not simple

The story: Ian has a troubled past and the only thing he wants to do is find his sister. Traveling across Australia, England and America to find her, he’s trailed by a reporter, Jim, who is recording Ian's travels for his book. As a lonely young man, Jim is the closest thing Ian has to a friend. Will Ian find his sister, or will his tragic life continue?

Reaction: To say this story is a tragedy is an understatement. Reading it was somewhat akin to a watching a train wreck—you simply cannot look away.

But, the problem is that this story is nothing but tragedy. There’s no hope, optimism or redemption; it’s a grim story, plain and simple. His emotions, his family and his life are all within his always-eluded grasp, but he never displays passion, or makes a grab for it. The only exception is his sought-after sister, who seems oddly detached despite her promise to meet him again.

I kept hoping for a light at the end of this dark tunnel of a story, to no avail. While I hoped side characters would provide some sort of comedic relief, even they fell short, especially Jim’s neighbor, Rick.

Deep thoughts: Unlike a traditional narrative, not simple starts at the end, with the completion of Ian's journey. While I don’t loathe the non-linear narrative structure—my favorite film is Pulp Fiction—it doesn’t work well here as there's no "aha!" moment revealing something worth caring about.

There’s flashes to Ian’s childhood, interspersed with his interviews with Jim and the storyline based in the present. It’s disconcerting and muddles the spiraling uncontrolled trajectory of Ian’s life.

Artwork: Unlike some other reviewers, I actually like Natsume Ono’s art style here. It gives a decidedly contemporary, post-modern edge to this story. As precarious as the lines may seem in their unfinished state, they perfectly mirror the razor’s edge that Ian lives on. While the distorted eyes, dimensions and perspectives in not simple may be disconcerting to others, I thought it a fitting pair with this dark tale.

The verdict: Meh. As much as I wanted to like this story—and you do when you see the kind of life Ian has lived—I couldn’t bring myself to do it. There’s a sense of masochism afoot as there are few happy moments in Ian’s life and just when he seems in reach of some semblance of happiness, it’s taken away not only from him, but also any reader seeking any kind of redemption in this melancholy single-volume manga. not simple is available in the U.S. from Viz.

Honey and Clover, vol. 9

The story: It's the beginning of the end in this penultimate volume—graduation is just around the corner for Takemoto and Hagu, while Morita and his brother will finally have their peace, or so they think. Even Mayama's life is changing when he moves to Spain to be closer to Rika.

While the gang begins to see the light at the end of the tunnel that has been their college experience, they’re still wistful for days gone by. Can they leave their carefree existence behind and tackle the real world?

Reaction: This is by far the best volume of the whole series, with a tragic accident consuming the dreams of one of the main characters and creating a ripple effect of self-exploration throughout the group. Without revealing too much, it calls into question everything the person affected thought they would do following their departure from art school. I found myself tearing up at times, astounded at the character’s strength and Chica Umino’s sheer brilliance in creating said character's reaction to the very tough situation they're presented with.

There’s raw emotion, too, especially in explaining the reason for Morita’s crazy work schedule and standoffish behavior. So much is revealed about why he is the way he is, and showing all the sacrifices he’s made over the years despite all outward appearances. While no definitive romantic choices are made, the book moves towards resolving the two love triangles that have consumed this series thus far.

Deep thoughts: What I’ve especially appreciated in this series is Umino’s skill in surrounding panels with a character’s inner monologue. Interspersing beautiful imagery and the character’s spoken words amongst black spaces filled with near-poetic prose draws me into this world that is so downright beautiful, even in its jarring tragedy.

There’s also the clever little details in Umino’s text. In the beginning chapter, Hagu expresses interest in someday carving a statue out of marble. In a later chapter, Umino loops back to this scene, noting the look of her face—“white as marble.” It’s a detail easily overlooked, but speaks to the poignancy with which Umino has created her characters and the world of Honey and Clover.

Artwork: There’s a certain artistic balance between innocence and its loss in this volume. From playful scenes during Morita’s childhood to Mayama’s sheer joy at being invited to join Rika in Spain, there’s an optimistic lightness afoot. But, this is balanced and tempered by the darkness and conflict approached in the volume’s second half. There’s blood, tears and dark emotions illustrated, providing an intimate look at the pain and turmoil bubbling up. In visually telling this story, Umino builds the main conflict up to a boil slowly, but surely. At volume’s end, it was all I could do but sigh at the perfectly simple last panel.

The verdict: Highly recommended. There’s just so much raw emotion here, like clay pots waiting to be fired. It pours out of the characters in a way that never feels forced and in words that never become stilted. It’s just real. While what happens next will no doubt be sad, there’s a sense of closure at hand. All I know is that despite my connection to these characters, I'm looking forward to seeing them move on. Honey and Clover is available in the U.S. from Viz.

We Were There, vol. 2

The story: Nana has a crush on popular guy Yano, but he's constantly picking on her in school. When she finally 'fesses to her feelings, all she gets is an ambiguous response in return. But, in this volume, Yano's behavior is explained with flashbacks to memories with his now-dead, ex-girlfriend. From the start of their friendship to her death in a car accident, Yano's emotions run the gamut. But, things change and he admits to his new feelings for Nana; she's understandably elated. But, can they overcome Yano's troubled romantic past, or is Nana forever doomed to live in the shadow of his ex?

Reaction: This is not your standard shojo fare. Where other high school romances run the comedic route, We Were There uncomfortably settles into bittersweet reality. There's a dark place where Yano's personality escapes to and, at times, it's painstaking to watch Nana try to help him while simultaneously being pushed away. But, there's something to be said for Nana's seemingly unending capacity and determination to love Yano; it's an optimism you have to have a certain sense of maturity to truly appreciate.

Deep thoughts: In 2006, We Were There won the 50th Shogakukan Award, which is given annually by Shogakukan Publishing. Interestingly, the award is not exclusive to the company's works. Shogakukan, which started the awards in 1957, is part of one of the largest publishing conglomerates in Japan, Hitotsobashi Group. Along with Shuiesha, also part of the Hitotsobashi Group, Shogakukan also owns Viz Media (and We Were There publisher) in the U.S.

Artwork: As I've said before, there are some visual reminders of Monkey High! in terms of character design. But, more often than not, there are blushing cheeks, mildly humorous classroom scenes and respectfully illustrated serious moments. The art is even-handed in terms of "shojoness" and never veers into the extremes of screentone addiction or ridiculously floating flowers -- it's simply not that kind of manga.

The verdict: Highly recommended. There's a certain tenderness of youth here, with an edge of cynicism. Sure, there's time to appreciate romance, but it's a double-edged sword, too -- love can bring pain. Thankfully, this series only skates on the edges of melodrama and instead reveals a compelling teenage relationship that adults can appreciate. We Were There is available in the U.S. from Viz.

We Were There, vol. 1

The story: It's the first day of high school for Nanami Takahashi and she's determined to make new friends. But, things don't go exactly as planned -- plenty of people already know each other, so she feels left out. Then there's Motoharu Yano, the most popular guy in class -- he has plenty of friends (and fans), not to mention he does well in school. But, there's something about him that both attracts and repels Nana. What secret could Yano be hiding that explains his behavior towards Nana?

Reaction: It seems like ages that I've been wanting to read this series and when I saw We Were There in Danielle Leigh's recent Comic Book Resources column, I knew I had to get on it! This a slowly paced story that takes a conventional high school romance story line and gives it some dramatic twists. But, they aren't overdone, nor are they unbelievable. In Yano, Yuki Obata has created an anti-hero of sorts; he's someone you reluctantly cheer for. Luckily, Yano is balanced by the cute and undaunted Nana, who has an amazing ability to bounce back from adversity (and Yano's put-downs). It felt like a very natural progression for an unlikely friendship.

Deep thoughts: In this volume, Nana and her classmates go on a field trip with a 26-mile hike, essentially the length of a marathon. Taking anywhere from just over two hours to several hours to complete, marathons were originally created to commemorate the run of a storied Greek messenger, Pheidippides. I'm not sure if participating in marathon-length hikes are regularly a part of Japanese physical education, or simply a convenient plot device, but I can't imagine a marathon being a required school activity in the U.S.

Artwork: The artwork here actually reminded me of another shojo mangaka, Shouko Akira of Monkey High! There's something about Yano's face that makes me think of that book's male protagonist, Macharu (but not his ears). However, perhaps because of this series's more somber tone, the artwork is understated in comparison to other shojo comics. There's no floating flowers, inexplicably shining faces or other "shojo sparkles." Instead, there are quietly poignant moments, embarrassed looks and blushing cheeks, much better reflecting reality.

The verdict: Highly recommended. There is an earnestness in We Were There that is both admirable and worth watching. Obata has created characters that are multi-faceted; there's no perfect, nor truly horrible, people. And there's not only the usual depth of feeling that comes part-and-parcel in shojo manga, but there's also breadth of emotion, something rarely seen and done this well. We Were There is available in the U.S. from Viz.

Black Bird, vol. 2

The story: Misao was just your normal, everyday teenage high school girl. Except for the whole "seeing demons" thing. But, when she turns 16, her life takes a turn for the weirder when her first love and childhood best friend Kyo returns from a long absence, demanding she become his bride. As a tengu demon clan leader, Kyo wants to marry Misao for the vast power her blood yields -- their marriage will make his clan the most powerful in Japan. While all Misao wants is to be normal, she can't deny her feelings for Kyo, either. When the teenage girl meets Kyo's vassals and his older brother -- who originally was first in line to head the clan and marry Misao -- she learns more about Kyo's past and wonders why she can't remember it herself.

Reaction: I didn't particularly like the first volume of this manga, but I decided to give the second volume a chance. There was definitely more comedy here, and there were more believable "couple moments" that didn't reek of co-dependency. Although the last chapter really pushes it, there was decidedly less licking/healing scenes involved throughout, which I consider a bonus. As far as characters go, I liked the introduction of Kyo's vassals -- it turned it into a reverse-harem comedy, and it revealed a bit of Kyo's true character and his history, which I think was sorely needed.

Deep thoughts: The harem comedy -- or the teenage boy surrounded by a bevy of beautiful girls, or bishojo -- is rather popular in Japanese anime and manga It often includes unnecessary panty-flashing fan service and titillating situations. Increasingly more popular is the reverse-harem comedy; it turns the tables and surrounds a girl with handsome young men. The most popular series of the sub-genre is undoubtably Ouran High School Host Club.

Artwork: Kanoko Sakurakoji knows how to draw handsome young men, unbearably cute tiny tengu and blushing cheeks aplenty. She's also got a hand for turning the usual shojo fare of floating flowers and sparkles towards a decidedly darker, more gothic (and fitting) theme with its blood spatters. There's also some mild groping and rape-like violence involving Misao that's appropriately disturbing.

The verdict: If only... This volume is an improvement, perhaps because Kyo's and Misao's interaction is less one-sided and forced. Revealing Kyo's motivations went a long way towards explaining his (still inexcusable) behavior. But, I still have other issues with this title, namely it's fragile heroine and her unhealthy relationship. Black Bird is available in the U.S. from Viz.

MangaCast Review: Ooku: The Inner Chambers, vol. 2

I've posted my first review of the New Year on MangaCast, the source for manga news and reviews. This time around, I reviewed the second volume of Ooku: The Inner Chambers. Here's an excerpt:

In an alternate history of feudal-era Japan, a mysterious epidemic has hit the country’s male population. ... While this started as an AU history lesson, it slowly developed into a twisted love story. Yoshinaga’s set-up of the redface pox receives more political detail and shows its role in starting the female line of shoguns.

To read more of my review, click here. Ooku: The Inner Chambers is available in the U.S. from Viz.

Real, vol. 2

In recognition of Takehiko Inoue's birthday today, I'm posting a review of the second volume of his basketball series, Real. Thanks to David Welsh of Manga Curmudgeon for the head's up!

The story: Nomiya and Togawa are two young men dealing with disability and a shared inability to play basketball as much as they'd like. After being beaten by an elite wheelchair player, Togawa is focused on rejoining his team, the Tigers. Unfortunately, his burned bridges may make that a tougher order than he expected. Sandwiched at volume's middle is the continuing saga of Nomiya's ex-teammate, Hisanobu, who was hit by a garbage truck and sustained a spinal injury, and whose road to rehabilitation is paved with denial. At volume's end, Togawa's past is revealed, including his life before his disability occurred.

Reaction: There are some purely painful moments to watch -- from Hisanobu's slow acceptance of his permanent paralysis to Togawa's rise and fall in sprinting, Takehiko Inoue has a true talent for relating heartbreaking scenes filled with palpable emotion. And then there is the intensity inherent in every panel -- I watched as someone hit rock bottom, while another felt himself rise to the top. But, this isn't drama for drama's sake, either; it serves a greater purpose in Inoue's hands. It's an illustration of the ways in which we're forced to live in the face of tragedy.

Deep thoughts: Togawa's leg amputation is due to osteosarcoma, a type of bone cancer. It most often occurs in the knees or upper arms, and most often strikes people between ages 10 and 19. Considering Togawa was in middle school when he was disagnosed, it was a prime time for him to develop this rare cancer. While amputation is an extreme form of tumor removal, it is quite effective.

Artwork: This volume, like the last, opens with color portraits of Nomiya and Togawa, and additional color pages are sprinkled between chapters. Inoue has an uncanny ability to capture subtle nuances of emotion, a simple quirk of the brow or squinting eye, can convey so much. This is especially important when there's no way to incorporate body language as the cast has varying levels of mobility. Perhaps showing his experience with action-oriented stories, Inoue's panel pacing and composition keep the reader steady while setting the appropriate tone.

The verdict: Required reading. Honestly, this is a poignant, amazing, yet humble, portrayal of the human spirit. With Inoue's vast skill apparent, this series moves as deftly from humor to tears as a ball smoothly dribbled across the court. These are troubled young men, with basketball their only hope of redemption. At times both startling and inspiring, I can't recommend this manga enough. Real is available in the U.S. from Viz.

Real, vol. 1

The story: Nomiya is just another teenage guy who loves basketball. But, after a nearly fatal motorcycle accident, he's kicked out of school and off the team, which is glad to let him go. While trying to find some purpose in his mistake-riddled life, he runs across Togawa, a guy just as passionate and intense about basketball as he is. Only, the stoic Togawa plays wheelchair basketball. Soon enough, the two team up to scam other b-ballers out of their cash by winning pick-up games against them. While they're pretty confident in their strategy, they come up against another wheelchair player who is the best Togawa's ever seen and promptly lose the game. Will Nomiya and Togawa be able to conquer their inner demons and find a way to play basketball fair and square?

Reaction: This is a really amazing story of two guys' love of basketball -- but the turmoil they each experience is what makes it more than just a story about basketball. Nomiya is wracked with guilt and, in some ways, is punishing himself by not playing ball at this story's beginning; Togawa has been living in a shell, but Nomiya is slowly picking away at it, forcing him to rejoin society. The short moments of growth shown here reveal a lot not only about the characters, but the type of mangaka Takehiko Inoue is; it's a subtly nuanced story with an emotional depth worth following.

Deep thoughts: This book reminded me of the 2005 documentary Murderball, about a wheelchair rugby team. There's the expected explanation of what happened to make the characters disabled, but these are by no means people or, as in this book, characters who feel sorry for themselves. The reason they play a sport is because they need to -- for as much as physical, as social and mental, reasons. There's a lot of frustration and anger, but there's also determination and toughness.

Artwork: Inoue's artwork here is more mature and developed than that seen in his other popular basketball manga series, Slam Dunk. There's a real grit and intensity throughout these pages, but there's also comedy. While Nomiya isn't a pretty boy by any means (in fact, he looks more lumbering and scary than anything else), there's a lot to laugh at when it comes to his hairstyle emulation of other ballers, like Kobe Bryant or Jason Kidd. The action here is well done, with intense game play and believable movement.

The verdict: Highly recommended. In recent years (and thanks to my husband), I've become a big basketball fan. While this series isn't so much about basketball as it is about the lives of two young men, I found it funny, touching, emotional and, well, real. The characters make this story worth reading while the love of basketball makes it easy to connect with. Real is available in the U.S. from Viz.

Yurara, vol. 3

The story: High schooler Yurara and her friends, Mei and Yako, can see spirits and have the spiritual powers to help the wayward ghosts pass on to the other side. After romantic confessions from both Mei and Yako, Yurara's all a tizzy when it comes to the men in her life. Does she like the goofy, perverted, yet secretly sweet Mei, or the seriously aloof and smart Yako? Regardless, she's determined to find out if it's her they really like, or just her beautiful guardian spirit. And, if things weren't complicated enough, her grandfather stops by for an unannounced visit, too!

Reaction: This volume was all about romantic entanglement and the confusion it brings. While Yurara's worries about who really loves her are unique in their supernatural origins, it's a question many girls and women ask themselves: does he like me for who I really am, or just superficial reasons like beauty? By doing so, it turns this story into a more easily relatable one, freaky ghosts notwithstanding! Meanwhile, there's some intriguing background provided on why Yurara has a guardian spirit in the first place, and the connection between the two.

Deep thoughts: Yurara's grandfather asks for curry when he first arrives at Yurara's home, and Mei suggests adding bananas to it. While adding bananas is certainly non-traditional, Japanese curry is still rather different from Indian curry, as is that of other Southeast Asian countries, like Thailand, where coconut milk is used. Introduced to Japan by the British Navy, Japanese curry is more of a stew mixed with a sweet, savory and spicy curry sauce served over rice.

Artwork: Since this volume focuses a lot on our comedic trio's romantic trials and tribulations, there's plenty of magically floating floral backgrounds. But, other than that, there's some really great comedic moments, like when Yurara's rival pelts her with tennis balls, or when Yurara's grandfather tries changing his appearance to look more hip. Unsurprisingly, there are also some slightly scary evil spirit moments.

The verdict: If only... While I can appreciate that there was a need to get this love triangle resolved quickly, I wish it hadn't taken so much of this volume. The subplot involving Yurara's guardian spirit and her grandfather was much more interesting to me and I would have loved to see more development on that front. Hopefully, the next volume will explore it more in depth! Yurara is available in the U.S. from Viz.

Yurara, vol. 2

The story: Yurara's got more trouble on her hands when her female classmates get jealous of her relationship with Yako and Mei. When Yurara is attacked by an evil spirit possessing her classmate, she gets more attention from Mei than she bargained for and finds herself wondering if she's in love. While Yurara tries to figure out her feelings, Yako makes sure to tell her about Mei's romantic past. When the woman Mei once loved comes back into the picture, Yurara's guardian spirit finds herself working overtime!

Reaction: There's some pretty evil spiritual possessions in this volume, which reveals goofy Mei's heartbreaking past. I liked that there's more to Mei than his skirt-chasing ways; it gives him some much-needed character growth, too. I also liked the self-reflection Yurara starts to undergo in this volume. She grows a little by doing so and puts the boys under the microscope for their interest in her.

Deep thoughts: A couple of different times in this manga, Mei calls Yurara's guardian spirit "big sister." It's a reference to the term onee-san, which translates literally into big sister, but is also used as a nickname for a young woman. In manga, you'll often see a younger girl call an older girl onee-san, like in Skip-Beat! where Maria addresses Kyoko similarly.

Artwork: There's the usual beautiful boys, pretty girls, inexplicably floating flowers and an abundance of toner to help convey emotions and evil spirits. But, there's also a balance between the usually bare backgrounds seen in shojo manga and fairly detailed panels, especially in streetside settings. The action scenes throughout this volume keep the pacing clipping right along, and there isn't too much undue introspection to slow things down.

The verdict: If only... I like this series well enough, but it's fairly duplicative and it feels like it can't decide if it's a romantic comedy or supernatural thriller. While there was some decent character growth, if there was more focus on why Yurara has a guardian spirit, it would provide some much-needed substance. Otherwise, this is just another supernatural shojo love story set in a high school. Yurara is available in the U.S. from Viz.

Best New Series of 2009

It's that time of year again where everyone puts out their "best of" list. Of course, this is by no means a comprehensive list of the best new manga series released in 2009 -- I don't know anyone who has read everything that came out this year and I'm certainly not one of them. This is simply a list of the best new series that I happened to read and review this year. So, read through and let me know what you think!

Children of the Sea: This series was the first published online as part of Viz's new IKKI website. I was immediately drawn in by the realistic art and the mystery behind Sora's and Umi's connection to the sea. This is a series that quietly sucks you in deeper and deeper, much like the tide along the ocean's edge. While I haven't reviewed the online chapters in some time, I've been able to keep up with this intriguing mystery. Children of the Sea is available in the U.S. from Viz.

Detroit Metal City: DMC is a laugh-out-loud comic filled with obscenity and profanity -- and I loved every minute of it! This series doesn't take itself seriously, but it does take the business of satire seriously. In a send-up of death metal bands, Soichi is a pop-loving, sweet country bumpkin who is also lead singer of Tokyo's raging death metal band, Detroit Metal City. While I haven't gotten around to the second or third volumes, I will be doing so soon! Detroit Metal City is available in the U.S. from Viz.

The Name of the Flower: Quietly poignant while illustrating the depth to which some people sink emotionally, this story is about love's power to save people just as much as it is about the main characters' depression. With reclusive writer Kei and teenage schoolgirl Chouko growing closer each day, how will they resolve their unexpected love story, or is a tragic ending truly too fitting? If you've tired of formulaic shojo romance, then please pick up this manga. The Name of the Flower is available in the U.S. from CMX.

Ooku: The Inner Chambers: In this period piece featuring an alternate history of Japan, woman literally rule. By turning the tables on men, interesting parallels are drawn and a medical mystery begins. Fumi Yoshinaga's latest work is heavy on the narration, but the characters are unsurprisingly compelling. If you're yet to explore this prolific mangaka's work, this is a great introductory series! Ooku: The Inner Chambers is available in the U.S. from Viz.

RIN-NE: While it's yet to be seen if this will be as popular as Rumiko Takahashi's older works, there's certainly a great foundation laid in this comedic shonen manga where a "sort of" shinigami and his classmate Sakura help the undead move on to the other side. While it took me awhile to get into this story, I'm glad I've kept up with it online via Viz's Rumic World website. RIN-NE is available in the U.S. from Viz.

Venus Capriccio: Tomboyish Takami gets dumped by her latest boyfriend, when her best friend, pretty boy Akira, tells her how he really feels. In a parallel to their piano duets, this pair deepens their relationship as they learn how to play together. I was pulled in by the quiet tension in this sweetly romantic shojo story. Venus Capriccio is available in the U.S. from CMX.

Yotsuba&!: While some might quibble over whether or not this is "new," I couldn't help but add it to the list. Yen Press picked up this previously lapsed ADV license and published seven volumes of the wacky adventures of the ever-goofy, green-haired, 6-year-old Yotsuba, including the first five volumes originally released by ADV. If my experience is any indication, Yotsuba's childhood innocence and vivid imagination will have you giggling in no time! Yotsuba&! is available in the U.S. from Yen Press.

Manga Bookshelf Review: Honey and Clover, vol. 8

I've got a new guest review up at Manga Bookshelf, a great manga blog by Melinda Beasi. This time around, I take a look at Honey and Clover, vol. 8. Here's a peek at what I thought:

Love triangles abound in this slapstick-happy manga that mixes comedy with a wistful thoughtfulness that can only be indulged in while attending college. ... This is another well done volume, with an overarching theme of how we try to help one another through pain of one kind or another – whether it’s the pain of the hiccups, pain from love or the pain of living, each of the characters in this volume are trying to help one another in some way.

To read the rest of the review, click here. Honey and Clover is available in the U.S. from Viz.

Review copy provided by the publisher.

Ouran High School Host Club, vol. 2

The story: In another set of wacky adventures, the club starts off the volume with physical examinations at school. Of course, there's one little problem -- what will happen if Haruhi's cross-dressing secret gets out? The second tale involves an unprecedented fight between the twins, Kaoru and Hikaru, and Haruhi can't help but get involved. But, with the way the twins are fighting, is there any hope of them resolving their differences? In the last adventure, the gang heads to a water park owned by Kyoya's family to hilariously disastrous results!

Reaction: Everything in this series is so out there and it takes nothing seriously. The characters are silly and so exaggerated in their satirical nature that I find myself giggling out loud. As far as the misadventures go, the endings aren't unexpected (things are fairly episodic still), but the physical comedy is at its best here. There are glimpses of romantic moments, but it's blushing cheeks and any feelings are relatively unacknowledged past the initial joke. I like that the focus here isn't on some kind of unending love between two characters, but on interactions between everyone in the club. It's refreshing and makes for some great visual gags.

Deep thoughts: If manga are any indication, full health examinations are a regular occurrence in Japanese schools. While the United States is in the midst of a major health care reform debate, many countries, including Japan, have a nationalized health care industry. With the exception of the United States, every industrialized country in the world has a form of universal health care.

Artwork: Sure, there are plenty of pretty boys here, but Bisco Hatori's talent really shines when it comes to illustrating physical comedy. Whether it's Tamaki's dejected face or the Hitachin twins devious planning or even Mori's stoic silence, it's all played up to great effect. The costumes and settings are another strong point -- I especially like the Arabian-themed outfits from the sixth chapter.

The verdict: Highly recommended. This shojo rom-com has a cast of characters that exaggerate stereotypes to hilarious effect alongside straight woman Haruhi. OHSHC takes all the shojo tropes and takes them to their ridiculous extreme at a breakneck speed that had me zooming quickly through each chapter. If you're looking for laughs in a high school setting with no major romantic entanglements involved, you could do much worse than this series! Ouran High School Host Club is available in the U.S. from Viz.

Butterflies, Flowers, vol. 1

The story: Time's are tough around Choko Kuze's house -- her family, once prosperous, lost its fortune and her parents run a little ol' soba shop. To help out, she interviews for several jobs. Unfortunately, the only job she can get is in an office where her boss is a total slave driver (not to mention kind of creepy). So, imagine her surprise when she finds out he used to be employed by her family as her old caretaker, Cha-chan! In work mode, Masayuki Domoto is all business, but outside of the office he insists on calling her "milady." Just how will this unlikely pair fare in work and in life?

Reaction: Oka-ay... So, I'm just going to get it out there -- I think the first pages of this manga are totally inappropriate and creepy. Masayuki asks Choko in her job interview if she's a virgin (and, no, this is not the worst part). Once she confirms that she is, he gets the weirdest grin on his face. Honestly, I got a little skeeved there at the perverseness and quiet misogyny. But, I decided to tarry on -- if this is the only new josei series I'm going to get for awhile, I'm going to finish reading it before fully judging it on its merits (or lack thereof). Thankfully, this story got much better (and funnier) after these inauspicious opening pages.

Deep thoughts: In many OL (office lady) manga like this series, there's always at least a hint of prejudice against women. However, these are josei titles like Tramps Like Us or Suppli, both created by female mangaka, making the prejudice more of an observation or statement regarding the inequality of women in Japan. Culturally, Japan is considered very masculine, to the detriment of the role of women; I've mentioned it here before.

Artwork: There's something very familiar in the shojo-like artwork here. I couldn't figure out what series it reminded me of, but it struck me as a style that I've seen before. Otherwise, there are some funnier moments here, like when Domoto hits an office intruder. As expected of its title, there are, indeed, flowers throughout this manga, along with the requisite shojo sparkles and appropriate screentone. Butterflies, not so much.

The verdict: If only... This manga has a lot going for it in the social class role reversal, goofy characters and physical comedy, but the beginning of the story belies that. Butterflies, Flowers is available in the U.S. from Viz.

Ooku: The Inner Chambers, vol. 1

The story: An epidemic has struck Edo-era Japan, killing three-quarters of the male population. With men in short supply, women step up to take over jobs traditionally held by their male counterparts, including that of shogun. In the shogun's inner chambers, or ooku, thousands of men toil behind the scenes, serving not only as administrators, but as a harem. When a new shogun takes over 80 years after the first infected boy dies, the monetary wastefulness of the ooku is shed in an effort to "rerelease" these highly desired men back into the general population. At volume's end, the shogun is determined to learn how the epidemic came to pass and the subsequent elevation of women in Japan.

Reaction: I'll admit that I'm a big fan of Fumi Yoshinaga's prior work Antique Bakery and had high hopes for this title. While the settings, characters and plot do not disappoint, I do have to agree with other reviewers initially put off by the flowery language used. However, perhaps due to my familiarity with Shakespeare, it passed quickly.

Otherwise, this is a slice of life-style manga with an alternate history bent. While this volume gives the series a slow start, it does have a lot of "world building" to do, which is to be expected. My largest criticism is regarding the "tell versus show"-style of storytelling Yoshinaga uses. Characters are prone to long bouts of dialogue and there's a narrative voice present throughout, not to mention the occasional soliloquy.

Deep thoughts: Yoshinaga is well known for her yaoi work and makes a point of including homosexual characters and/or situations in her non-yaoi works. Ooku is no different; with so many men quarantined from contact with the outside world, they resort to finding carnal pleasure in the only way available to them (not everyone is in service as a concubine for the shogun). While I am not familiar with Yoshinaga's yaoi work, she avoids the all-too-easy trap of making homosexual characters into glib stereotypes in her non-yaoi works. Since American mainstream media often succumbs to just such portrayals, it's refreshing to read Yoshinaga's works.

Artwork: This being a period piece, there's a great sense of place established from architecture to costumes. Backgrounds are relatively sparse, either reflecting a simple aesthetic or Yoshinaga's ability (or lack thereof). However, the art isn't so much the focus here as the storytelling. There's moments of action, but mostly these are well-drawn characters dealing with their own inner turmoil and their reactions to the sacrifices that must be made when men are in short supply.

The verdict: If only... While I find this story intriguing and the characters enjoyable, there's something to be desired here — mostly less text and more setting/plot movement. However, compared to all the other manga out there, this is still one of the best and well deserves the Viz Signature treatment. I know I'll be first in line to pick up volume two when it hit shelves later this year. Ooku: The Inner Chambers is available in the U.S. from Viz.

Ouran High School Host Club, vol. 1

The story: Haruhi is a scholarship student at the ubër-prestigious, private Ouran Institute. One day, while looking for a quiet place to study, she stumbles into a very special club of the school's best, and handsomest, male students. Amazingly, it's modeled after a host club, where young, handsome men entertain women! When Haruhi breaks an expensive vase, she finds herself indebted to the club. To pay back them back, the club members -- who are yet to recognize the androgynous Haruhi as a girl -- force her to become a host. What hijinks will ensue and can Haruhi endear herself to the club enough to get rid of her debt?

Reaction: What's not to love about this slapstick comedy that has the chutzpah to send up some of the best shojo manga tropes? There's a host club member for every fetish -- whether it's shotacon, twincest or the exotically handsome type -- and Haruhi is the perfect straight man for all the other characters, especially since she's just a "lowly commoner." I also liked the other students involved in the story. From an arranged marriage to a fangirl, the side characters bring some much-needed variety to what could easily devolve into a simple gag comedy.

Deep thoughts: In this volume, there's an arranged marriage between two Ouran students. While this is a traditional practice in other countries, it is unheard of in mainstream American culture. While the divorce rate in the U.S. is 50 percent (the highest in the world, I believe), arranged marriages have a lower divorce rate. Whether this is due to commitment to an arranged marriage as opposed to "love matches," or if divorce is simply not considered an option, is still uncertain and merits further research.

Artwork: Since this manga is a satire of all things shojo, the art definitely reflects that. From abundant screentone use to panels with flowers bursting at the seams, there's a lot of the visual trademarks of the girly genre. There's also plenty of blushing cheeks, chibis, doe-eyed looks and extreme close-ups. Thankfully, it's not all pretty boys and girls; Bisco Hatori also does a great job with the many costume designs and the elaborate setting of the private high school.

The verdict: Required reading. This is one of the best shojo series out there, with its entertaining plot and character dynamics. Bisco Hatori really outdoes herself here with a tongue-in-cheek satire of the genre, while still entertaining its committed fans. If you only ever read one high school shojo manga, you'd be hard-pressed to find a more entertaining read than this one. Ouran High School Host Club is available in the U.S. from Viz.

Crimson Hero, vol. 3

The story: Tomoyo's agreed to join the team, so Nobara finally has what she wants -- enough people to play with. Unfortunately, it seems like that's all Nobara cares about as she's ignoring her teammates and completely focused on playing. When Rena has a trip to the nurse's office, Nobara gets a reality check. Meanwhile, Yui, the team captain, has arranged a practice game against Shoei High and Crimson Field must get its act together. Of course, playing isn't free, but Nobara doesn't have any money to spare. When she calls home for funding, she eventually learns of the burden her younger sister must bear. How will Nobara balance the responsibility to her family with her love of volleyball?

Reaction: There was a lot to get through in this volume, including the practice game, Nobara's selfishness and how it affects her sister, and learning that the boys in her dorm are her friends. While the action breaks up the melodrama of Nobara's life, there's a familiar feeling for me when I read this manga. It reminds me of how much more desperate and complicated things seem when you're younger, and Nobara eventually makes a big decision that shows her character growth from her short time living independently. The end of this volume also leaves on a bittersweet moment involving Haibuki and Nobara.

Deep thoughts: According to researcher Geert Hofstede, Japan is a very masculine country, meaning that gender roles are more rigid than they are in feminine countries. I was particularly surprised to read in this volume that in Japan it's customary for women to control the pocketbook. While I was surprised that women are in charge of the accumulation of wealth -- an oft-considered masculine trait -- it was nice to see all of the powerful women in Nobara's family, including her mother and grandmother. In many ways, the ryotei, or fancy family restaurant, has created a matrilineal inheritance, passing along the restaurant to the eldest daughter.

Artwork: Again, this isn't the best art I've seen from Mitsuba Takanashi, but it's certainly better than many mangaka. There are a few more babyish faces here than I'd like, especially since it seems to be inconsistenty applied. There are also a couple of panels where the character appears cross-eyed. It may be the angle or the nature of the profile, but it did look rather awkward.

The verdict: Highly recommended. Out of the first few volumes that I've read thus far, I especially liked this volume. We see a volleyball game, Nobara growing up and the team succeeding in small ways. It's simultaneously reminiscent, motivating and a little emotional, making it perfect for the well-rounded manga reader. Crimson Hero is available int he U.S. from Viz.

Crimson Hero, vol. 2

Sorry I didn't have time to post reviews each day this past weekend, but things got a little (unexpectedly) hectic. But, here I am, back to regular posting!

The story: Nobara's found two other players to restart the girls' volleyball team, but they need at least six people to play. Not only that, but the boys' team is making life tough for the girls by calling them names, making it nearly impossible to recruit. Sick of it, Nobara challenges the boys to a game. If the girls score one point against the top-ranked boys, the guys have to lay off them. But, if the boys win, the girls give it up. Will Nobara and the other ladies be able to eke out a point, or are they doomed to lose out to Nobara's dormmates?

Reaction: This was a well-rounded volume, with plenty of action, emotion and even a hint of romance. I loved the plotline involving former junior high volleyball star Tomoyo. She severly injured herself when she was younger, giving up on playing for the past two years. While she's got feelings of inadequacy related to her lack of playing time, Nobara is persistent in her pursuit. I also liked the new characters introduced; they're all different and are determined in their own ways. But, Nobara is the pull for me with her absolute passion for volleyball. She really gives it her all.

Deep thoughts: At the end of the volume, mangaka Mitsuba Takanashi shares the research she did of girls' high school volleyball. She shares an anecdote and does some realistic sketching of a match; it's interesting to read her layman observations. I'm not very well versed in volleyball, so I could relate to Takanashi's viewpoint. And her hard work paid off by adding another valuable layer of depth and realism to this great story.

Artwork: As I've mentioned before, I started reading Crimson Hero midway through its run in Shojo Beat, so it's entertaining to see the characters so young here. There are a couple of mis-steps, like a panel where Nobara's face is squished up, making her look even younger than usual, and all of the similar-looking guys. But, the art is very realistic here with the usual shojo use of screentone and appropriate sparkliness. Lastly, I'm still enjoying the running gag of Nobara being mistaken for a boy -- Takanashi draws her as such a tomboy, both in body type and fashion.

The verdict: Highly recommended. This volume has a lot going for it and I liked the underlying moral to this story, as well as the end scene between Nobara and Tomoyo. It's also refreshing that this shojo manga isn't entirely focused on romance. Crimson Hero is available in the U.S. from Viz.

Manga at the Movies: Honey and Clover

Since I watched the Honey and Clover film via Netflix, I thought I'd review it. Of course, I'm a big fan of the manga, so I was wondering just how much I'd like the film. Considering the many live-action and animated films based on manga properties, this might serve as a reoccurring feature.

The story: Takemoto is a student at an arts college in Tokyo. One day while hanging out at Hanamoto-sensei's house, he meets Hagu, a shy new student studying painting, and falls in love at first sight. As Takemoto tries to win over Hagu, they form a group of friends with Morita, an immensely talented scultptor and "super senior" who also has a thing for Hagu; Mayama, a soon-to-graduate design student with an overwhelming—creeping on stalker—crush on his intern supervisor; and Yamada, a ceramics major with an equally intense crush on Mayama.

As they go through their year together at school, they struggle with finding artistic inspiration, dealing with unrequited love and exploring the unknown territory of the adult world. When Takemoto's loses out to Morita for Hagu's attention, he sets out on an epic bike ride to somehow put his life in order. Meanwhile, Hagu has her own internal struggle—as one professor pushes her to knowingly create award-winning art, she finds herself sadly uninspired. There's also the almost-too-painful-to-watch love triangle between Yamada, Mayama and Mayama's boss, Rika.

From page to screen: I loved watching this manga come to life in a live-action film. While there's quite a bit less of the slapstick humor, I was happy to see a crystallization of several key, emotional moments. For instance, I loved the opening scene where Takemoto sees Hagu for the first time—just like the manga, there's a windswept look to the scene, while Hagu is surrounded by floating sakura blossoms. I also liked how they illustrated Hagu's and Morita's creative process; at one point, they unknowingly inspire each other and create some fantastic art in the process.

But, there are differences, too, mostly surrounding Morita. While many would be upset at the difference, it would be very difficult to recreate the Morita of the manga without the character looking entirely ridiculous and impossibly unbelievable. One of the biggest differences that I really enjoyed was the imaginary interrogation scenes in Mayama's room—since he's pretty much Rika's stalker, what with collecting her trash and other impersonal items, he dreams of two police officers questioning him for his Rika-centric habits. But, I liked this, too, as it provided a humorous angle to what would be a dramatic moment in any other film.

As a side note, I also loved that Morita was wearing a South Dakota State University T-shirt in one scene—that's a university that is sometimes confused with my alma mater and current employer.

Characterization: The main cast of characters was right on and some were better than my expectations, especially Hagu. One of my more recent criticisms (and one that other reviewers have noted) is the all-too-childlike appearance of Hagu. Thankfully, while the actress that plays her in the film is young looking, she's certainly not a child. Takemoto's appropriately earnest and hard working, while Morita is a handsome and inexplicably talented artist. While we don't see Yamada go Iron Lady here, she does give Mayama a literal run for his money in one emotionally charged scene.

As far as the side characters went, I absolutely adored the Fujiwara brothers; they appear and act exactly as they did in the book and play up the campy twin brother thing to hilarious effect. Professor Hanamoto is also appropriately thoughtful and stoic, with his constant cigarette as a prop in nearly every scene.

The verdict: I liked Honey and Clover and would recommend it to anyone who is a fan of the books, or those who like slice of life, coming-of-age films. It's a funny and heart-warming foreign film that reminds us of all of the inherent difficulties we all encounter in growing up and becoming adults. Honey and Clover is available in the U.S. from Viz Pictures.

Interested in seeing Honey and Clover for yourself? Then check out the trailer below.

Beauty is the Beast, vol. 5

The story: Eimi makes a visit to her parents' home in Kyushu and invites Satoshi along. Unfortunately, a family emergency keeps Satoshi from joining her, so at the last minute, Eimi decides to take Wanibuchi with her. Perhaps unsurprisingly, they quickly become lost and slowly make their way back north. All the while, Wanibuchi recalls his troubled childhood and his role in his younger sister's untimely death. In the end, it's Eimi that pulls him out of his doldrums. Meanwhile, Satoshi is suffering more and more because of his affection for Eimi and eventually confronts Wanibuchi. Given the choice, will Wanibuchi claim Eimi as his own, or leave Eimi to Satoshi?

Reaction: There is a final resolution to the now-tiresome threesome, but I wasn't particularly satisfied by it. It happens slowly, but there's no real confrontation between Eimi and Wanibuchi, which left me wanting more. I wanted to see him make a declaration of some type, but Tomo Matsumoto kept true to Wanibuchi's character by not showing it. Of course, there is a tense moment between Wanibuchi and Satoshi, where a perfect Wanibuchi line is shared regarding Eimi, "The beast is licking his lips." There's another moment where Wanibuchi compares Eimi to the lucky yellow wallet his grandfather owned. It's an interesting comparison, but I think it works for this odd couple.

Deep thoughts: There's an extra story at the end—an early one-shot by Matsumoto, titled "The Release." In it, an "Oriental" slave is kept prisoner before being sold to market. Thankfully, one of her jailers takes pity on her and eventually releases her. While I won't get into my disdain for the use of "oriental" in relation to people, I will point out that while slavery is illegal throughout the world, it is still a thriving underground business. Author Benjamin Skinner wrote about the black market for people in his book, A Crime So Monstrous: Face-to-Face with Modern-Day Slavery; I heard about his book during this NPR interview. It's amazing, and yet somehow unsurprising, that such an illegal trade still exists.

Artwork: There's a watercolor portrait of Eimi on the back cover—however, she looks wan, hollow-cheeked and contemplative; the opposite of what she usually looks like. There's also appearances from various family members, including the main trio's siblings. They all look alike in some way and yet are made distinctively different in some way. Lastly, the one-shot at the end showed just how far Matsumoto's artwork has come since whenever she drew it. Her style hasn't changed too much; it's simply become more refined and less amateurish.

The verdict: If only... Overall, I liked Beauty and the Beast. It was unlikely, understated and, yet, somehow very touching. While Eimi never has designs on "taming" Wanibuchi, she still seems to have that effect on him. It was interesting to watch unfold, despite the emotional torture taken on Satoshi. I'd recommend Beauty is the Beast to anyone looking for a high school romance that doesn't follow a predictable path and overused tropes. Beauty is the Beast is available in the U.S. from Viz.