On the one night in who-knows-how-long that I decide to go to bed a few hours early, Digital Manga goes and finally drops the F-word! You know the one, boys’ love fans. But I can’t complain about having good news to wake up to. Fans rejoice – Ayano Yamane’s popular Finders series is no longer in English-license limbo!

Digital Manga has announced that they will be releasing the Finders Series under their June boys’ love imprint. It looks like it’ll be printed at their 801Media cut-size. Digital Manga has  set up a website specific for the release at FinderSeries.com. Along with the press release, the site has short character bios and the series’ synopsis.

“While our on assignment trying to document the illegal activities of the Japanese underworld, the photographer Takaba crosses paths with the dark and mysterious leader Asami. Asami  takes Takaba captive, in an attempt to subjugate and possess him. But when the son of the Chinese mafia enters demanding evidence that Takaba may have, will Takaba be able to survive being caught in the crosshairs of a deadly underworld feud?”

The first volume of June’s edition of Finders will be in summer 2010 – which isn’t that far off from right now. It’s almost as if they were conveniently timing it for some event with overlapping interest…

Though the excitement over this news is already apparent, it’s been long-anticipated along with the concern from fans that by being published under the June imprint could mean that the Finder Series will face minor edits and censoring of the original work. Many assumed that because of the graphic nature of Finder Series it would be published under their 801Media imprint to avoid this (myself included admittedly), as they have with other of Ayano Yamane’s series. While Digital Manga has censored some of its June imprint work in the past, these edits were very minimal and this does not mean that the Finder Series will have changes.

Those interested in the news can check out Digital Manga’s complete press release which also includes word directly from Libre Shuppan, Japanese license-holders of the series.

As a short history lesson, the Finder Series was previously licensed by the now-defunct BeBeautiful which released three volumes of the 5-book series, all of which have spent years selling for inordinate amounts of money after they went out of print. Those who couldn’t afford $200 a book need weep no longer.

From our friends at Libre Shuppan:

We are pleased to announce that Kazuma Kodaka’s KIZUNA-絆- and Ayano Yamane’s Finder Series, both of which were previously licensed by Central Park Media, are now acquired by Digital Manga Publishing (DMP). For these series, all volumes will be newly translated and will be published under DMP’s June imprint. Finder Series is set to be released in Summer of 2010 and Kizuna is scheduled for September of 2010.
For further inquiries regarding this matter, feel free to contact us at rights@libre-pub.co.jp or Digital Manga Inc, at contact@emanga.com We would like to take this opportunity to thank you for reading our books and for your continued support.
FINDER VOL. 1: TARGET IN THE VIEWFINDER, Rated M+ (for ages 18+), MSRP: $13.95, Available: SUMMER 2010, SIZE: B6, June’ Imprint

While out on assignment trying to document the illegal activities of the Japanese underworld, photographer Takaba crosses paths with the dark and mysterious leader Asami. Asami takes Takaba captive, in an attempt to subjugate and possess him. But when the son of the Chinese mafia enters demanding evidence that Takaba may have, will Takaba be able to survive being caught in the crosshairs of a deadly underworld feud?

ABOUT DIGITAL MANGA PUBLISHING

Located in Gardena, CA, Digital Manga Publishing is one of the industry’s most unconventional and innovative companies, specializing in building corporate and cultural bridges from Japan to the Western Hemisphere – specifically through the licensing, importation and preparation of anime (Japanese animation), manga (Japanese comic books) and related merchandise for the North American mainstream and subculture markets. In this capacity, DMI serves as a catalyst for the expansion of Japanese pop culture institutions into global arenas. The company’s imprint line includes DMP: its mainstream imprint, DMP PLATINUM: its classic manga imprint, JUNE´: its boys love imprint, 801 MEDIA: its adult boys love imprint, and DokiDoki: its exclusive co-publishing imprint with Shinshokan Publishing.
For more information about Digital Manga Publishing, visit www.digitalmanga.com

ABOUT LIBRE SHUPPAN

Located in Japan, Libre Shuppan is the publisher of Be-Boy, Be-Boy Gold, Junk! Boy and Kurofune Zero. Taking their name from “lib” in Latin for book and liberty, they hope to spread the message to “be free”, and “read lots of books”. Libre has strived to create unique and one of a kind content for the benefit of all their readers.
For more information about Libre Shuppan, visit: www.libre-pub.co.jp

Manga-ka: Makoto Tateno
Publisher: June
Rating: Older Teen (16+)
Release Date: December 2009

Synopsis: “The planet had died once before… On the day of Despaira, a god appeared in the sky and saved the world. His name was King Shishioh. But now with the throne of the king empty, a vicious battle between two brothers is unfolding. Who will ascend the throne?”

The story follows Luke, a young man who finds himself hunted by a man claiming to be his brother. When the truth of his existence is revealed the two brothers set into motion a series of events doomed to repeat themselves in a battle for the world’s throne that transcends a life time – and perhaps a readers’ level of patience despite its whimsical platter of eye-candy.

Most notable about 9th Sleep is the distinct lack of boys’ love- distinguishing content. This being the case, it’s entirely worth knowing in advance that there’s nothing past a brotherly love between the two leads and even that particular liaison proves the crescendo of the story as a whole. The artist apologies for the lack of boy on boy content and June’s decision to publish it under their yaoi line is presumably a direct correlation with the way it was originally published in Japan, not a personal decision. That being said, take 9th Sleep’s boys’ love distinction with a grain of salt and, knowing this much in advance, jump in with less genre-based expectations.

Hunt, find, fight, die – hunt, find, fight, die – rinse and repeat. Once the book finishes its first rotation, it immediately falls into a cycle of repeating it. It’s easy to get worried part way that you’ll be stuck in a cycle along with it and unfortunately to an extent you really do. Everything repeats several times but at least it’s apparent with each reincarnation that Luke remembers more and more of his past lives which helps save them from being entirely pointless. It becomes a refreshing change of pace when suddenly his older brother appears earlier than the anticipated and whisks Luke away at a young age to raise him himself.

The bulk of the story sees Luke’s brother hunting him for the right to take the place as God-like King of the world but he’s repeatedly foiled by Luke’s avoidance of battle and the lengths he takes to avoid it. It’s more than a little apparent that his brother doesn’t want to kill Luke as much as his words would suggest, and while this hampers some of the little drama that manages to work in 9th Sleep, it does offer some proverbial food-for-thought. It along with his eventual raising of Luke helps bolster the bond they’ll need to face the real threat when it emerges at the book’s end before it all wraps up on a dissatisfying low-key note. Come on guys, can’t you immortals at least look like you’re trying to find a purpose in life past laying there being alive?

The role of women in the story is perhaps the feature most stereotypically akin to the boys’ love genre. Shallow and relatively non-existent as actual people, the women of the story are really just wombs for the reincarnating Luke. Past that they serve as the occasional fodder for a sort of dead-girlfriend syndrome. A prior acceptance that women will be short-changed is the only real benefit to the yaoi-stamp on the cover, past the added warning that the men on these pages may be too pretty for their own good (but we love them for it all the same).

9th Sleep is a bit of a hollow read – it relies too heavily on its repeating scenes and because of this the suspense relying on them in turn falls flat under the weight. Still, there is a particular charm to the flow of the story. It survives on a level akin to a fairy tale, coasting on its airy execution more than any substantial bulk. Though not her strongest works, suffice to say any fan of Makoto Tateno will do well to add it to their collections as well. This isn’t the kind of story anyone should run to the store foaming at the mouth for but it makes for a fairly worthwhile distraction as far as one-shots go for boys’ love fans and otherwise alike.

Review written March 8, 2010 by Lissa Pattillo
Book provided by Digital Manga for review purposes

New VIZ Signature Release Comes From The Talented Creator of
HOUSE OF FIVE LEAVES And not simple

San Francisco, CA, March 11, 2010 – VIZ Media, LLC (VIZ Media), one of the entertainment industry’s most innovative and comprehensive publishing, animation and licensing companies, has announced the release on March 16th of the manga -Natsume Ono’s RISTORANTE PARADISO. The story, a romance among the staff at a bistro in Rome, is offered in a single volume and will be published under the VIZ Signature imprint. RISTORANTE PARADISO is rated ‘T+’ for Older Teens and will carry an MSRP of $12.99 U.S. / $16.99 CAN.

At the age of 21, Nicoletta travels to Rome to find her mother, Olga, who abandoned her long ago. Nicoletta finds her at Casetta dell’Orso, a charming little restaurant owned by Olga’s husband. The staff of bespectacled gentlemen welcomes Nicoletta warmly, but Olga’s reception is not so pleasant. Olga has never told her husband that she had a child – and he must never know.

In exchange for Nicoletta’s playing “the daughter of an old friend,” Olga offers her a place to live and an apprenticeship at the restaurant. Nicoletta fits in well among the unique personalities at Casetta dell’Orso. She gets along particularly well with the kindly headwaiter, Claudio, a divorced man who, in spite of the many years, has still never removed his wedding ring. As Nicoletta’s feelings for Claudio become complicated, she finds a sympathetic ear in Olga, leading the estranged pair to form a friendship neither expected. But as they grow closer, the pressure of the secret they share may become too much to bear.

“Natsume Ono continues to push the manga genre in intriguing new directions with her minimalist art style and strong, character-driven stories that deliver surprising quirks and touching endings,” says Gonzalo Ferreyra, Vice President Sales & Marketing, VIZ Media. “Two of Ono’s other works, HOUSE OF FIVE LEAVES and not simple, both now available for free preview on SigIKKI.com, have garnered accolades from older readers looking for more sophisticated stories. Don’t miss the opportunity to explore the unique work of this very talented manga creator.”

Natsume Ono made her professional debut in 2003 with the web comic, LA QUINTA CAMERA, and subsequent works not simple, RISTORANTE PARADISO, and GENTE (a continuation of RISTORANTE PARADISO) have met with both critical and popular acclaim. In 2009, RISTORANTE PARADISO was adapted into an animated TV series. Her manga drama HOUSE OF FIVE LEAVES is currently published in Japan in IKKI magazine.

For more information on other VIZ Signature titles please visit www.VIZsignature.com.

About VIZ Media, LLC
Headquartered in San Francisco, CA, VIZ Media, LLC (VIZ Media), is one of the most comprehensive and innovative companies in the field of manga (graphic novel) publishing, animation and entertainment licensing of Japanese content. Owned by three of Japan’s largest creators and licensors of manga and animation, Shueisha Inc., Shogakukan Inc., and Shogakukan-Shueisha Productions, Co., Ltd., VIZ Media is a leader in the publishing and distribution of Japanese manga for English speaking audiences in North America, the United Kingdom, Ireland, and South Africa and is a global ex-Asia licensor of Japanese manga and animation. The company offers an integrated product line including the popular monthly manga anthology SHONEN JUMP magazine, graphic novels, and DVDs, and develops, markets, licenses, and distributes animated entertainment for audiences and consumers of all ages. Contact VIZ Media at 295 Bay Street, San Francisco, CA 94133; Phone (415) 546-7073; Fax (415) 546-7086; and website at www.VIZ.com.

Manga-ka: Youka Nitta
Publisher: DokiDoki
Rating: Older Teen (16+)
Release Date: February 2010

Synopsis: “Kaname Otonashi is gifted with a super-hearing ability, so much so that he can even hear voices from the “other side”. Having once worked as a top notch detective specializing in Sound Engineering Investigation, Otonashi resigned to work as a private investigator. His partner, Yasuhide, aka Hide, collaborates with the police department to take on unsolved and mysterious cases. Surrounded by a string of mysterious deaths, the police turn to Kaname’s findings to identify suspects…but can Kaname handle the non-stop screaming of the dead?”

Youka Nitta is famous for creating landmark yaoi manga like the popular Embracing Love and The Prime Minister’s Secret Diplomacy. Not knowing anything about Otodama except for the manga-ka when I started reading it, I was expecting more of the same. I couldn’t have been more surprised. Otodama isn’t a yaoi series (or even shounen-ai), but instead a smart police-thriller with supernatural elements. What it does have in common with Nitta’s other work is fantastic art and a gripping story.

Kaname and Hide used to work for the police until an incident made them both decide to leave. The two now do freelance work: Hide as a private detective and Kaname as an audio technician. Hide occasionally relies on Kaname to help him out on cases, putting to use not only his sharp hearing but also his ability to hear the dead.

When the manga starts, a series of bizarre murders have started occurring around Tokyo – young woman are being killed and their bodies hung from signs over busy overpasses. Hide’s older brother, Nagatsuma, is in charge of the police investigation, but they have only a few leads to go on. Meanwhile, Hide takes on a client who is unknowingly a target for the killer, and an old enemy from Kaname’s past gets involved with the case as well.

The manga manages to weave in many themes, plots and characters; the above paragraph only covers the first story, and even then it’s just the tip of the iceberg. Trying to put it all down on paper would make it sound overly complicated, but in the end everything blends together perfectly in a way that makes sense. I liked how very little of the plot twists have to do with convenience or luck: people do things because it’s in their nature, not because the plot requires them too.

The second story continues to keep up the first story’s intricacy. A madman has been setting off bombs over Tokyo, bombs designed not to kill but to deafen anyone caught in the explosion. The killer seems to have some kind of vendetta against the police and is challenging them to step-up their game.

Kaname meanwhile must deal with Shoei Kodama, a disturbed man who also has powers. While Kaname can hear the last thoughts of the dead, Kodama can sense when someone will die in a certain place. This has developed into a fetish for Kodama, and his hobby is taking pictures of dead bodies. One of the more disturbing parts of the manga involves Kaname waking up in a room full of Kodama’s photography and being assailed by the cries of the corpses in the pictures.

Just to throw one more plot element in the mix, a recent hit and run incident in Kaname’s neighbourhood left a child dead. Somehow, all these distinct plot threads tie together to form a multi-layered thriller. There’s also interesting, ongoing sub-plots about office politics within the police and a debate between the Nagatsuma brothers about the merits of being part of a huge organization like the cops versus going it alone like Hide.

While the plot for Otodama is great, there are several things in particular I like about it. I like that Kaname’s powers aren’t ever key to solving a case. Usually, when Kaname hears the voice of a dead person, it ends up being just one more clue rather than the clincher. Instead the focus is on old fashion detective skills: talking to people, gathering clues, and then putting the pieces together. It’s a credit to Nitta that when I went back and re-read parts I picked up on clues that I had missed the first time round despite them being in plain sight. Part of me wonders what the manga would be like if the paranormal aspect was taken out completely. It probably wouldn’t be too different, but it might lose some of its creepy atmosphere.

It’s also interesting to see a manga where sound plays such a key element. It’s not the first manga to place such a prime importance on sound (think of any manga featuring a band, like Ai Yazawa’s Nana) but it’s always interesting to see a silent medium tackle the subject of audio. Otodama does it in an especially interesting way. There’re very little sound effects. Instead the sound gets filtered through the characters and they tell us what they hear and why it’s important. It’s a neat trick that makes the reader dependant on the characters. It makes you think about what it would be like to lose your sense of hearing, to have to rely on other people to tell you what sounds are going on around you. It also nicely mimics how most of the other characters feel when they need to depend on Kaname to use his super-hearing and tell them what’s what.

As mentioned earlier, the series isn’t shounen-ai but it wouldn’t take much imagination to turn Hide and Kaname from friends/roommates/partners into something more. But even without boys’ love connotations they are still interesting characters. Nitta draws really beautiful, solid character designs. Everyone is distinct while still looking like real people. She’s also great at body language. It’s a treat to read a scene where uptight Nagatsuma answers the phone and talks to his brother. While talking to Hide his body language is loose, but once he hangs up he goes straight back to being his straight-laced self. There are little things like this all throughout the manga, extending not only to the main characters but even nameless extras in the background.

Nitta’s brilliance isn’t just confined to the character designs. Her backgrounds don’t just help set the scene, they are beautiful to look at it in themselves. The layouts are fantastic, never falling into a pattern but always interesting.

It’s rare to find a manga like Otodama. It manages to run several plotlines at once without becoming bloated. The paranormal aspects enhance the detective aspects rather than overshadow them, and the writing is smart. In all my praise of this manga, I almost forgot to mention that Digital Manga did a really good job with the translation and touch up work also. If you are looking for an intelligent and dark manga, I can’t push this one enough.

Review written March 10, 2010 by Shannon Fay
Digital copy provided by Digital Manga for review purposes

Manga-ka: Natsume Ono
Publisher: Viz Media
Rating: Older Teen (16+)
Release Date: March 2010

Synopsis: “At the age of 21, Nicoletta travels to Rome to find her mother, Olga, who abandoned her long ago. Nicoletta finds her at Casetta dell’Orso, a charming little restaurant owned by Olga’s husband. The staff of bespectacled gentlemen welcomes Nicoletta warmly, but Olga’s reception is not so pleasant. Olga has never told her husband that she ever had children–and he must never know.”

Seeking to reveal her existence to her Mother’s new husband, Nicoletta has travelled to Rome for an impromptu visit with her wayward parent. Soon finding her spiteful plans on hiatus, Nicoletta finds herself welcomed into the fold of the Casetta dell’Orso, a popular restaurant where older men serve as the eye-candy for their patrons.

With the popular themes of harem, councils and host clubs scattered across manga, it’s admittedly entertainment-in-itself reading a story where the object of the patron’s visual affections are older men. They don’t do anything especially intentional to get the attention, with the single exception perhaps of their uniform requirement to wear glasses, but with a kind smile and a delicious meal they sway the hearts of the background guests.

Despite the collection of characters, all of whom are at least given a single panel introduction, there’s very little focus on the men or the restaurant itself. Instead the story stays focused on Nicoletta, her relationship with her Mother and her budding attraction to the elderly but apparently very charming Claudio. This isn’t exactly a flaw to the story though it does leave wonder about the other characters. At the book’s end there’s a short story that follows the grumpier of the group and his day out with his grandson, which actually proved one of the most entertaining portions of the release.

The whole book has a very low-key feel with the most dramatic moment in this one-shot proving to be a calm conversation over a cup of a tea and a birthday party reveal that proves more satisfying than stirring (but no less appreciated). None of the characters stand out especially, proving neither likeable nor otherwise, but there’s a understated charm to their interactions – whether it’s Nicoletta debating her intentions for being here or discussions about Claudio’s lingering affections for his divorcee-wife. Still, there’s something to be said for a little pizzazz and Ristorante Paradiso could’ve used at least a little. When the characters themselves seem bored with life, there’s little hope that the readers will react much differently.

Unfortunately its the art that proves the weakest part of the book however. Though the simplicity of the style compliments the light nature of the story to a point, it still fails to provide much aesthetically. The characters are all droopy-faced and the older men often difficult to differentiate from one another. It’s also a pull back from the story when you’re articulated a character’s beauty but presented with a rendered physique much less appealing. Granted artwork is subjective, so for some this may not be an issue for their overall appreciation of the work. That or readers could find it forgivable in just how different it is from your usual manga-fare.

On the flipside, Viz Media’s work on this one-shot is fantastic. From classy logo design work reminiscent of restaurant store signs and a glossy faux-cover slip cover, this book looks as good to your eyes as it feels in your hands. Released under the Viz Signature line, it also comes in a slightly larger cut-size than the usual.

There’s a nice overlaying sense of sophistication throughout the book. Then again with a plot that follows a restaurant of gentlemen in Rome and the subtle nuances of a woman’s affections, you couldn’t help but consider it a failing if it didn’t. The story is bound to appeal to manga fans looking for something more tailored to adult-taste, but outside this audience, it’ll likely prove very hit or miss. Decent but dry, Ristorante Paradiso is an okay one-time read but one easily forgotten when complete.

Review written March 8, 2010 by Lissa Pattillo
Book provided by Digital Manga for review purposes

San Francisco, CA, March 9, 2010 – VIZ Media, LLC (VIZ Media), one of the entertainment industry’s most innovative and comprehensive publishing, animation and licensing companies, will publish manga creator, Q Hayashida’s gritty urban sci-fi/horror series, DOROHEDORO on March 16th. The new series under the company’s VIZ Signature imprint, is rated ‘M’ for Mature Audiences and will carry and MSRP of $12.99 U.S. / $16.99 CAN.

In a city so dismal it’s known only as “the Hole,” an underground group of Sorcerers have been abducting people off the streets to use as guinea pigs for atrocious “experiments” in the black arts. In a dark alley, Nikaido found Caiman, a mutant man with a reptile head and a bad case of amnesia. To undo the spell, Nikaido and Caiman hunt and kill the Sorcerers in the Hole, hoping that eventually they’ll kill the right one. But when En, the head Sorcerer, gets word of a lizard-man slaughtering his people, he sends a crew of “cleaners” into the Hole, igniting a war between two worlds.

“DOROHEDORO blends bloody mutant action with the classic horror elements—zombies, demons, and ghosts—and an intricate postapocalyptic urban setting,” says Leyla Aker, Editorial Manager, VIZ Media. “At the same time, the characters are likable, the dialogue’s funny, and I think readers will be surprised by its charm.”

Manga creator Q Hayashida is known for her bold art style and the way she seamlessly integrates alternate universes into her stories. Hayashida made her manga debut with MAKEN X ANOTHER, which ran in Magazine Z in Japan and was subsequently adapted into a video game. She followed with a sequel, MAKEN X ANOTHER JACK. DOROHEDORO is her latest creation and is serialized in Shogakukan’s manga magazine IKKI and also featured on SigIKKI.com, the publication’s innovative online joint venture with VIZ Media.

For more information on SIGIKKI, please visit www.SigIKKI.com.

For more information on this title, or others from VIZ Media, please visit www.viz.com.

About VIZ Media, LLC
Headquartered in San Francisco, CA, VIZ Media, LLC (VIZ Media), is one of the most comprehensive and innovative companies in the field of manga (graphic novel) publishing, animation and entertainment licensing of Japanese content. Owned by three of Japan’s largest creators and licensors of manga and animation, Shueisha Inc., Shogakukan Inc., and Shogakukan-Shueisha Productions, Co., Ltd., VIZ Media is a leader in the publishing and distribution of Japanese manga for English speaking audiences in North America, the United Kingdom, Ireland, and South Africa and is a global ex-Asia licensor of Japanese manga and animation. The company offers an integrated product line including the popular monthly manga anthology SHONEN JUMP magazine, graphic novels, and DVDs, and develops, markets, licenses, and distributes animated entertainment for audiences and consumers of all ages. Contact VIZ Media at 295 Bay Street, San Francisco, CA 94133; Phone (415) 546-7073; Fax (415) 546-7086; and website at www.VIZ.com.

The first book, entitled Drunken Dream, is a collection of short stories by Hagio falling into multiple genres created between 1971-2007. This tome travels through several of Hagio’s most revolutionary and poignant tales that span over the years of her lush career.

In December 2010, comes one of the defining transgendered-centric manga, Wandering Son. Shimura Takako’s ongoing series follows two young friends, Shuichi and Yoshino. These 5th graders struggle with only not puberty, but also severe identity issues; Shichi is a boy who wants to be a girl, and Yoshino is a girl who wants to be a boy. The two find solace in their mutual confusion and help each other cope with their gender frustration while embarking on the complicated journey of growing up.

To celebrate the launch of the new Fantagraphics manga, Moto Hagio is making her first ever visit to The United States to attend Comic-Con International 2010 as a special guest. More details on a speaking event and panel at The Con will be available soon.

Moto Hagio spearheaded the rebellious shōjo in the 1970’s. She, along with a few other women, formed an artist collective called the “Magnificent 24.” Influenced by radical youth culture of the 60’s, American and British rock ‘n’ roll, and European cinema, these women pioneered shōjo and helped develop the style that so most manga-ka emulated today. Winner of the Shogakukan Manga Award, Seiun Award, Osamu Tezuka Cultural Prize, Nihon SF Taisho Award and many others, Hagio has earned respect as a Japanese artist superstar and won the hearts of manga fans for the last 40 years.

Shimura Takako is a female manga creator living in Tokyo. Her focus on GLBT issues places her work in a space that’s rocked out by The Gossip and on par with Alison Bechdel. Several of Takako books have been honored with recommendations from the prestigious Japan Media Arts Festival.

Fantagraphics Books (www.fantagraphics.com) has been the world’s leading publisher of comics and graphic novels since 1976. To obtain more information on any of these titles or to obtain sample artwork, contact Jacq Cohen, Director of Publicity & Promotion at 206.524.1967 x216 or cohen@fantagraphics.com. For information on all subsidiary rights, contact Gary Groth, President & Co-Publisher, Fantagraphics Books: 206.524.1967 x 217 or groth@fantagraphics.com.

Manga-ka: Yoshimi Amasaki
Publisher: 801Media
Rating: Mature (18+)
Release Date: December 2009

Synopsis: “All Atsu has ever wanted is a dog of his own… and all Junya has ever wanted is Atsu! After being friends since childhood, dog-like Junya and cat-like Atsu now attend college together. One day, Junya finally drops a bomb: he’s in love with Atsu and wants to have a sexual relationship with him! Even though Atsu agrees, he doesn’t tell Junya if his feelings are returned. Aren’t they both supposed to be in love? What’s more, aren’t dogs and cats supposed to be natural enemies? With lots of training, perhaps Atsu will come to learn that having Junya is even better than having his own pet!”

Dog x Cat is a strange animal. On one hand, it’s extremely cute and funny. One the other hand, it has some of the dirtiest sex scenes I’ve seen in awhile. For some people, this would be a great case of getting to have your cake and eat it too. For me, I found the two extremes a little disconcerting. Still, once I got used to the mix, I started to enjoy it.

The story begins simple enough: Junya and Atsu have been friends for years, but their relationship changes when Junya confesses that he loves Atsu as more than a friend. Atsu is caught off guard at first, but after thinking it over realizes he returns Junya’s feelings.

The words are barely out of Atsu’s mouth before they’re having sex – and not just any sex, but very graphic sex. It’s not like the sex scenes have crazy positions or feats of the human body we’ve never seen before (though there is one particularly kinky scene where Junya gives Atsu a blowjob while Atsu is carrying on a conversation with someone). It’s the way they’re drawn and presented that makes them seem extra dirty. In a lot of yaoi manga, manga-ka won’t draw genitalia, instead just leaving vague white spaces where things should be. Dog x Cat doesn’t go that route: everything is shown in full detail. Another thing present in the sex scenes is a couple of gallons of bodily fluid. Oh, and lots of sound effects: this manga contains some of the nosiest sex ever put on paper.

What’s interesting is that even when the manga gets hot and heavy, the story still keeps its light and cute atmosphere (at least until near the end – more on that later). There are lots of funny parts in this book and the two leads themselves are pretty easy-going and cute. My favourite part of the book humour-wise is when Atsu is trying to picture what Junya’s past lovers look like.

The art is a big part of the manga’s overall cuteness. Both of the characters have a fondness for animals (Atsu likes dogs while Junya really likes cats) and the manga is full of cats, dog, puppies and kittens. And of course there are cute boys to go with the cute animals. Atsu is designed to be cat-like while Junya (in Atsu’s mind at least) resembles a big friendly dog. The backgrounds and minor characters are all drawn nicely – the layouts are practically bursting at the seams. It can be hard to fit so many different elements on one page, but Amasaki pulls it off, giving the manga a fast-past and energetic feeling.

The plot itself is easy-going for the most part: the two go on dates, have misunderstandings, get jealous and have sex (not all in that order). Near the end, the book takes a turn for the dark when Atsu and Junya go to a party together. Being the outgoing nice guy that he is, Atsu is naturally popular amongst all the girls. Because of this the other boys at the party get jealous and try to serve him a cocktail with an insane amount of alcohol (Atsu doesn’t drink). Junya overhears this plan and takes one for the team by grabbing the drink out of Atsu’s hand and chugging it. Why he doesn’t just toss the drink out and tell Atsu what’s going on is beyond me though. When they get home, Junya is severely drunk and takes advantage of Atsu.

There are a few things that bug me about this chapter. I do like that the morning after Atsu actually confronts Junya on his actions, even saying that what he did wasn’t sex, it was rape. What I don’t like is how quickly Atsu forgives Junya. Sure he was drunk, but even Junya admits that that doesn’t excuse what he did. The chapter wasn’t enough to make me sour on the book overall, but it was a big mood change from what came before.

801 Media does a really nice job with the translation here. The dialogue reads really well and the sound effects are translated but left untouched. I was really impressed with how they managed to translate every sound effect (and there are a lot of them) without overloading the pages with text. There’re also the author’s notes at the back, which show some of the behind-the-scenes drama between the manga-ka’s pets cats. The book includes a very special extra: a four-panel comic written by Kuriousity’s very own Lissa Pattillo.

Dog x Cat is a pretty fun yaoi that earns it’s 18+ rating. If you’re looking for a nicely drawn yaoi manga with lots of smut – when was the last time you read a manga that used speed lines in a sex scene? – then you’re likely a Cat x Dog person.

Review written March 3, 2010 by Shannon Fay
Book provided by Digital Manga for review purposes

Manga-ka: Rinko Ueda
Publisher: Viz Media
Rating: Older Teen (16+)
Release Date: April 2010

Synopsis: “Poor Sumi Kitamura… Her irresponsible older brother Eisuke keeps bringing home orphans for her to take care of even though they can barely afford their own basic needs! Just when Sumi’s financial problems become dire, wealthy Soichiro Aside enters her life wih a bizarre proposition: he’ll provide her with the money she so desperately needs if she agrees to marry him. But can Sumi fool high society into thinking she’s a proper lady? Moreover, is it worth giving up everything for this sham of a marriage?”

Life isn’t easy for Sumi Kitamura. Poor and left to care for a group of enfants, she struggles each day just to find food to feed them and another excuse for their landlady. To make matters worse, the number of children keeps growing when her gambling-addicted older brother keeps bringing home stray children with debt-collectors close on his heels. Not to be taken half as seriously as the plot would suggest however, Stepping on Roses is a frolicsome shoujo story that mixes societal clashing with unbelievable scenarios in this opening volume of a “rags-to-riches romance”.

Just when it seems life can’t get any worse and Sumi is led to sell herself for money, she accepts an offer from a rich gentlemen named Sochiro Aside. In exchange for all the money she could ever desire, she need only become his wife. The catch? She has to give up the notion of love, for she must never love him and he must never love her. But with the two of them in it solely for the money involved, could there be anything wrong with this arrangement?

Next thing you know Sumi is whisked away to a ritzy mansion complete with decadent décor, frilly dresses and a flamboyant pretty-boy servant who proves himself a side character both amusing and attentive. Dolled up and decked out, wedding bells are chiming and Sumi quickly finds herself the wife of Soichiro Aside and under scrutiny of fellow aristocratic types (though in truth its only Soichiro who seems to really mind everything she does).

Interestingly it’s her Japanese-heritage that causes her the most issue, more so than her penniless home-life. Things such as a keeping one’s shoes on, eating with a fork and being kissed on the hand by random strangers all boggle her mind. The story feels awkward making these societal differences evident however when Sumi doesn’t look any different than everyone else – is she Japanese? Are the rich individuals Japanese living an English lifestyle or are they foreigners? Is this even relevant? The author seems as unsure as readers have the potential to be.

But amidst it all, Sumi’s mind stays dreamily focused on a kind stranger she met once before. It’s little surprise to readers that this well-dressed stranger is revealed to be an associate of Sochiro. Despite the little that we know of said stranger, Nozomu Ijuin is someone you can’t help liking. Sure the story pushes his perfection on you to a point where you want so badly to expect something negative of him, but when compared to the selfish acts of Sochiro or Sumi’s older brother, he’s a welcome saint.

Stepping on Roses is not something intended to be taken seriously (we should hope). Selfish motivations abound in this story and even Sumi’s well-intended wish to help the children her brother keeps bringing home fall flat. Despite being thrust by men into one painfully stereotypical-female role after another, she doesn’t do or say anything about it enough to earn our sympathy any more than a soggy doormat would in the same situation. The other side of things are no better with Soichiro Aside, a self-centred individual whose sole purpose in keeping Sumi around is to solidify his hold on his family’s inheritance. He spends the majority of his page-time criticizing Sumi’s every action. The story is so ridiculous that it creates its own humour regardless of intention. Other times it’s just painful. The saving grace of the plot is the strength of its execution – a little rushed at times but with an overall smooth and fluent feel to the read itself.

The true consistent treat from start to finish however was the artwork. The style isn’t anything too deviating from the expected in modern-day shoujos but it still has its prominent charms. Most notable is the amount of detail on things such as clothing, hair and architecture, especially when the setting of the story moves to the Western-style motifs. What makes the visuals differ from other detail-heavy artwork is the lack of screen toning. While tones are used sparingly throughout the book, they’re absent on most scenes that have the most intricate details, allowing the more minute features to stand out that much more. As for the characters themselves, the pages are adorned with gorgeous men who challenge the role of prettiest with lead-female Sumi and a cast of little kids who look an eerily amount like Kewpie dolls.

It’s also worth noting the creative cover design which, when staring at the cover and then flipping to the back for the artwork’s continuation, is a brilliant rendering of the leads’ real relationship.

All cards on the table, Stepping on Roses is a pretty silly manga that’s so chuckle-worthy shallow that you can’t help but keep reading. And that’s just it – you can’t help but keep reading. The characters aren’t very likeable, and the trials of the plot fall weakly because of this, and yet, the fluidity of the story telling and the charm of the artwork act as irrefutable hooks to finish. Your will to seek out volume two will naturally vary based on how much you actually enjoyed volume one of course – but still, regardless of what you thought overall, you can’t ignore the sheer and subjective entertainment-value of something so flippant.

Review written March 6, 2010 by Lissa Pattillo
Book provided by Viz Media for review purposes

Manga-ka: Kubo Tite
Publisher: Viz Media
Rating: Teen (13+)
Release Date: March 2010

Synopsis: “Ichigo and his friends are moving ever closer to the center of Hueco Mundo and rescuing Orihime. But their battles against the Arrancars are testing them in ways they never thought possible. Can they keep their honor in a world where it doesn’t exist, or will Hueco Mundo leave an indelible mark on their souls?!”

With a split-off cast and an unknown amount of bad-guys around every corner, it’s apparent that things are well in place for a string of confrontational battles. This shonen-standard does spell potential disaster in terms of being repetitive but thus far Bleach is keeping this Heuco Mundo arc engaging with fast-paced, overlapping battles that play off the traits of each character.

While the previous volume was a treasure-trove of eye candy for fans of Uryuu and Chad, this volume caps off Chad’s battle with this opponents before leaping headlong into a Rukia-centric instalment. She finds herself in the presence of a familiar face – Kaien, her old team vice Captain whose life she was forced to take after his body was taken over by a Hollow. Taking up the bulk of this book, her battle with Kaien is as mental as it is physical, fighting with the sense of guilt that’s plagued her since his death. This is used against her in a bevy of flashbacks and sneak attacks that lead to the inevitable reveal of the truth behind this situation. As interesting as these elements are, what really steps up this mini-arc is the diversity of the fight itself and its conclusion. It doesn’t rely on repetitive back and forth sword-clashes.

Standing out fantastically amidst the fight-oriented parts of the story is a brief encounter between the captive Orihime and the enigmatic, Urloquirria. The exchange is short but potent; it really makes readers feel the despair and sense of futility that has begun to encase Orihime despite her hold out for hope. On the flipside, a short revisit to Renji and his cohort allow pause for humour.

Kubo Tite’s art continues to be another of the repeatedly enticing elements of the story. However now thirty volumes in, while the consistency of the art shows a keen comfort in his element, the artist also seems like he’s getting a little lazy at times. Most notably on proportions that just look too distractedly off. In this volume Rukia’s normally petite hands are so tiny in some images, including a chapter cover, that she could punch herself between her big eyes and still miss pupil. It’s a small quip and honestly one that wouldn’t even be so distinctly noticeable if not a part of such an otherwise near-flawless shonen tapestry of speed lines and blood streaks.

What helps Bleach immensely is it only dwells on each scene long enough to get every ounce of worth from it without staying long enough to strangle it of life, and its cast of engaging characters helps pulls this off. But with a story that isn’t afraid to brutally suggest an unfortunate end for said characters, and actually pull off believability to that effect, there’s plenty of suspense to drive forward the action sequences as well. It’s do or die in this world and as the cast races to save Orihime, readers won’t find themselves nearly as eager to see her rescued (though not for lack of caring).

Review written March 6, 2010 by Lissa Pattillo
Book purchased from Strange Adventures

Author: Maki Kazumi
Manga-ka: Yukine Honami
Publisher: June
Rating: Mature (18+)
Release Date: January 2009

Synopsis: “I wonder why, when I look at you, I get turned on.” With a few simple words uttered by his best friend Ryoji-Toru’s world flips upside down. It doesn’t help that Toru has secretly been in love with Ryoji for some time. But whereas Ryoji wants a purely physical relationship to satisfy his curiosity-Toru wants more. Can the two ever come to terms with how they really feel about each other?

I must be getting used to the different writing style, because I don’t mind saying I had a lot less time to notice the writing in this book, as I was so taken with the story and the characters. As I think back, I’m not sure exactly what it was that caught my attention so thoroughly, but I will say that I was reading on the bus and I missed my stop – twice! The story line is pretty run of the mill – best friends and unrequited love is not new to the genre, nor is the push and pull of unspoken feelings and poor communication. Seems boys just don’t tend to talk to each other.

In this case, the point of view character, Toru – once again the uke – doesn’t think he can tell the object of his affections his true feelings, because how do you tell your best friend you’re in love with him? So when Ryoji wonders out loud why he’s physically excited just from looking at Toru, then suggests they have sex just to see what it’s like, Toru is completely off balance and more sure than ever that he can’t confess his true feelings. So he agrees to the sex, and soon finds himself with a broken heart and his other best friend, Tadashi, warning him not to rely on Ryoji. That’s when things really get complicated, and Toru turns to his art to speak for him.

Ryoji isn’t any better. When it’s clear he’s changing his mind about how he feels for Toru, he doesn’t say a word, and even wonders if he’s worthy of Toru. As a reader, I couldn’t help but feel for both of them and wonder if they were ever going to get what they deserved; Toru his true love, and Ryoji faith in himself.

There are two things that stand out for me in this book, outside of the main plot and characters. First, the acknowledgement of gay love being okay is nice, and not always present in these stories. I found it refreshing not needing to wade through a lot of angst over the but-he-s-another-guy dilemma. There is some, but it isn’t the focus of what keeps the boys apart. Their struggle is much more personal than that, and Toru’s fear of losing what little of Ryoji’s attention he has is well depicted, as is Ryoji’s worry that Toru will never trust him.

The other thing that stood out was the treatment of the secondary characters. They were given enough page time to really flesh them out. I can see why the artist wanted to draw Keigo, even if he isn’t one of the main characters. He does play an important role in the love story, and he isn’t just a flat prop for the main characters to move around to suit their story. He’s been given enough personality to carry a story all his own, and enough emotional depth to make a reader hope he finds his own happy ending. (Not that that’s a nudge to the author, or anything…)

The best friend Tadashi is another character that isn’t passed over as an unimportant element. He’s quite charming, and his nudges to get Ryoji to see the error of his ways make him a loveable character in his own right.

The art itself is very understated, with simple lines and just the right amount of detail. I wish there had been a few more illustrations to enjoy, but what there is makes a nice, simplistic and gentle counterpoint to the heavy emotional content of the story. The emotions of the characters are distilled down into very delicate drawings that are more mood than content, and that’s tricky to do. I especially love the very last line drawing of the boys enjoying their newfound security in each other. Very well done.

All in all, none of the characters were short changed in this book, and that’s what made it so enjoyable for me. I always love character driven stories, and much of Yaoi is just that, but occasionally, you come across one that goes that extra step, and this is one of those times. Over all, Desire: Dangerous Feelings was a great read because whether or not the plot was particularly original, the characters really carried the story and held my interest because they were real, their dilemmas were believable, and they reacted in honest and understandable ways. As a bonus if you like speculating on where the secondary characters go from here, there is tons of fodder for that in this book.

Review written February 26, 2009 by Jaime Samms
Book provided by Digital Manga for review purposes

Manga-ka: Jun Mochizuki
Publisher: Yen Press
Rating: Older Teen (16+)
Release Date: December 2009

Synopsis: “The air of celebration surrounding fifteen-year-old Oz Vessalius’s coming-of-age ceremony quickly turns to horror when he is condemned for a sin about which he knows nothing. He is thrown into an eternal, inescapable prison known as the Abyss from which there is no escape. There, he meets a young girl named Alice, who is not what she seems. Now that the relentless cogs of fate have begun to turn, do they lead only to crushing despair for Oz, or is there some shred of hope for him to grasp on to?”

After taking in Mochizuki’s Crimson Shell in a previous review, this ongoing series offers similar flavors with it’s gothic British setting, endless mansions and frilly outfits. However, it manages to avoid being a retread of the previous series, just another tale offered in complimentary window dressing. Mochizuki presents us with yet more pseudo-Victorian gothic wonderment, and ups the ante a bit with some cleverly chosen ties to a literary classic, and a fairly involving plot centering on intentions most sinister for all concerned.

Character introductions feel a bit more spaced out than in Crimson Shell due to the ongoing nature of the material. It takes time to more-so establish the setting before adding any unusual twists. Oz takes the mischievous shonen-archetype and adds in a few darker bits of dialogue that foreshadow the subsequent events of the opening chapter. We get a sense of the normalcy of his family life, centered around his uncle, little sister and friendly servants. His life is a sheltered existence soon to come to an end with his introduction into adult society. The introduction of the abyss and his imprisonment within it adds another layer that calls into question everything he has believed, and make for a fairly involving introduction to the story.

This startling introduction is quickly reinforced with references to the works of Lewis Carroll. The elements of Alice in Wonderland used in this series aren’t added in for gimmicky reasons, rather take minor elements of that classic and expand and subvert them. Alice herself has a sinister alter ego, functioning as both the inquisitive Alice searching for answers in seeking out Oz, and the cat in the way she never answers ours or Oz’s questions entirely. Rather than being yet another wimpy girl in an outfit ready made to sell model kits, Alice is a force of nature, and a particular element of her powers makes for a sinister twist on things traditionally associated with sweetness. The Abyss has more in common with the dark, dangerous Wonderland of the books populated with Jabberwockys than the softened whimsical elements of the books, a deadly realm where choices must be made delicately.

For all the mystery I’ve related about Alice, the rest of the cast simply provides more conundrums, leading us to suspect that Oz accompanying Alice might be among his better choices of companionship. The world of Oz’s childhood is apparently some sort of charade, and different sides emerge in the study of the Abyss. Family and acquaintances are no longer what they appeared, and the reader will find themselves seeking out truths as much as Oz, paying particular attention to the small revelations we’re given. It’s possible someone is working behind the scenes to manipulate Oz, and his past-tense narration often foreshadows upcoming events, dropping bits of plot suggestions that create more questions than they answer. Many of the characters remain enigmas with enough details offered to provide interest while still leaving an air of uncertainty concerning their plans with Oz, particularly Alice.

The artwork is a bit stronger then Mochizuki’s previous work, benefiting from shifts in setting as Oz travels to the Abyss. The monsters in this volume are not generic zombies but bizarre visual monstrosities like something out of Wonderland – outright inhuman and unnatural looking, some disgustingly organic, others clockwork combinations. Black is used with more efficiency as well, highlighting moments of unrelenting terror like monstrous expressions, unending catacombs and moments of shock. The characters are expressive, with moments of mild to intense insanity emerging among all, along with Alice’s deft shifts between innocence, bravado and curmudgeonly annoyance.

Yen Press’s translation and presentation are emerging to be fairly standard. Colour plates are included at the start of the volume, and the paper is slightly better then what one might normally expect from digest sized manga. The translators made the same choice they did in Crimson Shell, making me feel as if yet again I’m witnessing another post-apocalyptic England occupied by Otaku. -chan and -san get dropped into the conversations alongside elements originally added to give it a British flavour, like the use of “Mrs.Kate” for one character. Yen Press notes that particular example in the liner notes as being in the original, though it seems a bit redundant given this is an English translation. While I would of preferred a less literal adaptation , this is a fairly minor element and the manga’s translation is otherwise enjoyable.

I’d recommend Pandora Hearts to fans of Crimson Shell, as it shows great improvement – something that will reward those who enjoyed the previous work. Those who enjoy mysteries and suspense in their manga, or those looking for some strange visuals, will appreciate it as well. It might not be quite as cohesive as some might like, but a straightforward story is never really what one looks for where mysteries are concerned.

Review written March 4, 2010 by Andre
Book provided by Yen Press for review purposes

For Two Boys Called Arata,
Switching Places Means an Adventure of a Lifetime!

San Francisco, CA, March 3, 2010 – VIZ Media, LLC (VIZ Media), one of the entertainment industry’s most innovative and comprehensive publishing, animation and licensing companies, brings famed manga creator Yuu Watase’s potent blend of mythical fantasy adventure and lavish artwork for the North American debut of ARATA: THE LEGEND on March 9th. The new series is published under the SHONEN SUNDAY imprint, rated ‘T’ for Teens, and will carry an MSRP of $9.99 U.S. / $12.99 CAN.

In a world where humans and gods coexist, Arata is the unfortunate successor to the matriarchal Hime Clan–unfortunate because if he’s not cross-dressing to hide his gender one minute, he’s fleeing for his life the next! When Arata winds up in the modern world and switches places with a boy named Arata Hinohara, it’s a wonder which Arata is actually better off…
In Volume 1, Hinohara is the spitting image of Arata, so he suddenly finds himself fighting people after his life! As he navigates through this foreign world filled with power-hungry warriors, who will come to his aid? One thing’s for sure–it’s not easy being Arata!

“I’m really excited to see ARATA: THE LEGEND joining the Shonen Sunday imprint. The art is gorgeous, the series is action-packed and no one can create a lush fantasy world the way Yuu Watase can!” says Amy Yu, Editor, VIZ Media. “Fans who know her work in the shojo genre will experience a whole new side to this creative mastermind.”

Born March 5 in Osaka, Yuu Watase debuted in the Shôjo Comic manga anthology in 1989. She won the 43rd Shogakukan Manga Award with Ceres: Celestial Legend. One of her most famous works is Fushigi Yûgi, a series that has inspired the prequel Fushigi Yûgi: Genbu Kaiden. In 2008, Arata: The Legend started serialization in Weekly Shonen Sunday.

ARATA THE LEGEND is one of the newest titles under VIZ Media’s SHONEN SUNDAY imprint, the new standard for riveting stories and creative excellence. Titles under this imprint are more than shonen stories with struggling heroes and endless battles. Shonen Sunday characters are tested both mentally and physically, asked to prove their worth alongside loyal allies and encounter legends that have outlasted time itself. Each manga series under the SHONEN SUNDAY imprint will enchant the reader with tales from Japan’s top manga creators featuring complex, intriguing characters in richly imagined worlds.

For more information on this title or other SHONEN SUNDAY series, please visit www.shonensunday.com.

About VIZ Media, LLC
Headquartered in San Francisco, CA, VIZ Media, LLC (VIZ Media), is one of the most comprehensive and innovative companies in the field of manga (graphic novel) publishing, animation and entertainment licensing of Japanese content. Owned by three of Japan’s largest creators and licensors of manga and animation, Shueisha Inc., Shogakukan Inc., and Shogakukan-Shueisha Productions, Co., Ltd., VIZ Media is a leader in the publishing and distribution of Japanese manga for English speaking audiences in North America, the United Kingdom, Ireland, and South Africa and is a global ex-Asia licensor of Japanese manga and animation. The company offers an integrated product line including the popular monthly manga anthology SHONEN JUMP magazine, graphic novels, and DVDs, and develops, markets, licenses, and distributes animated entertainment for audiences and consumers of all ages. Contact VIZ Media at 295 Bay Street, San Francisco, CA 94133; Phone (415) 546-7073; Fax (415) 546-7086; and website at www.VIZ.com.

Manhwa-ga: SangEun Lee
Publisher: Yen Press
Rating: Teen (13+)
Release Date: February 2010

Synopsis: “Hee-So’s stuck with Sae-Bom on cooking duty at the Scout’s joint volunteer outing at a local orphanage, ruining her chances of showing off in front of Won-Hun! And Sae-Bom’s no help either, ‘cose she’s too busy making lunch for her dearest Whie-Young! Suddenly, it occurs to Hee-So that making lunch of Won-Jun might not be such a bad idea. But when the two girls go make their special deliveries, a dangerous accident threatens both their lives. And in the heat of the moment, Won-Jun, who witnesses the accident, takes a most unexpected course of action. Has he gone and irreparably crushed Hee-So’s dreams? Will Whie-Young be able to pick up the pieces?”

Love-triangles are nothing new to any story containing a sliver of romantic drama. Two boys love the same girl? Two girls love the same boy? No biggie. But 13th Boy pulls off the far lesser utilized love-cluster – the dreaded love-square. If you thought things were already looking shaky enough for Hee-So’s love life, wait until you see it all laid bare in this third volume.

Stubborn Hee-So craves stoic Won-Jun; stoic Won-Jun’s world revolves around spacey Sae-Bom; spacey Sae-Bom crushes on temperamental Whie-Young; temperamental Whie-Young loves stubborn Hee-So. While this quadratic-conundrum had already set itself up fairly well in the previous volume, this book delves into the lines of fate that actually connect them together.

Things kick off with Hee-So dragging Whie-Young to another Scouts event. Volunteering at an orphanage seems like a new and hopefully perfect opportunity for Hee-So to impress Won-Jun. However things take an entirely different turn when a construction site accident reveals where his true (and debatably only), loyalties lies. But, meaningful as this incident is, it falls to the background when an adorable kiss scene between two grade-schoolers opens the floodgate of Hee-So’s memories and leads to Whie-Young to fill in the blanks for her.

Thank goodness for the sanity of both plot and readers that it doesn’t rely on the often overused vice of ‘everyone-loves-the-main-character’. Loud, obnoxious and self-centred, Hee-So’s not exactly what you’d consider someone’s ‘perfect girl’. Watching her do one thing after another solely to further her chances of being close to Won-Jun, despite their not-so-recent break up, gets to be more than a little trying. At least she’s honest about her intentions.

There’s only really Whie-Young vying for her heart but even then he certainly isn’t going about it in typical fashion. He doesn’t seem to like her enough as a person to outwardly seek her company and isn’t possessive enough to want a complete monopoly on her either. He does however go out of his way to protect her using the magic powers it’s easy to forget he has and confronts her with his intentions in a very forward, if not dangerously cheeky, manner. For these reasons and a few more he continues to be the series’ strongest thing-going.

Though Whie-Young does have some competition for that rank. Too odd to be allowed to whither in the background, 13th Boy’s resident talking cactus Beatrice takes a day out in search of the one who originally gave him life. Bound to please those who can’t help but love a magical pretty-boy, Beatrice meets-and-greets his ‘master’ and two come to somewhat of an understanding. Beatrice’s affections for Hee-So also garners its own respective place amidst the series’ love square, though earns tag-along status as a matter of soul sharing over independent-infatuation.

By the volume’s end readers are offered a look at Won-Jun’s past where an accident involving Sae-Boom connects the two for life. Hee-So quickly learns she’ll need to do more than keep in Won-Jun’s face to earn a place in his heart. With the ways things end up, it isn’t entirely evident where these new developments will take her – though the sudden onslaught of bully attacks and best-friend desertion should at least garner lots of opportunity to learn humility.

13th Boy continues to prove itself an erratic little love story that’s often as shrill and animated as its lead. Much like the artwork that compliments it, certain moments of the story can be a little too thickly emphasized for the sake of comedy. But, when it steps back to deliver some detailed glimpses of the characters and a sparsely sprinkled background, it really knows how to shine. Fanciful and fun, 13th Boy clearly still has some tricks up its frilly little sleeves.

Review written March 2, 2010 by Lissa Pattillo
Book provided by Yen Press for review purposes