICHELLE: I’ve also got a story about a skilled and awe-inspiring young woman making her way in a new environment, though this one is played for laughs. Oresama Teacher is up to its third volume now, and though I can’t honestly call it the greatest thing I’ve ever read, it definitely makes me giggle.

As you’re aware, Oresama Teacher revolves around the struggle of Mafuyu Kurosaki, a former gang leader expelled from her old school for fighting, to stay out of trouble at her new school and make the best of her second chance. This isn’t easy, since she doesn’t feel at ease around girls (they just seem too fragile) and so instead develops a friendship with the class delinquent in addition to reuniting with her childhood love, the guy who basically groomed her for gang life in the first place, who is now her homeroom teacher.

In volume three, Mafuyu laments the state of her larder and decides to go home for the weekend, where she immediately finds herself in the middle of gang strife once again. But, y’know, funny gang strife. A rival gang sets a trap for her by staging various crimes—knowing that Mafuyu will rush to the rescue—and she ends up tied up in some building with two of her former underlings.

One of my favorite things about the series is mangaka Izumi Tsubaki’s impeccable comic timing, as illustrated by the following scene:

Mafuyu: *discovers similarly bound underlings*
Underling #1: Oh.
Underling #2: Oh.
Nice big pause emphasized by a large airy panel.
Underling #2: Did you cut your hair?

End of chapter.

I can totally imagine this happening in an episode of Buffy the Vampire Slayer. In fact, it probably did.

Wacky hijinks ensue, but unlike most wacky hijinks, these are actually amusing. By the end of the volume Mafuyu has met a new nemesis, the bishounen student council chairman whose beguiling charisma makes others do his bidding. It’s not all hilarity, of course, and there are some very nice scenes as Mafuyu confronts the unpleasant fact that things have gone on pretty much unchanged without her around.

Really, I can’t recommend the series enough. And I’m finding it harder and harder to believe that Tsubaki’s previous Shojo Beat series, The Magic Touch, was really as bad as people said.

MJ: Having been a one of the people who hated The Magic Touch, I’m kinda bowled over by how hilarious this manga sounds. I enjoyed the first volume, certainly, but I hadn’t quite decided whether to carry on. That exchange you quote, though… that’s definitely my kind of funny.

MICHELLE: Do you remember what was so bad about it, or has too much time passed?

MJ: Probably too much time has passed, but I do remember feeling that it was very tedious. Which can’t possibly be said for Oresama Teacher.

MICHELLE: Hm. Well, I may need to check it out anyway, if only to appreciate how Tsubaki has improved at her craft.

So what is your second incarnation of “beauty and power”?

MJ: My second subject is actually the manga I’ve been most looking forward to discussing with you this week, and that would be Takako Shimura’s Wandering Son, also in hardcover, from Fantagraphics.

This manga tells the story of two elementary school students, Shuichi Nitori and Yoshino Takatsuki, who, besides navigating everyday pre-teen challenges like siblings and school friends, are also slowly becoming aware that they are transgender. It’s a gradual and individual process for each of them, but the two bond quickly when Shuichi is seated next to Yoshino on his first day at her school, and it isn’t too long before they begin to suspect that this is something they have in common.

There has been a lot of really eloquent discussion of this volume already (David’s review from just this morning comes immediately to mind, along with your early review), so I won’t attempt to do anything here but explain some of the reasons why I personally loved this manga, and I really do have quite a bit to say on that front.

First of all, this is a elegantly-crafted, character-driven story that lets us into its characters’ private worlds with both candor and delicacy. We are brought into their lives completely, and though we’re privy to their some of their most private thoughts and fears, there is never a sense that we’re observing them as “subjects” or invading their privacy—something I often feel when experiencing “issue”-focused fiction. the real secret to this is that they aren’t treated as though their gender is all that they are, despite how much weight that aspect of their identity is being given in their thoughts and hearts over the course of this volume.

Many of this volume’s most affecting moments are its most quiet and private—Shuichi buying himself a girl’s headband, Yoshino (more commonly referred to by her classmates as “Takatsuki-kun”) riding the train out of town in her brother’s old school uniform—with very little in the way of Big Dramatic Moments, which helps to maintain the silent tension growing in the hearts of both of its leads as they begin to let themselves think more and more about their feelings. Shuichi’s realization that he really should have been born a girl comes not as some kind of melodramatic epiphany, but rather as a private moment of honesty. And these kinds of moments—these quiet bits of realization—don’t magically fix anything or create any kind of grand determination within the characters’ hearts to be themselves or do their best. They simply add to the characters’ growing self-awareness and (to an extent) their bond with each other.

I could go on here, but actually I’m pretty eager to talk with you about this manga.

MICHELLE: It’s been four months since I read this, but so many moments remain indelibly stamped on my brain, like when Shuichi has dressed as a girl while home alone and ends up passing as a girl in an interaction with a solicitor, or the absolutely wrenching scene in which Yoshino experiences her first period. Each of these moments is quiet and understated, but so vastly important in the lives of the characters.

MJ: Oh, the scene with Yoshino and her period… it’s the ultimate betrayal of her body against her, and yet as you say, it’s not at all overstated. It doesn’t have to be, because it’s important without the author having to telegraph that to us. Even when Yoshino leaves school crying after some boys accidentally reinforce exactly what the period means for her, it’s not played for drama in the least.

MICHELLE: I also liked that the story is so completely innocent. Thus far, the children have not been concerned with sexuality; what they’re feeling has simply to do with their own personal identity, uncomplicated by any other factors.

MJ: I don’t think bringing sexuality into the picture would necessarily damage the story’s innocence. But they have plenty to think about as it is, so I’m not bothered at all that it has not come up in a major way.

Mostly, I’m just completely charmed by this story, and content to take it as it comes. I feel like I’m in very sure hands.

So Michelle, what’s our final volume for the evening?

MICHELLE: Well, as you know, I’ve spent the last week catching up on Pandora Hearts, and wanted to talk about the sixth and most recent volume.

It’s actually a lot more simple plot-wise than recent volumes have been, as Oz’s uncle, Oscar, decides to give his nephew a fun diversion by whisking him off to visit his little sister (who, thanks to the ten-year time lapse, is now older than him) at school. Much forced hilarity ensues, with Oscar pretending to be daft in order to encourage Oz to enjoy himself, and Oz playing along to avoid worrying others. Along the way he meets a couple of other students, engaging in a lengthy bickerfest with one of them, and a girl who spirits him away to a Baskerville lair.

The most interesting aspect of Pandora Hearts is its characters, and in this volume it seems that everyone—even near total strangers—is coming down on Oz for his tendency to accept things as they are. Oz makes no effort to protect himself—getting easily nabbed by the Baskervilles, for example—and so inconveniences others when they have to save him, but there’s such a solid backstory reason for his behavior that it never comes across as annoying. I don’t know if some of the words Oz hears in this volume will have a lasting effect, but it looks like some may have gotten through, at least.

Even more interesting to me is the brief snippet of background we get for Xerxes Break, the Shigure-like figure in the story who is friendly and silly but extremely capable of manipulating those closest to him for his own goals. What’s so interesting about him is how honest he is about what he’s done after the fact, and everyone just keeps on trusting him. Still, he does seem to have his own code of honor, and downplays his own actions when making a personal sacrifice to save someone he cares about. He’s extremely hard to figure out, and thus quite intriguing.

But, of course, Raven is still my favorite.

MJ: There was a point in this volume where I began to worry that it was going to let itself linger too long in school-based silliness, but I was relieved to discover that it was all really a ploy to lead us into some terrific character development for Oz. I developed an immediate fondness for the volume’s new characters too—another son of the Nightray household and his outspoken valet.

Also, I’m a pretty big Break fan, so I definitely agree on that point. Even if Raven is still the best. ;)

MICHELLE: To continue on with Fruits Basket comparisons, much like Manabe was essential for challenging Yuki and drawing him out of his shell, I think someone like Elliot is essential for Oz. Sure, I didn’t much enjoy their protracted arguing, but at least Oz was reacting passionately to something.

MJ: That’s an excellent point. Oz needs someone to make him mad, and though Alice seems pretty well-equipped to serve that purpose for just about everyone else (or maybe it’s just Raven), Oz identifies with her too strongly for her to fulfill that role in his life.

MICHELLE: Exactly. But she’s also very important in other ways, like seeing through his feigned good humor to the fear of meeting his sister again that lies beneath. Really, just about every character in this series represents something vitally important to Oz, which is pretty impressive.

MJ: Agreed! Though with a plot-heavy series like this, it would be easy to focus on all the events that are going on, I think Jun Mochizuki’s greatest strength is with characterization, and you’ve pointed out one of the reasons why.

MICHELLE: Now that I have caught up with the series, I vow never to fall behind again!

MJ: Hurrah!

Bookshelf Briefs 7/10/11

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This week, Kate, MJ, David, and Michelle are joined by new battle robot member Sean, as they check out new a host of releases from VIZ Media, Yen Press, and Seven Seas, as well as a few final stragglers from recently defunct TOKYOPOP.

Ai Ore!, Vol. 2 | By Mayu Shinjo | VIZ Media – I share David Welsh’s general disdain for romances in which one character tries to persuade the other that it’s “just a matter of time” before they get together, so it’s not a surprise that I found the second volume of Ai Ore! as punishing an ordeal as the first. Author Mayu Shinjo’s greatest misstep is confusing possessive behavior with manliness; Akira unironically calls Mizuki his “woman” so many times I’d swear he’s auditioning to play Stanley Kowalski. Adding insult to injury is Akira’s obsession with getting Mizuki into bed — no matter how many times she refuses him, Akira keeps hounding her to go all the way. Normally in a story this absurd, any nod to realism would be welcome, but here it’s an unpleasant reminder of just how retrograde the story’s sexual politics really are, and no amount of wacky hijinks or cool costumes can conceal that fact. – Katherine Dacey

Ai Ore!, Vol. 2 | By Mayu Shinjo | VIZ Media – Not long after I criticized its first volume, I spotted a conversation in which it was explained that Ai Ore! is intended as a parody. While I generally think that if you have to tell people that something is a parody, it’s not really working, reading through the series’ second volume I can see where that argument is coming from. Unfortunately, making fun of something doesn’t automatically translate into being smarter or better than it is, and this is where Ai Ore! goes horribly wrong for me. Even as it mocks some of shoujo manga’s sillier trends, it reinforces those that offend me most. Most tragically, however, all this parody and pandering is wrapped around what really could be a genuinely revealing look at the relationship between two teens whose bodies don’t conform to accepted gender norms. I would read this story eagerly. Unfortunately, that’s not the story being told. – MJ

Amnesia Labyrinth, Vol. 2 | By Nagaru Tanigawa and Natsumi Kohane | Seven Seas – I gave a mixed review to Volume 1 of this series, but unfortunately the second volume has lost even the slight amount of goodwill I had for the series. An extended dream sequence about 2/3 through just makes things even more muddled, and by separating Souji from Yukako you end up losing any sympathy you may have had for him in the first place. Evil doppelgangers molesting the heroine do add a frisson of discomfort to the proceedings – as does one sister trying to attack/seduce Souji while in a gas mask and military uniform – but this is an unpleasant mess overall. Fans of Tanigawa should stick with the Haruhi Suzumiya novels. – Sean Gaffney

Daniel X: The Manga, Vol. 2 | Story by James Patterson, Art by SeungHui Kye | Yen Press – The James Patterson book-making machine excels at cranking out dystopian teen fantasies in which seemingly ordinary kids possess tremendous, world-changing powers. Small wonder, then, that Yen Press has had such commercial success translating Patterson’s stories into graphic novels. Daniel X, their second Patterson adaptation, focuses on a fifteen-year-old with the ability to create objects with a thought. After his parents are killed by “an intergalactic criminal” — Yen’s words, not mine — Daniel vows to avenge their deaths, using his unique ability to find and destroy extra-terrestrials. The story and dialogue are thoroughly unsurprising — at least from an adult standpoint — but SeungHui Kye’s clean, attractive artwork, gooey aliens, and briskly-paced script will definitely appeal to younger teen readers. A good buy for a school or public library’s YA collection. – Katherine Dacey

Happy Cafe, Vol. 8 | By Kou Matsuzuki | Tokyopop – This is, of course, the final volume of Happy Cafe we’re getting in North America, even though the series ran for a further seven volumes in Japan. Another victim of the Tokyopop closure. It’s a type of manga I’ll miss from Hakusensha, the sort they only seemed to sell to TP and CMX. The plot isn’t that original, the characters are types, and there are far too many of them – here we meet a shy girl with a crush on a boy who has a crush on Uru, as well as Ichiro’s identical twin father – but it’s meat-and-potatoes shoujo that leaves you with a smile on your face and a warm heart. I’ll miss this sort of series. – Sean Gaffney

Ichiroh!, Vol. 5 | By Mikage | Yen Press – I stopped reading newspaper comics a long time ago, and reading the fifth volume of Ichiroh reminds me why I did: the four-panel strip is seldom conducive to good writing. There are plenty of exceptions — Neko Ramen, Peanuts — but more often than not, the format yields tepid jokes, recycled gags, and one-note characters whose personality traits annoy more than they endear. Although Ichiroh! has a more promising set-up than most, focusing on a group of slackers trying to clean up their act and get into college, it’s about as funny as Tank McNamara. Most of the humor depends on the audience’s investment in the characters; if you find Nanako and company cute, their squabbles might bring a smile to your face, but if you don’t, Ichiroh! will grate with the intensity of a Debbie Gibson song, as characters repeat the same behaviors with Sisyphean consistency. – Katherine Dacey

Kekkaishi 3-in-1, Vol. 2 | By Yellow Tanabe | VIZ Media – I’m very glad that Viz is providing an inexpensive entry point for this long-running title. Volumes four through six build a supernatural subculture for the demon-fighting heroes of the series, which yields some entertaining supporting characters, giving the stories additional variety. Chief among Tanabe’s many strengths as a creator is the fact that she has an excellent way with battle sequences. They never run too long, she comes up with great creature designs, the use of her heroes’ powers is imaginative, and the scenes are sprinkled with character-driven humor. You could hardly ask for anything more from battle shônen. The only weakness to this volume is that tough, level-headed Tokine doesn’t get quite as much focus as I’d like. She’s such a great partner for and foil to protagonist Yoshimori that it seems like a waste not to have her in the thick of things. – David Welsh

La Quinta Camera | By Natsume Ono | VIZ Media – The gifted Ono’s professional debut looks like not simple and reads like Gente, which is fine by me. A quartet of men shares an apartment in Italy, and we meet their friends, lovers, and boarders who move in and out of the apartment’s extra room. It’s good-natured slice of life, and I’ve always enjoyed Ono’s work in that category. (I actually enjoy Ono’s work in all categories, so I may not be the most unbiased judge of relative success.) What particularly strikes me about this work is the level of confidence that’s already in evidence. Ono reveals a lot by implication, making the characters’ moods and reactions evident without minute explications of their sources. It’s like the reader is observing their lives without the benefit of an omniscient narrator. You may not know everything there is to know, but you get everything you need to know. – David Welsh

Maid Shokun, Vol. 1 | By Akira Kiduki and Nanki Satou | TOKYOPOP – If you had told me a few weeks ago that I would enjoy a seinen series about pretty young women working in a maid café so much that I would seriously consider buying the rest of the series in Japanese just to see what happens, I would never have believed it. But it’s true! Maid Shokun charms by treating its characters not as objects for fanservice but as employees concerned with the success of their enterprise. Here, the café is a job, not merely an environment where wacky hijinks ensue, and plots revolve around issues like standards of service, interoffice dating, overzealous customers, and whether the establishment should be reclassified as adult entertainment and what that would mean. I’m genuinely bummed that more won’t be available in English, thanks to TOKYOPOP’s untimely demise. – Michelle Smith

Nura: Rise of the Yokai Clan, Vol. 3 | By Hiroshi Shiibashi | VIZ Media – So, remember how in Nura‘s first chapter, protagonist Rikuo (¾ human boy, ¼ yokai) transformed into his yokai self, dealt competently with a rival who challenged his right to inherit leadership of the Nura yokai consortium, and then declared his intent to become Nura’s supreme commander? Well, all of that stuff happens again in volume three. It’s about time—ever since the plot was reset in chapter two (presumably due to the story getting picked up for serialization) it’s been working its way back to this point. I hope Rikuo’s resolution sticks this time and the story can progress, but for now I’m content with the fun cast of supporting characters, the added complication of Rikuo’s friend Kana crushing on his yokai form, and the fact that human Rikuo has started showing some gumption. – Michelle Smith

Pandora Hearts, Vol. 6 | By Jun Mochizuki | Yen Press – Though this volume begins on a serious note, it soon degenerates into utter goofiness as our heroes infiltrate a prestigious high school in order to reintroduce Oz to his younger sister, Ada. Even amidst complete silliness, however, this story finds its way back to the real horror at its core. Pandora Hearts is long on style but not short on substance, and that’s part of what makes it such a great read. That said, this volume’s blushing moe faces (both male and female) become a bit repetitive, and I could do without seeing Oz’s uncle Oscar in a high school uniform ever again. Fortunately, Mochizuki never leaves Dark Creepyville for long, and the volume’s two new characters show a lot of promise. Bring on the drama and gore, Pandora Hearts! – MJ

PotW: House of Five Leaves & other stories

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It’s another big week for manga arrivals at Midtown Comics. See below for recommendations from the Manga Bookshelf bloggers and special guest Michelle Smith!

DAVID: My pick for this week is the third volume of Natsume Ono’s Eisner-nominated House of Five Leaves from Viz, and I’m really happy to be able to add that adjectival phrase in front of the title. The series is about an out-of-work samurai who falls in with a gang of kidnappers under the seductive influence of the gang’s charismatic ringleader. Don’t let the warrior protagonist and criminal endeavors fool you: this is a very introspective, character-driven series that looks at the consequences of individual choices. Ono has a wonderfully distinctive style that’s graceful and understated but still forceful. Ono will be a featured guest at the Toronto Comic Art Festival May 7 and 8, and if you want to familiarize yourself with her work before then or just be a fully informed Eisner voter, you should really give this series a try.

KATE: Well, nuts, I was going to name House of Five Leaves my pick of the week as well before David said everything I might have said, only more eloquently. So I’m going to choose the sixth and final volume of AKIRA instead. I’d be the first to admit that Kodansha could have done so much more with the latest edition of this iconic series — unflipped artwork, fancy paper, essays and artist interviews, hardcovers — but I’m glad to see Katsuhiro Otomo’s work readily available again in stores; every other Otomo series that’s been licensed for the US market (Domu: A Child’s Dream, The Legend of Mother Sarah, Memories) is out of print, making it difficult for newer manga readers to discover this seminal artist for themselves. Otomo’s influence on popular culture can’t be understated; his postapocalyptic vision of Tokyo, which has been aped by countless comic artists and film directors, is simply one of the most original, beautiful, and iconic renderings of a city that’s ever been committed to paper.

MICHELLE: I’m certainly happy to see the fourth volume of Udon’s Silent Mobius: Complete Edition appearing on the list of new arrivals at last, but I am going to have to cast my vote instead for the fifth volume of Kaoru Tada’s classic shoujo romantic comedy, Itazura Na Kiss. Tada’s work is extremely different from that of Katsuhiro Otomo, and yet it was perhaps just as influential in its own way. Quite a few shoujo scenarios that we regard today as cliché started with Itazura Na Kiss, but it doesn’t read as dated in any way. In this particular volume, genius male love interest Naoki discovers and abandons his goal in life while ditzy protagonist Kotoko begins to realize that she has no dreams of her own, since she’s been wrapped up in thoughts of Naoki for the last five years. I suppose that might not sound like much, but in the context of this slice-of-life series, it counts as real and important progress. Highly recommended.

MJ: First, let me echo Kate’s sentiment, in that I was fully prepared to name House of Five Leaves, even if it was a repeat on the list, but given how beautifully David recommended it, my vote feels quite unnecessary. With that in mind, I’ll give a shout-out to Jun Mochizuki’s Pandora Hearts. I reviewed the series’ fifth volume in today’s Bookshelf Briefs, and though Mochizuki’s work is not without flaw, it’s also full to overflowing with beauty and real feeling. From the pretty, pretty pages of G Fantasy, the virtues of Pandora Hearts extend far deeper than its attractive surface. If you can only buy one volume of manga this week, buy House of Five Leaves. If you can afford more, take a good look at Pandora Hearts.

So readers, what are your Picks this week?

Bookshelf Briefs 4/18/11

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This week, MJ, Kate, David, & Michelle take a look at slew of comics (and one light novel) from Viz Media, Oni Press, Yen Press, and TOKYOPOP.

Book Girl and the Suicidal Mime | By Mizuki Nomura | Yen Press – “Warmly despondent – that’s the kind of story I hope it will be,” Nomura says in this light novel’s afterword. Her hope is fulfilled, and she manages to add healthy doses of humor and suspense along the way. It’s about a high-school literature club that consists of a fetching goblin who literally eats prose and a boy who keeps her in snacks in the form of handwritten stories. They’re drawn into the romantic woes of a classmate, and their efforts to help her take some darkly unexpected turns that force the boy to confront painful events from his own past. It’s a quirky, thoughtful celebration of the power of stories, and it features interesting, well-developed characters with complex problems. I haven’t read many light novels, but I’m looking forward to reading more installments in this series. – David Welsh

Karakuri Odette, Vol. 6 | By Julietta Suzuki | TOKYOPOP – After the introduction of Travis, an advanced robot who wants Odette for his bride, in volume five, I was a little worried about this, the final volume of the series. Happily, I needn’t have been. Manga-ka Julietta Suzuki avoids any semblance of hijinks, framing her story instead around Grace, an earlier model of robot made by Travis’s creator, and the pain she feels over no longer being considered Papa’s precious masterpiece, and the relationship between Odette and her protector and friend, Asao. This leads to many poignant and bittersweet moments, as Odette realizes for the first time that nothing stays the same forever. It’s a lovely end to a lovely series. -Michelle Smith

Nura: Rise of the Yokai Clan, Vol. 2 | By Hiroshi Shiibashi | Viz Media – Until someone licenses GeGeGe no Kitaro for the US market, yokai lovers will have to make do with this solid, if uninspired, story about a teenage boy who’s caught between the demon and human worlds. The second volume finds Rikuo tapping more readily into his yokai powers in order to save his friends — a marked improvement over the first volume, in which Rikuo spent more time trying to deny his abilities than make use of them. Rikuo’s yokai pals also get more screen time in volume two, giving the story a much-needed jolt of humor and weirdness. Much as I like the artwork and the concept, however, I’m still not taken with Nura; the stories follow all-too-predictable predictable patterns, and the main characters — the human ones, at least — aren’t well-rounded enough to be genuinely memorable. -Katherine Dacey

Pandora Hearts, Vol. 5 | By Jun Mochizuki | Yen Press – Everyone knows by now that I think Pandora Hearts is stylish, and to some extent that’s its greatest weakness. Though Jun Mochizuki uses her obvious Carroll/Tennial influence to create much beauty on the page, it is exactly that influence that encourages her least effective impulses. While the story she’s created is wonderfully compelling, she risks losing the thread, time and again, by tangling it up in useless references that don’t serve the series at all. The Cheshire Cat? The Mad Hatter? These names are not only meaningless in the context of her story, but actually harmful to it, making it appear as if she doesn’t trust it to stand up on its own. Fortunately, in volume five, Mochizuki steps back from the Wonderland-heavy muddle and remembers to tell her story, in all its beautifully twisted, heart-rending glory. Still recommended. – MJ

Salt Water Taffy: The Seaside Adventures of Jack and Benny: Caldera’s Revenge Part 1 | By Matthew Loux | Oni Press – If you haven’t treated yourself to any of the previous installments of Loux’s series, I’d recommend you correct that at your earliest convenience. Young brothers Jack and Benny are spending the summer at the deceptively peaceful seaside town of Chowder Bay. A potentially dull family vacation is saved by the fact that Chowder Bay is weirder than Key West and Provincetown combined, with totally true tall tales of giant lobsters, ghosts, and hat-stealing eagles lurking around every corner. This time around, the boys try and help a giant squid reunite with his parents, complicated by the interference of a determined sperm whale and an ominous ghost ship. Loux’s style is a joy, lanky, witty, and evocative, and this chapter is a real treat for anyone who’s having a hard time waiting for their own summer vacation to start. -David Welsh

Stepping on Roses, Vol. 5 | By Rinko Ueda | Viz Media – “I really enjoy drawing Stepping on Roses as it continues to have this stereotypical, melodramatic storyline,” says mangaka Rinko Ueda in her author’s notes for volume four. And, sure, I get where she’s coming from. There’s something cozy and comforting about by-the-book romance that I’m certainly not immune to. There’s a reason why that structure works, and it only takes a single spark of real personality to ignite the fire of heart-pounding romance. Trouble is, there’s no spark here to be found. Ueda has perfected the structure and she draws very prettily indeed, but she fails to make it personal, leaving our hearts to beat quietly on. Volume five has a few interesting moments thanks to a sub-plot involving the Ashidas’ devoted butler, but the series’ primary romance remains as empty as ever. Not recommended. – MJ

Time and Again, Vol. 5 | By JiUn Yun | Yen Press – Exorcist Baek-On is full of haughty scorn when he encounters a farmer who believes that his beautiful new wife is really an angel. When he forces the man to see the truth, it results in the husband killing his wife then belatedly realizing she did truly love him. This outcome leaves Baek-On reeling—was he wrong to interfere? has he been living his life the wrong way?—and sends him to a family friend for some advice. Although the volume is a little light on our main characters and doesn’t provide the same kind of character development as the previous volume, it still fleshes out the world well, filling in bits of Baek-On’s family history while offering twisty takes on traditional Asian folk tales. I’m looking forward to the sixth and final volume very much. -Michelle Smith

Fanservice Friday: The sleeve’s the thing

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Earlier this week in our Off the Shelf column, Michelle and I reviewed Kazue Kato’s Blue Exorcist, at which time the following exchange occurred:

MICHELLE: … While I do like the art style, particularly the looks of Rin and Yukio, I must say that the quirky-just-to-be-quirky garb of the academy’s president puts me off quite a bit. Usually I take characters with a bizarre sense of fashion in stride, but this guy’s outfit just seems extra pointless to me.

MJ: I’m on the fence regarding the president’s odd outfit. It’s definitely “quirky-just-to-be-quirky,” just as you say, but it contains a particular element that tends to be bullet-proof costuming for me (giant cuffs on sleeves), which is almost enough to win me over all by itself. There’s a reason I’m obsessed with the artwork in Pandora Hearts.

MICHELLE: That is an oddly specific costuming kink! I haven’t paused to consider whether I have anything similar. Maybe I like long coats, because I really like the outfit Yukio wears while teaching his class.

MJ: Long coats are delicious. I can completely get behind that!

With this in mind, I’d like to dedicate this month’s Fanservice Friday to my bullet-proof costuming kink, CUFFED SLEEVES. Oh, the beauty of it all!

Since I mentioned Pandora Hearts specifically in the conversation with Michelle, I’ll use that manga as my prime example here. Clearly, Jun Mochizuki understands the power of the cuffed sleeve, as she’s filled up her manga with it. Furthermore, most of these sleeves occur on long coats, combining the deliciousness of both to substantial effect.

Raven does particularly well in the coat department, as you can see from the illustrations below. This is a long, flowing coat with a kind of bad-ass vibe, enhanced by the boots and hat. Note how Mochizuki accents the length and fullness of the cuffed sleeves with her choice of camera angle and poses. These illustrations are absolutely gorgeous, and they’re exactly the thing to satisfy my personal costuming desires. For the life of me, I can’t understand why anyone wants to see attractive manga characters nude or scantily clad, when they could be seeing them in a scrumptious coat. Everyone looks beautiful in a coat like this.

Break is also a winner in Mochizuki’s cuffed sleeve department, with a special feature that seems to belong only to him. In the scene below, you’ll see that Break’s overcoat is designed to sit perpetually off his shoulders (I’m not even sure it’s a separate piece of clothing). This has the effect of giving him over-long sleeves (another personal kink of mine), but it also actually creates the illusion of his sleeves being cuffed at the top as well as the bottom, for extra cuff-a-licious goodness.

Though this is an action scene with plenty of important stuff going on, I can’t help it, I’m looking at the sleeves.

On the left below, you’ll see a particularly nice example of Break’s behavior as concerns his over-long sleeves (Mochizuki obviously has a thing for this, and so do I), but it’s not just the men who get good sleeve action in this manga. Sharon’s lacy cuff reveals another just below it, an interestingly dainty look for a character who’s really only dainty on the outside. Echo gets cuffs on the top of her sleeves (similar to Break’s), and even on her boots, attractively framing the thigh area for those who are into that. But the best cuffs really belong to Alice, based on sheer size alone, gracefully matching in scale the large bow at the front of her coat.

Not that Mochizuki is alone in her appreciation of the cuffed sleeve.

Though the look is most common in manga set in the west or in heavy fantasy settings like Blue Exorcist, mangaka like CLAMP, for instance, have demonstrated some love for large, lovely cuffs. In xxxHolic, Watanuki and Doumeki’s winter uniform includes a long, slim coat (nicely matched to CLAMP’s long, slim character designs) with elegant buttons and a substantial cuffed sleeve. And in Tokyo Babylon, doting sister Hokuto is seen dressing up twin brother Subaru in some beautifully cuffed outfits, including this flowing shirt from volume three. Here again we have a large cuff that extends slightly past the wrist, which is a favorite look for me.

The allure of the cuffed sleeve is not limited to fantasy manga, either, nor to manga set in any particular period. Even modern gag series can be found sporting substantial cuffs, as seen here in Kōji Kumeta’s Sayonara, Zetsubou-Sensei. While Nozomu’s no-nonsense shirtsleeves provide a humorous contrast, peeking out from under his otherwise traditional garb (though of course, I wish they were wider!), student Kafuka’s coat is simply pretty and timeless. And no, those aren’t cuffs, of course, but they create a similar look that I’m very fond of, accenting the end of the sleeve by making it wider just before the wrist.

Why do I like this effect so much? I simply have no idea. I only know that it pleases my eye immediately, improving my impression of the outfit as a whole.

And though large, wide cuffs can often be used to accentuate the delicacy of smaller hands, they aren’t any less attractive when paired with large hands. Nor do I associate over-long sleeves with infantilizing characters, though I suspect they may sometimes be used specifically for this effect.

Looking for magical girl manga featuring cuffed sleeves? Look no further than Shugo Chara!‘s Amu Hinamori, cool and spicy, and sporting fantastic cuffs!

So, readers, do you have your own bullet-proof costuming elements? What piece of clothing makes you feel serviced as a fan?

All illustrations from English-language releases of Pandora Hearts (Yen Press), xxxHolic (Del Rey Manga), Tokyo Babylon (TOKYOPOP), Sayonara, Zetsubou-Sensei (Del Rey Manga), & Shugo Chara! (Del Rey Manga). Buy these books for more beautiful cuff action!

Pick of the Week: Pandora Hearts

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Wow, it’s a tough week here for choosing a Pick, though for a much different reason than last time around. Looking at this week’s new manga from Midtown Comics, we’ve got the new omnibus of Cardcaptor Sakura, a second volume of Alice the 101st, Double Cast, 13th Boy (one of my favorite manhwa series), the adorable third volume of previous Pick Chi’s Sweet Home, new Nightschool, new 20th Century Boys… it’s a great week for manga.

All that said, I’m going to go with the third volume of one of my favorite current shonen series, Pandora Hearts from Yen Press. Here are a few bits from my review of volume one:

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 …

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 … The story’s action 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.

For reviews of volumes two and three, check out the tag, pandora hearts. All three volumes are available now.

Quick Takes: All-Shonen Sunday

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Welcome to a far-overdue installment of Quick Takes! This time, we check in on some favorite shonen series from Yen Press and Viz Media.

Pandora Hearts, Vol. 3 | By Jun Mochizuki | Published by Yen Press | Rated: Older Teen

After the last volume’s big revelation about Oz’s former servant, Gilbert, volume three offers up some insight into what happened to Gil over the years Oz lost in the Abyss, including the introduction of Gil’s twisted younger brother, Vincent. First, though, Oz is forced to remember some of the greatest pain in his short life so far when he meets a young boy looking for his father.

This is a fairly dark volume, overall, though very much within the tone set by the series’ first two volumes. Also, it’s quite a feat that Mochizuki has managed to introduce a character creepier than Xerxes Break, especially in a volume where he’s shown luring a young, heartsick Gilbert into his service as a spy. “You don’t need to trust me,” Break says in response to Gil’s reservations. “Just use me. After all, I’m trying to do the same to you.” Still, Vincent Nightray is indeed creepier, setting up Break to be even more (inexplicably) likable than he already was.

This quality–an inexplicably likable creepiness–is what really carries this series, created by a powerful combination of tragically beautiful characters and idiosyncratically beautiful artwork.

Though Mochizuki’s slow revelation of the mysteries of her universe may be painful for some, she’s got me decidedly hooked with her sad, complex characters and their profoundly oversized shirtsleeves. For the sake of these things, I can wait forever. Recommended.

Hikaru no Go, Vol. 21 | By Yumi Hotta & Takeshi Obata | Published by Viz Media | Rated: All Ages

This volume begins with the conclusion to qualifying matches for the Hokuto cup and into preparations for the tournament itself. Meanwhile, Koyo Toya continues to baffle the world of Go by entering a Korean amateur tournament, and Kuwabara prepares to defend his Hon’inbo title against the ambitious Ogata.

Though this manga is nearing its end, volume 21 has the tense, uneasy feel of a middle volume, with all of its characters teetering on the brink as they await the commencement of their battles. To writer Hotta’s credit, the tension feels as fresh as ever, though the pressure of a long series is beginning to show as she’s forced to contrive a misunderstanding between the Japanese and Korean players in order to keep an increasingly mature Hikaru’s temper on edge.

In the midst of pre-war preparations, however, there is a bit of philosophy as well, as Hikaru and Akira stumble upon the real value of their rivalry in a pursuit that would otherwise have little meaning. “It must be lonely to be the God of Go,” Hikaru muses. “You’d have no equal, no rival.”

Despite the series’ length, this volume still offers the same small moments of pathos and insight that have been its hallmark all along–a late-night glimpse of Koyo Toya waiting silently for an opponent who may never appear, Waya’s quiet agony over his own fears and limitations, a glimmer of appreciation from Hikaru for his mother’s earnest support–it is these moments that continue to demonstrate the kind of writing that has made this series special from the start.

21 volumes in, Hikaru no Go remains warm, subtle, and downright elegant. Highly recommended.

Bakuman, Vol. 2 | By Tsugumi Ohba & Takeshi Obata | Published by Viz Media | Rated: Teen

In volume two, Mashiro and Takagi attend their first meeting with a Jump editor who gives them encouragement, if not quite what they were hoping for. Meanwhile, Mashiro’s strange romantic attachment takes an unexpected turn when he and “girlfriend” Azuki are seated next to each other at school.

Though the story’s primary romance remains somewhat baffling, its presence is not quite enough to derail the increasingly compelling nature of the boys’ introduction to the world of professional manga publishing. This storyline is enhanced greatly by the introduction of young editor Hattori and prodigy Eiji Nizuma, which sets up not only a standard Jump rivalry, but also what may be the real rivalry at the heart of this manga, artistic genius vs. calculated ambition.

“There are two types of manga artist who succeed in this world,” Hattori tells the boys at their first meeting. “One is the type of person who draws what they want to draw … they’re the ‘genius’ types. And the other is the type of manga artist like you, Takagi, who creates a hit through calculation.”

This isn’t a new concept by any means, but what makes it so interesting here is the fact that the story’s protagonists represent the “calculated ambition” side of things, which would normally be cast in the role of antagonist, certain to lose to the pure, undisputed superiority of the “true artist.” Where Ohba and Obata intend to take this is anyone’s guess, but there’s no doubt that this cynical outlook suits their style of storytelling. It’s enough to make one wish that this manga was being published outside the purview of powerful Shueisha, who must certainly have a stake in portraying an idealized version of their business. What might these two say if they really had the chance?

Though the series’ portrayal of its female characters is still sketchy at best, new girlfriend Miyoshi’s violent tendencies make her a surprisingly good foil for arrogant Takagi, whose cocky intellect is no match for a swift kick to the head.

Ultimately, neither sexism nor Big Brother is able to dampen the interest to be found here for manga fans outside Japan, so far removed from the world at the source of our obsession. Whether as a sly stab at the manga industry or a tightly-controlled commercial for it, Bakuman is fascinating, plain and simple.

To read previous reviews and discussion of these series, check out the tags, pandora hearts, hikaru no go, and bakuman or browse our Index of Reviews.