In an effort to keep things fresh and cover more titles, we’re converting Manga Minis from a monthly to a weekly column. Expect an eclectic assortment of capsule reviews every Friday, along with our customary mix of longer reviews, con coverage, and recurring features throughout the week.

This week, we tackle four new titles: volume five of The Antique Gift Shop (Yen Press), a Korean import with a supernatural vibe; volume one of Classical Medley (CMX), a shonen romp in which the characters have musically inspired names; volume four of Her Majesty’s Dog (Go! Comi), a shojo romance with a demonic twist; and volume two of Hollow Fields (Seven Seas), Madeleine Rosca’s award-winning OEL series.

The Antique Gift Shop, Vol. 5

By Lee Eun
Yen Press, 200 pp.
Rating: Teen

The first four volumes of The Antique Gift Shop adhered to the same formula: unsuspecting customers purchase objects from a magical emporium, only to discover that said objects are possessed by spirits with agendas of their own, e.g. reuniting lost lovers, punishing bullies for bad behavior. Volume five is something of an anomaly, as the longer of the two stories is only tangentially connected to the shop. In it, a delivery man finds himself stranded at a compound whose gothic denizens shun the one seemingly normal resident, a curly-haired moppet with big, dewy eyes. Though Lee Eun channels Charles Addams’ iconic family with her marvelous character designs and atmospheric backgrounds, she has considerable difficulty with the actual storytelling. Each scene is weirdly self-contained, leading to a denouement that feels more like a bolt from the blue than the logical resolution of the story’s central mystery. The second chapter suffers from many of the same problems–disjointed storytelling, cryptic dialogue–but has a crucial advantage: it stars the proprietress of the gift shop, a character familiar from previous volumes. Her story is, at times, frightfully hard to follow–I think she plays a hand of go to save her mother’s soul–but I did learn a few fun facts about Korean playing cards, and and dug her opponents’ fabulous costumes, which struck me as something Cotton Mather might have worn after a visit to seventeenth century Korea.

The bottom line: the cover art is beautiful, but the interior is a mess. Wait for volume six or backtrack to the first volume if you’d been curious about this series.

–Reviewed by Katherine Dacey

Classical Medley, Vol. 1

By Sanae Kana
CMX, 162 pp.
Rating: Teen (T)

There are two magical orbs in the Classical Kingdom, one a ball of light and the other a sphere of darkness. The power of the latter has been sealed away since being abused by a king of yore, and a ceremony to renew the seal is required every 100 years. The ceremony goes wrong, and the current king winds up possessed by dark powers while Alto, protagonist of indeterminate gender and bodyguard to the prince, obtains the powers of light. Alto flees with Prince Soprano and trusty dragon companion Mezzo to seek help from Soprano’s brother, who is the only one not to have come under the king’s evil influence since he’s attending school in another country.

This title is rated Teen, but it’s hard to imagine any teen wanting to read this. The characters look and act younger than their established ages, the attempts at humor are not funny, and the story keeps getting modified as it goes along. I’d say it ought to be rated All Ages instead, but there are a few gratuitous images of the queen’s enormous boobs that might make that problematic.

Classical Medley is thoroughly mediocre, treading closely to the border with outright bad. I’m usually a completist, especially with a short series like this, but I couldn’t endure a second volume, even to know how it all ends.

–Reviewed by Michelle Smith

Her Majesty’s Dog

By Mick Takeuchi
Go! Comi, 196 pp.
Rating: Older Teen (16+)

In my review of volume seven, I noted some similarities between Her Majesty’s Dog and InuYasha. In both series, for example, the heroine is a teenaged priestess/schoolgirl who pals around with a moody demon dog. Though the two series diverge plot-wise, they share another trait: the filler arc. Volume nine of Her Majesty’s Dog feels like one of those “Hey, let’s have InuYasha disrupt the cultural festival at Kagome’s school!” storylines that Rumiko Takahashi likes to insert between long, drawn-out quests for jewel chards. Nothing of consequence happens: Amane and Ateko quarrel and reconcile; Amane and Hyoue help a tree spirit cross over; the gang attend–you guessed it–a cultural festival.

Mick Takeuchi’s art hasn’t evolved much from the first volume. Her character designs and backgrounds are crisply rendered, if a little generic, while her indiscriminate use of screentone would vault her to the top of Dee DuPuy’s Most Wanted list. Takeuchi still struggles with action sequences; the few scenes involving koma-oni combat are a hot mess of diagonal panels, facial close-ups, and sound effects.

That said, fans of the series shouldn’t skip volume nine, as Amane “makes a shocking decision” (to borrow a phrase from the dust jacket) in its final pages–a decision with the potential to end her relationship with Hyoue for good and bring the series to a dramatic close.

–Reviewed by Katherine Dacey

Hollow Fields, Vol. 2

By Madeleine Rosca
Seven Seas
Rating: All Ages

One thing I can credit Hollow Fields with as a series: the main character does get more interesting. In the first volume, Lucy Snow showed severe growing pains at her new school, whining how it was too cold outside to dig up corpses, and fainting at the sight of vats full of genetically-engineered fish-birds and formaldehyde. Not only was she in danger of failing her first week and earning detention–which according to the rules at Hollow Fields, means being sent to the ominous windmill no student has ever returned from –worse, she was almost no fun. And attending a school for aspiring mad scientists should be fun, right?

In volume two, Lucy toughens up and shows potential in certain forbidden sciences. Unfortunately, she still comes across as bland compared to her classmates, especially Summer Polanski, who would be the star if this were a more subversive series. But it isn’t; writer/artist Madeleine Rosca seems content serving up a routine adventure plot, in which Lucy has to get out of Hollow Fields or something terrible will happen to her. Worse, Rosca doesn’t even let the suspense build until the next volume. Instead, just when the dark twists on academic competitiveness and pre-teen girl rivalries start to heat up, a major plot development takes place, and things take a turn towards more run-of-the-windmill stuff.

As a reader, I wanted more scenes like the mid-term exam, in which Lucy and her classmates unleash destructive class projects on a scale-model city. At least Rosca’s art, which combines cute, nose-less children with spooky-looking backgrounds, continues to make an interesting-looking combination. Now if only the story itself were as twisted as it looked.

– Review by Phil Guie

You’re So Cool, Vol. 1

By YoungHee Lee
Yen Press, 192 pp.
Rating: 13+

Intelligent, affluent, polite, attractive…who wouldn’t like Seung-Ha, the resident prince of the school and beacon of perfection? Certainly not Nan-Wo, his klutzy, aggressive classmate who spends her days pining for him and replaying her seemingly endless string of slip ups in front of him. But when Seung-Ha asks her to date him, it all seems like a dream come true- that is, until she figures out that her dream prince is actually her worst nightmare!

Ah, the personality dichotomy: old as the hills but an ever attractive plot device. You’re So Cool may not be heading in any new directions, but a vicious bent and unflinching lead heroine manages to keep things interesting in spite of the title’s shortcomings. The first installment follows a remarkably simple path: girl likes boy, girl scores impossibly improbable date with boy, girl is victim of injustices and realizes boy is thug. It doesn’t make for great reading, and certainly doesn’t enamor one towards anybody other than Nan-Wo, but nonetheless serves as the right setup for future installments. Act One may be the big reveal, but act two will inevitably be sweet revenge.

Exempting a few forgettable background characters, You’re So Cool is almost entirely a two man show. Nan-Wo, the protagonist du jour, provides the levity and spastic humor the series revels in: she’s unfeminine, brash and thoroughly overeager, traits designed naturally to clash with her tormentor. Seung-Ha packs a vicious attitude and penchant for cruelty, but hints of emotional baggage and emotional instability promise that he has the Rich Boy Family Issues to explain it all away in future installments.

Artistically, the series remains firmly planted in the realm of serviceable manhwa style, improved by the occasional well done full page spread. Everyone suffers from a kind of angular lankiness, but the effect isn’t overwhelming enough to detract from the narrative. This being shojo, there’s plenty of elaborate toning, but never to the point of invasive excess. Yen’s treatment of the material is perhaps most admirable, as the oversized volume comes with an abundance of color opener pages and a well adapted (ten points for usage of the verb “shotgunning”) translation.

You’re So Cool may follow the usual love/hate dynamics, but an unstoppable female lead and appropriately nasty counterpart add an extra crackle that less outrageous titles fail to capture. There’s nothing new to amaze and delight anyone remotely familiar with the usual shojo tropes, but with so many simpering wallflower protagonists on the market, those searching for a little more spastic spunk are advised to take a look.

Volume one of You’re So Cool is available now.

Tokyo Is My Garden

By Frederic Boilet and Benoit Peeters
Fanfare/Ponent Mon, 152 pp.
No rating (Mature content)

To give full disclosure, I was a little reluctant to tackle this comic after crying my eyes out after a nineteen-volume Banana Fish marathon this week. After that kind of an emotional joyride, an arsty-fartsy nouvelle manga did not sound like a panacea. But fortunately I was pleasantly surprised. Boilet and Peeters’ moody tale of a Frenchman living in Tokyo is the perfect thing to quiet your worries and carry your imagination to Japan.

If you’re at all familiar with the duo’s previous work, such as Boilet’s Yukiko’s Spinach or Mariko Parade, it should not come as a surprise that the story revolves around a Frenchman in his thirties and the Japanese love of his life. You get the feeling after a couple of these nouvelle manga that there is at least some connection between this ongoing theme and Boilet himself, but I digress.

What truly fascinates is Boilet’s perspective into Japanese culture as a gaijin who has lived there for years. On page 113 the protagonist David says: “That there is a fundamental between the Japanese and the rest of the world is a lie… Hooey for lazy journalists… The Japanese are like us in every way. What changes is there way of being identical.” This is really a brilliant insight that smashes through the oft repeated BS in Japanophile circles that the Japanese somehow have an insurmountable culture barrier. But to David, who has lived in Japan for years and lived his life like he would anywhere else, this fallacy is revealed for what it truly is: a crutch.

In Tokyo Is My Garden, the protagonist David starts things off by breaking up with his model girlfriend. Turns out he’s a boutique French cognac salesman trying to expand his company’s market into Japan. Soon after his breakup, David meets a new girlfriend and prepares for his boss’ imminent checkup on him in Tokyo. The truth is, he’s sold only one case of the cognac in his years in Japan! And he left his last promo bottle on the train by accident! Whatever is he to do? Fate and chance actually factor heavily into this story as David’s career future is determined by strangers even as he focuses completely on his love life. The way his future is determined is beautifully depicted in a way that only clicks in the reader’s mind when things come to head in the comic’s conclusion.

The art’s minimalist comic-manga fusion style is a nice change from the pop manga that inundates our local bookstores. Boilet has outdone himself once again. What exemplifies his art for me is when David and his Boss go to a dance club and most of the people with in have very sketchy and minimal facial features. But when David and his lover are sharing intimate moments, the detail is jaw-dropping. The scene where David is photographing his love is one of the most iconic in Boilet’s work, a theme echoed from his earlier Mariko Parade. We are also treated in this work by brilliant shading by Jiro Taniguchi of The Walking Man and The Ice Wanderer fame.

Though this comic is unlikely to appeal to the vast majority of casual manga readers who drop in for their monthly fixes of Fruits Basket and Naruto, it’s definitely worth checking out for manga fans, comics lovers, and art enthusiasts alike. Its not one of my favorite manga of the year, but it certainly was nice to have a break from all the standard manga fare. Try out this nouvelle manga stuff, and you’ll sound as pretentious and crotchety as I do in no time. And while you’re feeling smug about being a part of real in-the-making comics history, take the time to give Tokyo Is My Garden a good long read. It’s worth it.

Tokyo Is My Garden is available now.

Fairy Tail, Vol. 3

By Hiro Mashima
Del Rey, 196 pp.
Rating: 13+

Though there are distinct differences, Fairy Tail can easily be compared to Mashima’s former series Rave Master. Yet, in my opinion, Fairy Tail is a more competent version of Rave Master. While similar to many Rave characters (Natsu is a Hot-Headed Haru, Lucy is Elie and Gray is Musica), Fairy Tail’s are much more fully developed. Mashima’s characters are his strong point and with Fairy Tail, he is able to accentuate his characters with a much smaller, more manageable cast. The overall plot is also much tighter, restricting the story to short vignettes instead of long-winded quests. So it is no surprise that volume three of Fairy Tail embodies all of the traits that make this series a winner.

Volume three leaves us with Fairy Tail’s strongest team at the hands of Erigor and the Dark Eisenwald Guild. At Erza’s request, Natsu and Gray are sent after the fleeting Erigor, while she and Lucy stay put to fight the rest of the guild. This volume is a good, deep introduction to Fairy Tail’s stronger characters. Erza, throughout the volume, is given a chance to showcase not only her offensive tactics (which I must say is one of the more amazing powers that Mashima has ever conceived) but also her leadership abilities. She is an incredibly perceptive woman, constantly taking note of what’s going on and steering her team in the right direction. It’s no wonder that she is called “Titaina Erza”ť or “Queen of Fairy’s Erza.” Let’s not forget Gray though, our other new hero of Fairy Tail. Though he doesn’t get as much of the glory as Erza does, Gray still manages to show us his stuff during the Lullaby Arc. Gray also gets a chance to show off the “Maker Magic,” which allows him to put a form to his magic. Though both Erza and Gray are both given a great amount of face time in this volume, the real focus is on Natsu’s fly cat companion, Happy. Happy, during the course of this adventure, gets the group out of the Erigor’s Wind Wall by giving Lucy the Virgo Key. On top of this, he encourages Natsu (through some reverse psychology) to beat Erigor.

Just as Mashima is known for his clever writing, his stylized artwork is also very appealing. His action scenes are not overloaded, giving the reader just enough detail. He spells out exactly what is going on without it getting confusing or boring. His character design is also fantastic. Each character has their own unique style, matching their abilites and personalities quite well. Natsu, Erza and Gray’s costumes speak volumes about who they are: Natsu’s open vest suggests his heated temper, Erza keeps her heart hidden, figuratively and literally behind iron clad armor, and Gray wears a warm coat to contrast his cool and calculating ways.

Del Rey has picked another winner with Hiro Mashima’s Fairy Tail. I would say that it is one of the better representations of modern shonen to date. Its clever story and engrossing characters are reminiscent of older series, like Dragon Ball and Yuyu Hakusho, yet Mashima still manages to put a fresher spin on the classic genre. Fairy Tail is sure to please a wide audience.

Volume three of Fairy Tail is available now.

Slam Dunk, Vol. 1

By Takehiko Inoue
Viz, 208 pp.
Rating: Teen (T)

Sakuragi has never been a hit with girls. In fact, in three years of junior high he amassed an impressive fifty rejections! Now in his first year of high school, he once again believes he’s met the girl of his dreams. Haruko loves athletes, and basketball in particular, so to win her affections, Sakuragi becomes determined to join the school team.

This aim is complicated by Sakuragi’s overwhelming, almost painful stupidity and violent outbursts of temper. He mouths off within earshot of the captain (who also happens to be Haruko’s older brother) and publicly humiliates him in a basketball contest. Though he manages to control himself long enough to get onto the team, he is quickly frustrated by fundamentals training and ends up storming off the court in a huff.

I know Slam Dunk is a classic of sports manga, a genre I really like, but I didn’t enjoy it quite as much as I thought I would. Most of that has to do with Sakuragi’s temperament, though, so I’m hopeful that as he’s forced to learn discipline and teamwork, the ignorant boasting and random karate chopping will gradually subside. The actual playing and practicing of basketball is great fun to read, another reason I assume my enjoyment will increase in future installments.

I was both impressed and a little confused by Inoue’s artwork. The style is by turns realistic and comedic, and though sometimes it borders on unattractive, there are definitely moments of greatness. A page and a half spread of the basketball court is a particular standout; the way the panel is framed does an excellent job in conveying the size and height of the room.

The confusion stems from several characters that appear to be of African descent. Their names are Japanese, though, and one of them is Haruko’s brother, so I am assuming they’re not supposed to be a different ethnicity than their peers. I was also struck by the resemblance of one of Sakuragi’s buddies to the late Robert Goulet. Consider the evidence:

A number of extras are included in this volume, all without deviating from the standard Shonen Jump price of $7.99. The first chapter is printed entirely in color, and a glossy color section in back includes a profile of a real-life NBA superstar and some tips on how to perform a slam dunk. And a sticker!

I liked this okay, and I’m confident I’ll like the rest more. It’ll be a long wait until volume two–due out in February–but Viz recently announced that a new series is due to replace Slam Dunk in the magazine come March, so the frequency of releases ought to increase in the near future.

Volume 1 of Slam Dunk will be available on September 2, 2008.

In this installment of On the Shojo Beat, Isaac Hale proves once again he’s man enough to read shojo… and enjoy it. The series: Ai Yazawa’s addictive rock-n-roll soap opera NANA, a staff favorite here at PCS.–KD

NANA, Vols. 9-11

By Ai Yazawa
Published by Viz
Rating: Mature

If you look at the back of any book in Viz’s Shojo Beat line, you should see a funky little thought bubble stretching from the book’s title that says: “The Real Drama Begins in…”. This is a great marketing catchphrase, but it’s a little disconcerting seeing titles like Vampire Knight, Absolute Boyfriend, and NANA put on this same pedestal. That’s like comparing an apple to an orange to a Buick—or, as they used to say on Sesame Street, one of these things is not like the others.

Since the first issue of Shojo Beat magazine, NANA has been the label’s high point, setting a standard against which most other shojo releases seem pretty tame.. Despite NANA’s massive popularity in Europe as well as Asia (Japan’s bestselling shojo/josei manga ever), NANA has had a far rockier journey here in the US. Amid tepid sales and a slowing stateside release schedule, Viz decided to drop NANA from the magazine lineup and release it only in the graphic novel format.

Despite a release schedule that is agonizingly slow in comparison to its foreign counterparts, Viz has continued to put out regular and high quality releases. In volume nine for example, Viz opted to include a bonus story that Ai Yazawa drew about the humble high school origins of Trapnest and Blast. This extra is a real treat, and it warms my otaku heart to know that Viz is still giving NANA its full commitment despite sometimes disappointing sales. Additionally, each volume of NANA has included an extras section as well, which is always a treat.

Since the bombshell of volume eight where we find out that Hachi is pregnant, the drama and depth of NANA has ascended to a new tier. In volumes one through eight, Hachi and Nana unite and a seemingly solid social framework for the rest of the series unfolds. After volume eight though, it becomes increasingly clear that the first eight volumes were merely setup for the series’ true drama: the interaction of the members of Trapnest and Blast and the wild card in their midst, Hachi.

Throughout volumes nine, ten, and eleven, the reality of NANA as we’ve come to know it is turned on its head. Romantic realities are rattled; hopes and aspirations shattered and reformed overnight, and the lines of camaraderie and friendship are redrawn. With Hachi’s child on the way, Hachi becomes more and more consumed by her impending life as a mother and drifts away from her tried and true friends of Blast. Though Takumi treats her well for the most part, it is obvious that Hachi is making a very painful transition that could burn her bridges should her life with Takumi fall through.

The most rattling relationship change has been between the series namesakes, Nana Osaki and Nana “Hachi” Komatsu. Through the first eight volumes the two develop a bond that stretches beyond friendship and is absolutely paramount to the two women. As circumstances force them apart though, their bond is not broken. Nana Osaki pines for Hachi constantly, and they both weigh heavily on the other’s heart and mind. Even as it begins to appear that their paths are destined to be irreconcilable, the two women never forget for a moment that they are doing everything with the strength they garnered from each other.

Indeed, despite the Nanas’ separation, the series’ homoerotic tension only increases. Aside from a couple of jokes being made about Nobuo and Shin (yeah… no), Nana Osaki all but admits to having a romantic (or something even greater?) fixation with Hachi. She admits that Hachi fulfills her in a way that Ren does not. When Hachi leaves to live with Takumi, Nana descends into despair and begins having panic attacks. Despite her immense sense of loss, Nana does everything with Hachi, her new lease on life, in mind. With these ever-mounting homoerotic undertones and Ai Yazawa’s apparent infallibility in this series, I can only hope that these tensions can be resolved in a realistic and decisive fashion.

Despite all its laurels in the otaku community, NANA has yet to receive the attention it deserves in the American market. As it has done since its inception, NANA humanizes interpersonal relationships in a profound way that no other comic I’ve ever read has achieved. And with the first eight volumes being only the leaping off point for this already emotionally turbulent ride, we can be sure the best is yet to come. My hat is off to Ai Yazawa for creating the best shojo/josei title I have ever read. Accept no substitutes: the real drama begins in NANA.

Volumes nine, ten, and eleven of NANA are available now.

If you’re a faithful Manga Recon reader, you may have noticed that several new reviewers have joined the team. Helping me, Erin, Ken, Chloe, and Isaac sort the manga wheat from the chaff are Phil Guie, Sam Kusek, and Michelle Smith. Here’s what they had to say for themselves:

Phil Guie is a freelance writer who lives in Brooklyn, New York. A liberal arts graduate with a degree in English, he is doing surprisingly well, and even has time to focus on his hobbies, which include movies and American comic books. Phil’s favorite film is The Third Man, and he can talk about superhero comics until the cows come home.

Sam Kusek goes to Emerson College in Boston, has an awesome girlfriend, and enjoys taking late-night rides through the city on his baby blue bicycle, Gloria. He wears tight pants and buys cartons of Vitamin Water… and why don’t they have Vitamin Water vending machines?! He loves (and often quotes) Scrubs and Home Movies, and has a great appreciation of local music and, of course, manga.

Michelle Smith has been writing manga reviews on her blog Soliloquy in Blue since 2006 and has amassed a diverse and extensive manga collection. She’s a musician, a math person, a voracious reader, a competent cook, and a new homeowner. Basara tops her list of favorite manga, and she shamelessly exploits all opportunities to urge people to read it.

Welcome aboard!

As for this week’s new arrivals, you’ll find something to suit just about every taste, from fanservice spectaculars (Alice on Deadlines, Nephilim) to fantasy-adventures (Dorothea), shojo romances (I Hate You More Than Anyone, Tears of a Lamb), and angsty vampire intrigue (Vassalord). My top picks for the week are Silver Diamond (Tokyopop), a peculiar sci-fi series with gorgeous artwork, gorgeous male leads, and enough plants to populate the New York Botanical Garden (don’t ask, just read) and Real (Viz), Takehiko Inoue’s gritty, funny drama about paraplegic basketball players. Want a second opinion? Then check out Ken’s glowing yet perceptive review of this decidedly adult story.

SHIPPING THIS WEEK
Alice on Deadlines, Vol. 3 (Yen Press)
Bizenghast, Vol. 5 (Tokyopop)
Case Closed, Vol. 24 (Viz)
Chibi Vampire, Vol. 9 (Tokyopop)
Daemonium, Vol. 1 (Tokyopop)
The Dark Good-Bye, Vol. 2 (Tokyopop)
Dorothea, Vol. 2 (CMX)
Elemental Gelade, Vol. 8 (Tokyopop)
Ellie Mamahara: Alley of First Love (BLU Manga)
Ghost Talkers Daydream, Vol. 1 (Dark Horse)
I Hate You More Than Anyone, Vol. 5 (CMX)
Martin and John, Vol. 1 (Tokyopop)
Nephilim, Vol. 2 (Aurora)
Oh My God, Vol. 1 (Aurora/Deux)
Plastic Chew (Tokyopop)
Psychic Power Nanki, Vol. 3 (Tokyopop)
Real, Vol. 1 (Viz)
Rising Stars of Manga, Vol. 8 (Tokyopop)
Rolling, Vol. 1 (Tokyopop)
Rose Hip Rose, Vol. 2 (Tokyopop)
Rurouni Kenshin VIZBIG Edition, Vol. 3 (Viz)
Samurai Deeper Kyo, Vol. 29 (Tokyopop)
A Seduction More Beautiful Than Love, Vol. 2 (Tokyopop)
Silver Diamond, Vol. 1 (Tokyopop)
Spiral: Bonds of Reasoning, Vol. 4 (Yen Press)
Star Trek: The Manga, Vol. 3 (Tokyopop)
Suzunari, Vol. 1 (Yen Press)
Tears of a Lamb, Vol. 3 (CMX)
Tetragrammaton Labyrinth, Vol. 3 (Seven Seas)
Tokko, Vol. 1 (Tokyopop)
Vassalord, Vol. 1 (Tokyopop)
Your and My Secret, Vol. 2 (Tokyopop)

I saw a lot of movies during Subway Cinema’s New York Asian Film Festival this year. This is the first of my coverage, which will be a bit delayed this year thanks to an Otaku USA deadline and San Diego Comic Con being back-to-back in next two weeks. (Be sure to pick up Otaku USA issue 7, on newstands now! I have a few reviews and a bio in it.)

I meant to see L: Change the World with anime bloggers the Reverse Thieves but I failed to communicate that the show had sold out long ago, and I was surprised I got tickets, and last year’s Death Note films were the most popular screenings in the festival (they predated the Viz theatrical release by an entire year). My friends showed up confused and ticketless, facing an enormous line with no hopes of getting a ticket. Sorry about that!

L: Change the World

North American Premiere
Running Time: 129 minutes

I think of myself as more of an L fan than a Death Note fan, so I was very excited to see this film. I had only one expectation: I wanted to see L eating sugary snacks. I was not disappointed; L consumes a lot of sugar in this film. I didn’t know anything about the plot, so I was in for a few surprises. Here is a short list:

Things I Did Not Expect to See in This Film

• Ebola
• Cute children
• Third World Jungles
• A Maid Cafe
• People bleeding from the eyes
• A Manga Cafe
• Vomiting of blood
• James Bond-style villains
• A Hot pink crepe truck with the word “Angel” on it

Ever see Andromeda Strain? How about that episode of the X-Files where people get exploding facial sores? Change the World is not that grotesque, but the ebola scenes are disgusting, and I did not go into a Death Note movie prepared for such a high level of gore. The film attempts to somehow balance the gross-out factor with two very cute (orphaned) children as key characters. Without the children, the film might be much darker. Without the ebola, the orphans would be totally unbearable and obnoxiously saccharine.

Director Hideo Nakata also handled Ringu, Ringu 2, and Hollywood’s The Ring Two - which might explain the gore factor. Kenichi Matsuyama is totally adorable as L, and delivers an even performance in this otherwise rocky road of a film. Matsuya also plays Shin in the live-action Nana movie and has rolls in Linda Linda Linda and The Taste of Tea, all of which are available from Viz Pictures. Matsuyama even plays Robo in the Sexy Voice and Robo drama - which I must watch, since it’s one of my favorite manga titles. Matsuyama’s English dialog in the film is not great, but he’s cute, so I’m willing let it slide.

Change the World takes place after the end of the previous two Death Note live-action movies, which have different continuity than the manga or anime series. In the films, L has written his own name in the Death Note at the end of his battle with Light, giving himself 30 days left to live, which renders Light’s attacks useless.

Light, Ryuk, and Misa only get brief cameos, but Ray’s wife Naomi makes a confusing appearance in a flashback to Los Angeles (covered in the light novel Death Note: Another Note), in a long scene irrelevant to the rest of the film.

Smash cut to the jungles of Thailand, where a deadly plague is wiping out a poor village with horrible ebola-esque facial sores. A group of American bio-suited men blow up the entire town, but agent K narrowly escapes in a truck, saving an orphan boy in the process. Agent K doesn’t survive, but he gives the (apparently) immune orphan child (who happens to be a math genius) a message for L.

A group of sharply dressed Japanese scientists (reminiscent of Andromeda Strain) get news of the village and analyze the virus - it’s a bio-weapon mix of ebola and the flu, 10 times more deadly than ebola. Wait, let me say that again: Ten times more deadly than ebola!!!

Meanwhile, a group of hyper-pro-environmental terrorist kill some rich dude and come after the cure for the virus so they can release it on the world and become rulers in the post-bio-apocalypse. This ragtag band of bioterrorists consist of a scarred man with one all-white eye, a super genius clean-cut female scientist, a crazy-eyed girl with a giant knife, and a frightened-looking young man with a machine gun who doesn’t seem all that evil. I really liked the crazy-knife-girl, who seemed to have wandered out of Kill Bill into this film. Her tone is totally inappropriate for Change the World, but I found her hilarious. The other villains are essentially James Bond rejects.

The only scientist with the cure for the virus kills himself in front of the bad guys as well as his own daughter in a gruesome twenty-minute death scene. I’ve seen several Japanese films in the last few years (most recently Dororo) where characters have extremely long death speeches… cut it out, Japan! You’re really trying my patience!

The scientist’s junior-high-aged daughter escapes, infected with the virus but displaying no symptoms, and finds L with a clue left by her dad (the clue is a math puzzle). Meanwhile, the unnamed math-genius orphan is delivered onto L’s doorstop. With just 15 days left to live, L must find a cure for the deadly virus while baby-sitting at the same time.

Knowledge of the Death Note franchise is a prerequisite for understanding the film, but if you didn’t know anything about L going in, it might add an enjoyable bizarreness level to the film.

I particularly liked a montage early in the film wherein L is going through his old case files, wrapping up unsolved mysteries in the time he has left to live. It’s strongly implied that Princess Diana’s death was an assassination instead of an accident. I wonder if a lot of Japanese people think of Diana’s death as a conspiracy, since there was a Golgo 13 manga story (volume 4 in the U.S.) wherein Golgo assassinates Diana (or possibly just her boyfriend, I haven’t actually read it yet). It would be hilarious if L was solving a Golgo 13 case, but I don’t think it was implied in the film.

Change the World is ridiculously uneven, with long science-y scenes punctuating cute orphan hijinks. It’s a lot more high-concept than the previous films, between the jungle locations and a huge airport scene at the end it must have had a fairly high budget. There are great comedic moments and a funny low-speed chase scene, but overall the movie is just weird. There are a number of wonderful scenes (like L riding the train), but the film just doesn’t hold up as a whole.

The film is only a must-see for L fans, but it’s exactly the kind of movie you want to watch with someone else so you can discuss it afterwards.

My early reviews of the previous two Death Note live action movies draw a lot of traffic to this site. Viz did a small theatrical release of the two films earlier this year (2008), and will certainly release the region one DVDs sometime soon. Logically speaking, Viz will most likely also release L: Change the World on DVD eventually, but probably not before 2009. Nothing has been announced as of this writing, but I’d put money on it. Please be sure to support Viz by purchasing the legitimate releases when they come out. (Hint: Legitimate release won’t have Cantonese subtitles, and are not region free.)

L: Change the World has no distributor at the time of this writing. Look forward to it in 2009 or 2010.

Demons who snack on dreams… vampires who suffer from split personalities… cougars who run major corporations. These are just a few of the characters you’ll encounter in this month’s column, as Chloe Ferguson and I post a fresh crop of shojo and seinen reviews that includes volume two of Metro Survive (DrMaster), volume two of Nightmare Inspector: Yumekui Kenbun (Viz), volume one of Red Angel (DMP), volume one of Two Flowers for the Dragon (CMX), and volume one of Ultimate Venus (Go! Comi).

Metro Survive, Vol. 2

By Yuki Fujisawa
DrMaster, 208 pp.
Rating: 15+

The second volume of this balls-to-the-wall disaster drama pits Mishima and his ragtag band of fellow survivors against a posse of hooligans under the spell of two charismatic host club owners. And what a pimp-tastic pair they are: one sports a fur that would be the envy of Joe Namath, the other a white suit pilfered from the Superfly prop trailer. (Both look freshly pressed, despite the rivers of gasoline, sewage, and blood flooding the basement levels of Exopolis.) Artist Yuki Fujisawa doesn’t waste a panel as he steadily escalates the conflict between these two groups to a point of almost unbearable tension. Though Fujisawa attempts a few curveballs, the basic plot is fairly predictable, with expendables meeting gruesome ends while principals take turns demonstrating hidden reserves of selflessness and courage. Fujisawa wisely brings the story to a close at the end of volume two with a final act that will please—if not surprise—readers. As I noted in my review of volume one, the big drawback to Metro Survive is the art. Frankly, it’s ugly, with too many speedlines, too many muddy backgrounds, and too many characters drawn in a cartoonish manner. If you’re not a stickler for pretty pictures, however, you could do a lot worse than this brutally efficient two-volume thriller, which reads like a Quentin Tarantino remake of Earthquake.

–Reviewed by Katherine Dacey

Nightmare Inspector: Yumekui Kenbun, Vol. 2

By Shin Mashiba
Viz, 184 pp.
Rating: 13+

Nightmare Inspector is an exceptionally good retread, filled with lush visuals. The premise—a tea house with a resident baku, or dream eater, that will attend to customers’ supernatural needs at a price—calls to mind obvious comparisons to xxxHolic, but the series’ artistic tone strikes a different note. Fans of the latter may identify similar story strengths and weaknesses with the former, namely in the dark, one-shot nature of each anecdote and the generally cynical take on human nature. The stories are small, deliciously well-done tales of human viciousness and supernatural personification, in which everyone from the dead to ordinary household objects may show up with a request. That said, Nightmare Inspector’s dogged adherence to single, thirty-page tales must ultimately diversify if the series wishes to sustain readers’ interest beyond a single volume.

Even if the plot setup doesn’t compel you to pick up a copy, the art alone should prove enticing. Striking an Art Nouveau balance between Far East and Victorian West, the swirling colors and dreamy screentones create an ambiguous world in which menace hides behind the fantastic. Manga-ka Shin Mashiba turns mediums and styles into key story elements, generally to impressive ends. A middle story in which charcoal drawings play a key role is one of most ingenious uses of art to further story seen in quite a long time. Nightmare Inspector’s formula may have been done before, but this stylish series still manages to prove its shelf-worthiness several times over.

–Reviewed by Chloe Ferguson

Red Angel, Vol. 1

By Makoto Tateno
DMP, 176 pp.
Rating: YA (Young Adult, 16+)

Mika and Eru are twin vampires with an unusual arrangement: the two share a body, variously manifesting themselves as a comely girl (Mika) or an androgynously beautiful boy (Eru). The two use their good looks to lure victims into their web—or at least, that’s how the volume begins, with a suitably creepy, faintly erotic story told from the perspective of one of their conquests. None of the subsequent chapters live up to the promise of the first, however. Manga-ka Makoto Tateno reduces Mika and Eru from actual participants in the stories to passive observers of other vampires’ tortured (but not very interesting) relationships. The final chapter takes the cake for sheer absurdity, suggesting that Tateno should spend less time trawling New Age sites for angel lore and more time actually consulting a Bible for the low-down on Satan’s heavenly exile. Though some reviewers have praised the art, I found it paradoxically busy and plain, with too much attention lavished on costumes and hair and not enough on backgrounds, faces, or basic anatomy. (All of the characters have the kind of razor-sharp chins and beanstalk necks I associate with CLAMP’s debut work.) I give Tateno credit for trying to put her own stamp on the gothic vampire romance—her vamps have beautiful red wings, for example—but wish she’d spent more time developing Mika and Eru into genuine characters instead of allowing them to remain blood-sucking ciphers.

–Reviewed by Katherine Dacey

Two Flowers for the Dragon, Vol. 1

By Nari Kusakawa
CMX, 192 pp.
Rating: Teen

Shakuya, the plucky protagonist of Two Flowers for the Dragon, belongs to a powerful clan boasting both human and dragon bloodlines. As a child, her parents selected a fiancé for her. When he went AWOL, Shakuya cast her lot with a new suitor, only to have her original husband-to-be resurface with no memory of his past. You don’t need to be a folklorist to guess where this old-as-the-hills story is headed: Shakuya announces a contest to determine which of her two beaus will become her husband.

The plot mechanics are a little creaky, especially the contrast between Shakuya’s amnesiac fiancé—a dashing rogue with flowing locks and the kind of cocky demeanor that rankles and intrigues at the same time—and her new man—a Dudley Do-Right who can be as stiff as Al Gore on the 2000 campaign trail. The art, too, is so-so. Readers of The Recipe for Gertrude and The Palette of 12 Secret Colors will quickly discover that Nari Kusakawa has a limited repertoire of character designs in her arsenal. Yet Two Flowers of the Dragon leaves a fresh, vibrant impression. Part of the story’s appeal is attributable to Shakuya, who’s smarter and more self-possessed than most shojo heroines; one of the series’ running jokes is that she’s actually more powerful than either Lucien or Kuwan. (She can transform into a badass dragon, capable of smoking anyone in her path.) The series’ other great strength is the way Kusakawa uses slapstick and supernatural intrigue to reveal her characters’ true emotional states. Even a gambit as shameless as introducing two button-cute tiger cubs serves a genuine dramatic purpose, showing us how protective and solicitous Shakuya really is. The bottom line: Two Flowers for the Dragon surprises and delights, even when it follows shojo formula to the letter.

–Reviewed by Katherine Dacey

Ultimate Venus, Vol. 1

By Takako Shigematsu
Go! Comi, 192 pp.
Rating: Older Teen (16+)

Sometimes promotional copy can be misleading. After reading the back cover of Ultimate Venus, for example, I concluded that Takako Shigematsu had updated Pygmalion for the shojo set by making the Henry Higgins figure young and sexy, rather than fussy and middle-aged:

Poor Yuzu is an orphan who’s too clumsy to hold a job. She’s reduced to living in a playground—until a handsome stranger named Hassaku informs her that she’s the heir to a fortune, and whisks her into world of wealth, power, and more hot suitors than she can shake a scepter at! But there’s a catch: Hassaku must turn this klutz into a lady of refinement, or Yuzu will lose everything!

While the blurb is an accurate summary of the volume’s first thirty pages, the story takes an abrupt detour from the “Street Where You Live” to Knot’s Landing, as Yuzu discovers her extended family will stop at nothing to prevent her from inheriting her grandmother’s corporate empire. Hassaku morphs from etiquette coach to bodyguard, trailing Yuzu everywhere she goes to prevent an unscrupulous aunt or cousin from nabbing her. Making his task more difficult is Yuzu herself; earnest and naďve, she’s quick to judge and even quicker to fall in love, traits that guarantee she’ll need rescuing at the end of every chapter.

If the main story line is strictly paint-by-numbers, the subplot involving Yuzu’s grandmother is not. Shigematsu portrays her as a sexy business woman in her forties, the kind of sleek, powerful character that Barbara Stanwyck or Ellen Barkin was born to play. Throughout the volume, Shigematsu dangles the possibility that Hassaku and Yuzu’s grandmother have a more intimate bond than employee/employer—a pairing that’s supposed to make the target audience feel sympathy for Yuzu. For those of us entering cougar territory, however, the scenes with Yuzu’s grandmother are a blast of fresh air: funny, outrageous, and a potent reminder that confidence is much more sexy than fumbling, self-effacing naivete. If Shigematsu ever does a spin-off project featuring Yuzu’s grandmother, I’ll be the first to buy it.

–Reviewed by Katherine Dacey

Fancy a bit of the ultra-violence? If so, you’ll be thrilled to learn that Gantz (Dark Horse) arrives in stores this week, complete with shrink-wrap and parental warning sticker. This much-anticipated sci-fi series is really a video game in disguise, as it consists primarily of elaborately choreographed combat scenes (usually resulting in baroque bodily mutilations). Not exactly my cup of tea, but the art looks sharp. At the other end of the spectrum is the ultra-cute Kamichama Karin-Chu (Del Rey), yet another Koge-Donbo comedy starring a saucer-eyed moppet with hidden powers. I’m finding the middle ground a more congenial place to be this week, as stores stock up on new volumes of Cat-Eyed Boy (Viz), Nodame Cantabile (Del Rey), and Pumpkin Scissors (Del Rey). My top picks for Wednesday, related in haiku form for no particular reason other than my personal amusement:

Apple, Vol. 1 (UDON Entertainment)
Korean comics
In glorious full color
Kind of like Robot.

Dororo, Vol. 2 (Vertical, Inc.)
Hyakkimaru
Is missing forty-eight parts
That has got to hurt.

xxxHolic, Vol. 12 (Del Rey)
Poor Watanuki
Should make out with Domeki
And give up on girls.

SHIPPING THIS WEEK
Alive: The Final Evolution, Vol. 5 (Del Rey)
Apple Anthology Vol. 1 (UDON Entertainment)
Cat-Eyed Boy, Vol. 2 (Viz)
Don’t Blame Me, Vol. 2 (DMP)
Dororo, Vol. 2 (Vertical, Inc.)
Flock of Angels, Vol. 3 (Aurora)
Gantz, Vol. 1 (Dark Horse)
Great Place High School (DMP)
Hideyuki Kikuchi’s Vampire Hunter D, Vol. 2 (DMP)
I Shall Never Return, Vol. 3 (Aurora/Deux)
Kamichama Karin-Chu, Vol. 1 (Del Rey)
Le Chevalier d’Eon, Vol. 5 (Del Rey)
Love Recipe, Vol. 2 (DMP)
Moon Child, Vol. 11 (CMX)
Nodame Cantabile, Vol. 14 (Del Rey)
Oh! My Goddess Authentic Edition, Vol. 9 (Dark Horse)
Pumpkin Scissors, Vol. 3 (Del Rey)
Suzuka, Vol. 8 (Del Rey)
Tomcats (DMP)
Tower of the Future, Vol. 11 (CMX)
xxxHolic, Vol. 12 (Del Rey)