Union Station

Written by Ande Parks
Illustrated by Eduardo Barreto
Oni Press

[From the archives.]

This is a nifty graphic novel from Oni Press. In this case, we have a graphic portrayal of the Union Station Massacre, deeply researched by Parks and drawn in a crisp, Dick Tracy-style by Barreto. Parks sticks mostly to the facts as given, but takes a tack that the Feds were not as clean as some of the histories suggest.

We learn this in the endnotes (yes, this graphic novel has endnotes!) which are quite enlightening. One of the wonderful things about comics that is that they can be used for so many things. In this case, Parks provides a history of a violent time and uses Barreto's art to show the reader what he's learned.

My only problem with this one is that Barreto, in trying for a realistic style, doesn't give us quite enough distinct ways to keep the characters straight, so sometimes I got a little lost. I'd have liked maybe a few fancy ties or hats or something to keep me on track. But that's a minor quibble--this one's a gem, and if you like crime stories, you should pick it up.

Fables Volume 9

Written by Bill Willingham
Illustrated by a lot of artists, including Mark Buckingham, Steve Leiahola, Mike Allred, Gene Ha, Barry Kitson, Jim Rugg, and Jill Thompson
Vertigo

The next act of Fables begins, as the Adversary plots how to destroy the earth after the most recent acts of Bigby and his secret agents. Meanwhile, the Fables regroup from the own flurry of changes, and Bigby and Snow learn how to live life as a married couple. It's always the parents who throw a wrench in things, as they are soon to learn. And if those two plots aren't enough for you, Willingham has a bevy of backup stories fleshing out the world of the Fables, with a whole host of guest artists.

All this and Santa Claus, too? What might some Fables wish for, given the chance?

As per usual, Willingham has filled the pages up to the brim with ideas and story hints that may take months to blend into the main narrative. Using the vast world of European mythology, he is able to create an even bigger world as he moves along. Rapunzel, Hansel (as a puritan witch hunter, a brilliant casting move), and others move into the spotlight, telling their parts of the world of Fables. Some old favorites sneak in as well, such as the Three Little Pigs. Part of the fun of reading Fables is to see which characters Willingham finds a use for next.

This was a much more enjoyable trade for me than the past two. While we still have the uncomfortable political allusions, they are a bit more muted and only take up a small part of the ongoing story. The Adversary (Palestine) is pretending they want diplomacy with the Fables (Israel), buying time to wipe them off the face of the earth. This is Willingham's politics showing, and again I am disappointed that the editors at Vertigo did not step in to tone it down. But we're further removed from the racism of the Arabian Fables arc and I can deal with his political potshots because overall, the story is quite good. (Standard comment time--I'd be annoyed if it was far left politics, too--don't preach at me in a work of fiction.)

There are several threads that Willingham is weaving which should prove interesting. It looks like we're going to get a battle of the witches again, Flycatcher is set up for a really big role, and I actually really like the Charming-Beauty-Beast leadership team. (I just hope the plan isn't to have things blow up in their face so that Snow and Bigby can come back.) He does a good job of juggling a large cast, several competing stories, and making everything feel linked.

I picture Willingham's writing room with large maps, charts, and lists all over it to keep track. Though I guess in these days of computers, it's all in a file somewhere. Either way, I'm impressed. The Fables world is nearly as large as the DC Universe itself, and probably is bigger than the world Constantine and Swamp Thing inhabit. Making sure everything fits has got to a constant job for Willingham, his sometimes-partner Matt Sturges, and the editor.

Giving each character their own style of speaking would also be a problem in other hands, but Willingham's very good at that, too. I mention this for the review of this trade because we have no less than about two dozen main characters make appearances here, but they all have a unique voice. Pinocchio is different from Boy Blue who is speaking distinctly from Bigby and his father, the North Wind. Part of what makes Fables so appealing is Willingham's ability to make the characters feel modern and yet everything they say (when it's not political ghosting) fits in perfectly with their character from folklore. When so many Fables are talking at once, as they are here (because of the montage scenes and backups), it's a thing to behold and a real joy to the reader.

There are a total of 16 artists who work on the pages in this trade, but the bulk of the work is completed by Buckingham, Liahola, Andrew Pepoy, and Mike Allred. Thus what might be a mess (like the Legion of Inkers on Legion of Superheroes I read awhile back) actually ends up being a very cool look into how others might draw our favorite characters in Fables. Because Buckingham has done so much of the art chores thus far, Fables has a very consistent look that helps the reader follow along without being disturbed by so many varying artists of wildly varying talent. (My friend Noah might refer to this as the "Sandman Rule.")

When they do use another artist for a story arc, it's a good one. P. Craig Russell did the art for a special awhile back, and this time it's a personal favorite, Mike Allred. Allred's art style is nothing if not distinctive, and yet you can tell without any help from the dialog who Bigby, Snow, the Adversary, and others are. It's a tribute to the series that even guest artists are chosen by their ability to keep the look holding steady.

This trade is a transitional one, and as a result the stories themselves are not as strong as some of the past books. But I like the direction Willingham is moving, away from some of the politics and back to the idea of "Hey, it's cool to play with fairy tale characters with a dark edge to them, just like in the old days of Grimm." When the two main sides inevitably clash, I may get annoyed again. For now, however, I'll be happy to see the strong world-building that Willingham created (and still creates) bear fruit as the story of our Fables continues to grow.

Doctor Strange: The Oath

Written by Brian K. Vaughan
Illustrated by Marcos Martin (with Alvaro Lopez)
Marvel

Poor Doctor Strange just can't catch a break doing a regular series. However, every once in awhile, someone picks up the character and does an amazing job with Marvel's premiere mystic.

In this case, it's Brian K. Vaughan, who conjures up a story that combines Strange's past with his present in a way I've never seen before but in a way I wish we'd see again. Strange's faithful servant, Wong, is dying, and only a mystical cure can help. Turns out, it can cure a lot of things. Soon, it's a race against time for the life of Wong as the cure is stolen. With the help of the Night Nurse, can Doctor Strange save his friend and the world? Or will he be forced to choose?

On the surface, the story itself is a bit hard to swallow. The editors at Marvel aren't going to let a minor mini-series bring a major cure into the world, even if they did want to do something like that. That means Vaughan has to work very hard to make the dynamic work--and he succeeds admirably. Even though you know as a reader that things can't end well for Strange, the characters in the story are sure they can win the day--after all, they're heroes, and that's what heroes do. As a result, the reader doesn't feel like he or she's being fed a false hope. Instead, we know that tragedy will inevitably befall our characters, and how they deal with that tragedy after building up so much hope is the glue that holds the story together.

In a way, that makes this story a reverse of the usual plot, where a villain is convinced he will take over the world, but we as the reader know that he will fail. That alone makes this a comic worth reading--Vaughan takes a typical convention of the genre and turns it upside down.

That's enough of the meta-story concepts. What about the details in the pages? If you've ever read a Brian K. Vaughan story, you know that he's a very tight plotter--sometimes almost too tight, as characters seem to bend to his will just a bit too much. Here, however, he's a bit more restrained. Part of that might be due to working with established characters, rather than those of his own imagination.

While you don't need to know much about Doctor Strange or his world to enjoy the comic, fans of the good Doctor will be pleased to note that, with the exception of tweaking the origin a bit here and there, Vaughan tells his story without tramping all over your established feelings for these characters. We even get some nods to Strange's large volume of foes, a treat for longtime fans without going so far into continuity as to confuse people who don't know why Nightmare matters.

Vaughan also displays his signature subtle wit--Strange quips in a visual gag that the hardest place they'll have to visit is the Bronx--and just a hint of preaching in the story. Both of those are present in Ex Machina and Y: The Last Man as well. Fans of Vaughan's other work will find a lot to like in this version of Doctor Strange, even if they aren't big on the mystical parts of the story.

We move along at a very brisk pace, with Vaughan alternating between scenes of Strange's selfishly arrogant past mixed with his heroically arrogant present. It's a parallel story that only hits the reader when we get to the climax and see how everything that happened to make Stephen who he is will impact on his judgment now.

Along the way, we get to see Strange using his magic in some new ways, which I thought was pretty neat. I also love that Strange in Vaughan's hands is extremely human. We see him as a distant figure so often that having him tell Wong to "cut the Zen crap" or swearing in vernacular and mystical terms at the same time is refreshing. It is perhaps the biggest change for the character in this trade, but I thought it worked rather well. After all, you don't spend so much time with people like Luke Cage and Spider-Man without picking up some of their very human attitude.

None of this would have worked without the right artist. Marcos Martin is amazing, and perfect for the job. Any book I've read with his pencils (and sometimes inks, as is the case here) are simply gorgeous. In this case, Martin works to echo Ditko without trying to copy him note for note. Panel layouts, character placement, and facial expressions remind you of Ditko's work, but have enough of Martin's own style to be reflective and not a pale imitation.

He does make one major change that I absolutely love--Martin's Steven Strange is a dead ringer for Vincent Price. (Vaughan even makes a joke about it in the dialog.) If you have any doubts of this, just look at his sketches in the back of the book as bonus material. It's a perfect idea. Price is who I hear in my head when I'm reading any Doctor Strange books, and his alternation between brooding and action (pretty much the modern take on Strange, I think, no matter who is writing him) is the prototypical Vincent Price character. Had there been a Doctor Strange movie during Price's prime, I'm sure he would have been first on the list to play the part.

Doctor Strange: The Oath is one of those series that could easily be overlooked, a small part of the veritable avalanche of titles that Marvel puts out every year. However, it's far better than that and is worth reading for any fans of Vaughan's other comics series. Plus, you don't need to know much about the characters to enjoy the story. I really liked this book, and I think just about anyone would, even if they aren't a big fan of superhero comics. That might be a "strange" thing to say, but it's true!* This is a very good trade, and well worth picking up, if you can find it.

*By the Vishanti, I apologize for that joke.

The Pulse Volume 1

Written by Brian Michael Bendis
Illustrated by Mark Bagley and Scott Hanna
Marvel

I'm not entirely sure how the Pulse got started as a series from Alias (I think) but it picks up the story of Jessica Jones and Luke Cage, two of Bendis's favorite characters, who tend to appear in nearly anything Marvel that Bendis writes.

The idea is that good old JJJ is starting to see that his bias in the Bugle is affecting sales, so he hires Jessica to help Ben Urich write a column that puts the heroes in a slightly better light. Meantime, a Bugle reporter, desperate to keep her job, gets a little too close to an increasingly crazy Norman Osborne. Soon, Peter must make a hard choice, Ben Urich must decide if he's willing to stake his entire career on his quest to take down the Goblin, and Luke Cage gets really, really pissed.

This is well-done Bendis. Focusing less on the capes and more on the down to earth people--in this case Bugle employees--he's able to show a side of the Marvel U that doesn't get seen very often. I especially like the scene between Urich and Peter (who I think they put in costume just to pump up sales a bit), when Ben tries to explain to him why not letting Osborne go is so important. I honestly don't know if Pete's ever thought of it like that.

I should also note Bendis really captures the spirit of Stan Lee's Jamison--he's not a redeemable figure, he's always thinking of himself first. He's not really a man of the news, he's a man who makes his money from the news, and part of that was tearing other people down. Oh, and Bendis's Cage is so funny. You can see where all of the New Avengers stuff Bendis is doing now comes from. The Pulse set the stage for it, and is a good read to go back to see how things came to be.

One final note is that Bags and Hanna, both of whom I like a lot, are not a real good match for each other. Hanna's inks seem to keep Bags's free-flowing pencils in check a bit too much for my taste. The art is good, but not quite what it could be.

This was an interesting start to the series, I might have to seek out more.

Kool Aid Gets Fired

Written by Tim Piotrowski
Illustrated by Tim Piotrowski
Self-Published

Grabbed at the Small Press Expo in 2008, this 28 page zine comic, colored primarily in gray and red, with a few other shades thrown in, tells the sordid take of what happens when a popular advertising icon is given the boot by his employer.

Watch as Kool Aid spirals into depravity after his post-ad life runs from one failure to another, even devolving into scandal--"Yeah, but I didn't know she was diabetic!"--that leads to the ultimate humiliation. Stripped of everything and alienated by friends, he must try to rebuild his life as a "normal" person. But how to do that when most people don't think you know how to use a door?

At some points hilarious, at other points poignant, Mr. Piotrowski's comic is better than, well, Kool Aid. The artwork is solid and combined with the intriguing use of color, stands up with any indie comic. Since it's not going to be in the local store, I'll point you to where you can get it directly from the man himself. [Editor's note: Book is OOP, but he's working on a re-issue.] I think you'll be glad you did.

Barefoot Gen Volume 4

Written by Keiji Nakazawa
Illustrated by Keiji Nakazawa
Last Gasp

There's quite a bit of time jumping in this volume of Barefoot Gen, the continuing story of a young man and his family's struggles to survive in the aftermath of the dropping of the atomic bomb on Hiroshima.

We start with the arrival of the Americans, who are seen as bomb-dropping monsters by the survivors. With them brings a healthy trade in illegal food, the rise of gangs, and violence against women. Driven to desperate acts by extreme hungry, Gen and his companion Ryuta turn to theft to try and survive. The consequences are dire for one of them, and not even a family reunion of the older boys can help.

Time shifts and Gen and his family are eking out a meager existence in Hiroshima. The boys return to school, where new challenges await them. Gen tries to survive in his new surroundings, but it's never easy for those who were victims of the bomb. Baby Tomoko, never of good health, is kidnapped and might just be dying. What can Gen do to save her?

Once again, Nakazawa uses Gen to show the reader everything that happened to the survivors of the atom bombs. While it may not be realistic to expect a young man to experience--let alone survive--so many close shaves with the military, gangs of thieves, and even school bullies, it is necessary for this story that no stone be left unturned. The reader must see the chaos and the horror of war, and see it in all its forms.

One of the keys to this is looking hard at the aftermath of the war. We often study what goes on during a conflict, but rarely do we talk about picking up the pieces. Who knows the story of Reconstruction in the United States? Or of the punitive damages levied on the Axis powers after World War I? How about Iraq after the first Gulf War?

Nakazawa lived the horrors of the aftermath of the atomic bombs first hand, and he's here (in the form of Gen) to show that even years later, there were problems. Police were ineffectual, those with scars of the bombs were left untreated, food was scarce (in one scene, a diamond ring buys only a basket of sweet potatoes), and, worst of all, people were still dying. Perhaps the biggest sin of all is that the United States did nothing but study these victims like they were lab rats. The conquering nation that rebuilt white Europe tossed candy at the Asian people they leveled with the deadliest weapon known to man.

Now, that is Nakazawa's perspective. There is of course a chance that he only saw the worst of things. However, from what I know of history, I tend to doubt it. First-hand accounts are the most unedited, and usually the most true.

It's a horrible, scarring, damning tale that plays out in page after page of this series. Gen and his family survive--just barely--but not even they can escape the death that surrounds them. Meanwhile, we watch as children are turned into pawns of criminals, those that have refuse to give to those who don't, and only the strong manage to make it out alive.

And yet, even through this horror, there is some hope. Hiroshima as a group is rebuilding its life, raising houses and starting up school again. It may not help much, but there is a police force. Gen's adult friend the Korean has made it through alive, and quite well, which may help Gen's family. Children are fighting for school bragging rights instead of their lives. It may be hard for Gen to see it, but the idea that he has to vie for supremacy on the school grounds is light years ahead of where he was a few years (months?) ago.

For the reader, watching Gen grow as a person helps ground this otherwise tragic story in something positive. No matter how bad things get, he refuses to give up in the long run. We even see him learn the prayers of the Buddhist, first out of desperation, then out of need, and then because it is the right thing to do. Gen also allows us to laugh a bit at his childish nature, despite the horror, as he takes the time to play pranks on those who wrong him. (He also apparently, learns that farts are funny, as references to them are all over this trade.) Like Hiroshima itself, Gen is starting to learn how to rebuild himself, as we see by the end of this volume.

Unfortunately, the flip side of the focus on Gen is that the other members of the cast don't get a lot of room to grow. They seem to be there mostly to let Gen experience all the possible horrors of the aftermath of the bomb.

Gen's two older brothers return rather abruptly, for instance, with Koji around mostly to show the shell shocked nature of the survivors of the Japanese army. After he does this, he's not used for anything other than moving the plot. Similarly, anyone Gen meets, such as the girl with no hair, seem to be placed only to help Gen discover new atrocities (in this case, American GIs raping and ill-using female survivors of the bomb). In the past, these introductions seemed to be better integrated into the story. I guess sometimes it can't be helped, and there's plenty of time for Koji to play a larger role, but I liked the structuring of the plot a bit better in past volumes.

I also had trouble because there are several time jumps that are not explained in the story. We simply pick up the action months later. I think we needed some kind of linking passages to help the reader understand what has gone on. They're used to explain certain actions, like MacArthur coming to Japan and holding Emperor-like powers, so I'm not sure why he doesn't use them to show the passage of time as well. Again, this was less of an issue in the first three trades, so I'm hoping it's just a problem here and not a pattern.

Even if I felt the plotting was note quite as convincing this time, I was still very moved by the story presented by Nakazawa. His first-hand look at the horrors of the atomic bomb come through on every page, without gore, without preaching--all Nakazawa does is show things as they were. The story, with all its pain, anger, and flickering hope impresses the reader in a way that only a visual medium can do.

Anyone who wants to go to war for any reason needs to read Barefoot Gen. Sometimes, we need to focus less on the dead of war and more on the survivors. This series is a difficult, challenging read, but I really believe it can change your mind about how you look at war. I'm more convinced of that with every volume I finish. I always feel somber and reflective after reading Barefoot Gen, but I think it's a series all people of all political persuasions need to read.

Masterpiece Comics

Written by R. Sikoryak
Illustrated by R. Sikoryak
Based on stories by Various Writers and Artists
Drawn & Quarterly

One of the things I forgot to do before I left SPX was pick up a copy of this book. I pretty much knew that was a mistake as we were driving away, but luckily the library had a copy so I wasn't denied the pleasure of reading the lovely homage/parody book, Masterpiece Comics.

Written for a variety of publications ranging from Raw to New York Press, as well as Drawn and Quarterly's own house magazine, these comics change style with a brilliance that you don't often see from a single cartoonist.

Sikoryak draws in the style of several newspaper stips, such as Blondie, Peanuts, and Mary Worth. That alone should be enough to give him the title of gifted artist. But then he adds in EC Comics house style and Bob Kane/Bill Finger to show he knows his golden age cartoon work, and you really start to get impressed. But not to denied his place in the pantheon of adaptable artists, Sikoryak even does Little Nemo and Beevis and Butthead, the latter in a Waiting for Godot parody that is arguably the best mixing choice in the entire book.

It's simply amazing to see how well Sikoryak blends classic literature and classic comics together. Blondie and Dagwood are perfect as Adam and Eve, with Dagwood's boss as an absolutely exasperated God. Garfield as the Devil with Jon a tool of Satan? Works better than you'd ever believe, especially since Sikoryak gets Jim Davis' artistic quirks down perfectly.

I really like how we even get a little bit of insight into Sikoryak's thinking though the use of bogus letter pages. Thus, we can see why he'd link Dorian Gray to Little Nemo or how he chose to take only the worst aspects of Bronte and use them for a Tales from the Crypt pastiche. While they are only small paragraphs, it was really cool to know why he chose some of the characters that he did, and his reasons make sense.

That's part of the brilliance of this collection. Your first reaction is to chuckle when you see Little LuLu walking around in the Scarlet Letter but when you stop to think about how Sartre and Schultz explored similar themes of isolation, the book takes on a whole other level of commentary that goes beyond the surface and into the idea that some ideas are universal, even if they are couched in the humor of the four-color funnybook.

And then you go back to laughing when you see Snoopy show up, dressed as the maid, talking to himself like he does in Peanuts, and reciting one of Schultz's famous quotes.

I think the short gags are probably the best, running only a few pages. Action Camus featuring the Super-Stranger probably wouldn't work as well if we explored inside, but as a series of dramatic covers, the pairing works well. I can't image trying to do Dante justice if paced across several pages, but a set of one-panel gags to tell a joke about each circle of hell ala Bazooka Joe? That's brilliant. Sikoryak seems to be able to sense just how long to make each homage.

This is not to say the three longer pieces are not as good. Sikoryak managed to make Bronte interesting to me by cutting out all the boring bits. His ability to make the characters look crazed (ala EC Comics) but still stilted Victorians is pretty impressive. Similarly, he takes the more serious tone of The Scarlet Letter and manages to find a way to make it fit with the cartoon characters who inhabit it. There's no way to make Crime and Punishment funny, but to turn Batman into a criminal and have him kill to stop a greater evil? Now that's a fascinating idea that runs a long-time cape comics reader down interesting directions!

By using characters (both literary and cartoon) who are generally familiar, Sikoryak manages to dodge the one problem that could give a reader trouble--familiarity with the work in question. I think you get more out of a Mary Worth-Macbeth mashup if you know the story behind both, but even if you didn't, they're iconic enough for any reader to get the gist. That was certainly the case for me in a few stories, such as Crime and Punishment. Odds are, you'll have neglected to read at least one or two of the references Sikoryak uses, possibly more if you weren't an English major.

However, when you do know both references, the details Sikoryak gets right are striking. I've mentioned a few above that stood out to me, and I'm sure each reader will have their own favorites, based on their favorite stories contained within the pages of Masterpiece Comics. Perhaps it will be the Adventure Comics homage on the cover, or the fake advertisements between stories. Regardless of you preference, there is a lot to like in this book.

Masterpiece comics works on so many levels and will keep you thinking about them long after you finish the book. I rarely say this about a humor book, but I think I could guarantee that *anyone* who reads this book will immediately love it. The concept is so strong and the execution is so well done that I can't see anyone having Masterpiece Comics miss the mark for them.

I'm really sorry I didn't get this one read in time to make my favorites list for 2009. If you are a lover of classic literature (heck, even if you're not), you owe it to yourself to find this book and read it. You'll be glad you did!

Blue Monday Volume 1: The Kids are Alright

Written by Chynna Clugston-Major
Illustrated by Chynna Clugston-Major
Oni Press

What do you get when you mix a strong feminist attitude with shojo manga styling? Blue Monday, an entertaining comic set in high school but with female characters that are stronger than your average shojo heroine.

In this first volume, we have the first few issues of the series along with short stories from a few different publishers that launched the title. Bleu, the title character (named for her hair, which sadly we don't get to see because the comics are in black and white), tries to survive her high school years with the help of her friends Erin and Clover. They sometimes team up with, sometimes fight with two boys, Alan and Victor. Together, they wrangle over the usual high school things--pranks, concert tickets, and dates.

On the surface, that seems like rather common outings for plots. However, Clugston-Major takes those simple concepts and turns them into the most complex stories possible while still skirting the edge of a realistic story. For instance, in the first issue, the girls go after the boys for getting them in trouble and the schemes escalate to the point where one side is trying to ritually kill a favorite stuffed animal while the other puts up gay porn. In one of the short stories, Bleu homages Buster Keaton in a dream sequence with hilarious results and in another, she has a unique solution to a guilty conscience in a case of cemetery desecration. The basic structure may be elementary, but Clugston-Major takes the idea and runs with it in a new direction that works really well.

Clugston-Major also uses her free-thinking characters to skewer conventions. We often get to see teenage boys doing wacky things, but how often are the girls the primary pranksters? Bleu and her female friends sneak around, daydream instead of going to class, damage property, and, in the case of Clover, beat a lot of people the hell up. About the only thing traditional here, and I use that term loosely, is the idea that Bleu has a crush on a substitute teacher. However, instead of keeping that to herself as we'd expect, Bleu seems incapable of hiding it. The stories are played for laughs, but underneath is a strong female character with strong female friends. Just by appearing that way on the page, Bleu and her friends defy comic book norms.

In order to be good, however, a book must be more than convention-challenging ideas, no matter how well presented. Clugston-Major populates the book with fun characters that a reader quickly will care about. Bleu is super smart and very driven, but that often lands her in more trouble than she bargained for, as we see in the very first issue in this trade. As a reader, you quickly want to see how she weaves in and out of trouble. Bleu's friend Clover is the muscle, and her quick to anger nature is endearing (but makes you glad she's not real).

Our pair of male foils are likable, even if they often are scheming to see the girls naked. At heart, they're good boys who will help out Bleu and Clover if they need it. They just might ask for a pair of underwear in return, though, so as to make sure you don't start thinking too highly of them. Most of the adults are stick figures who tend to block the fun of the teens, and while that's not ideal in my eyes, it works fine here, as the focus is on outrageous, barely realistic, situations. Overall, it makes for a world where you want to see these characters get into adventures, and that's the best kind of character development you can ask for.

Blue Monday's art is even more heavily influenced by manga than the Scott Pilgrim series. Clugston-Major's drawings use every trick found in manga, from marginal characters to exaggerated faces to pointed chins. If you weren't used to reading manga, this might take some getting used to, but for me it looked perfectly normal. I really like how she used these tricks to good effect in moving the story along, especially the faces. Bleu, Clover, and the rest are expressive all over the place, just by making their mouths wider or getting rounder eyes. That's a trick that sometimes can bother me, but Clugston-Major makes it work here. I think part of that is because the entire story is larger than life. As a result, it doesn't seem unnatural for people to be contorting themselves the way it might if overused in a dramatic manga.

Whenever I want a solid read, I turn to Oni Press. I don't think they've ever let me down. Blue Monday is no exception to this ongoing rule. Fans of manga will really like this one, especially those who yearn for a strong female protagonist. I'd definitely recommend this for anyone looking to give a comic to a young woman. (As an aside, this would have been a perfect Minx title.) Those who've read Scott Pilgrim and want to see more western comics that use manga influences with great results definitely should check it out.

Aw, heck--this is just a fun comic with quirky characters. Anyone should like it! For those having a Blue Monday of their own, this might just be the cure for you!

Cantarella Volume 4

Written by You Higuri
Illustrated by You Higuri
Go! Comi

The war on the land may be cooling off but the war for Cesare's soul begins to heat up again, as this relationship-heavy volume slows things down a bit from the frantic pace of plotting in the first three volumes.

We're still following a darker version of the history of the rein of Pope Alexander VI but I couldn't help but feel things were a bit sidetracked by the complex relationships of the characters. This volume was light on action and heavy on scenes of unconsummated love, with people from Cesare on down taking pages to explain their pining for each other.

That's something I can get anywhere and not what I'd come to like about this series. However, since it is a shojo manga, I guess there has to be some time spent going over relationship hurdles.

There are still some key moments in the drama that relate back to my favorite parts of the series. Cesare realizes his beloved sister will be nothing but a pawn in the influence game, for instance (and worse, one of his pawns may be in love with her!). He also sees that his position within the power structure still limits the amount of his power. That's not unlike his Pope father in this regard, which is an interesting parallel to be followed in subsequent volumes.

There's also some--but not enough--about the whole demonic possession subplot, particularly towards the end. I feel like that concept is taking a backseat to the more traditional shojo drama.

Higuri's artwork is still top notch. She brings more attention to characters' faces this time, enhancing their angst, but we still get a lot of period dress and settings. She even notes how hard all this research is, but I think it pays off.

I like this series a lot, despite wishing it had been a bit more on task. I'd still recommend this to anyone looking for a historical manga set outside Japan, and I want to see where Higuri goes with the plot.

Cantarella Volume 3

Written by You Higuri
Illustrated by You Higuri
Go! Comi

[Posted as context, since I'm picking this series back up.]

War hits Italy as France's King Charles VIII moves in on the turf of the Pope, with the Pope's chief rival at his side. Meanwhile, Cesare gets deeper into his family, as his desire to manipulate his father and also save his sister and mother lead him into chains. Can Chiaro free him in time, and what will the demons inside Cesare do if his own flesh and blood are endangered?

Though there's a lot going on, I was not as impressed by this volume, as it felt more like a place holder for bigger things in the next volume. I also got a bit confused, as a few characters we hadn't seen for awhile popped back up without enough reminders as to their importance.

However, the art is as good as ever, the plot thickens apace, and we're racing towards a climax with how Cesare controls himself or loses his humanity. I'm sure when we're going to get the final answer on that, but I have a feeling it might be soon.

I can't say enough about impressed I am by the research Higuri puts in to make this fictional story feel real. Definitely one of the better series I've read, and I want to read more.

Cantarella Volume 2

Written by You Higuri
Illustrated by You Higuri
Go! Comi

[Posted for context as I pick this series back up.]

Cesare fights against his curse as his father ascends to Pope, sealing his earlier deal with the devil. Cesare falls further and further under the influence of the demons who plague him and yet continues to aid his father's claims to being the head of the Church. In fact, he's even going as far as being a Cardinal. But for what purpose?

Higuri continues her alternative history in Italy as she does something most historians probably didn't think possible--she makes the Borgia family look worse. The behind the scenes manipulations spill across the page as both father and son work to gain an advantage. I really like how Higuri sets up the parallel, even as Cesare continues to pretend to be his father's willing servant. It's going to be interesting to see how and when Higuri sets up the conflict between the two of them. [Editor's note--as this is an ongoing series, that may be a ways in the future yet!]

We also see the addition of a few new cast members, such as Chiaro, a hired killer who ends up sticking with Cesare after foiling plans to have him killed. The promise that Cesare makes to him seems rather ominous, especially withe demons lurking about.

Higuri's art continues to be solid, giving the reader the feel that he or she is in period Italy. I don't know how accurate she is, but it works for me, and I think only an expert might find errors.

I am really enjoying this story, and look forward to reading more.

Cantarella Volume 1

Written by You Higuri
Illustrated by You Higuri
Go! Comi

[Posted for context since I am picking this series back up.]

Cantarella is the story of Cesare Borgia and the tortured life he leads as a result of the deals his father makes to try and seize the Papacy. Sold to the devil by his father, Cesare is forced to the sidelines as another of his bastard brothers gets all the glory.

Just as things seemingly can't get worse, Cesare is separated from a sister he loves and learns of the cruel fate awaiting him. What will he do with this knowledge? Only future volumes will tell...

This is a historical manga set in the late fifteenth century, complete with a few historical characters utilized for plot. This in an of itself makes this a refreshing change from the somewhat steady diet I've been on of angsty high schoolers and lone warriors. You can tell that Higuri has taken the time to research the period to get a solid setting for her story.

I know a little bit about the sordid side of the Catholic Church and I think Higuri nails it without being too harsh. The church had lots of power, and those who craved power would do whatever it takes to get ahead. I'm not saying that anyone was selling children to demons, but it's certainly plausible in that environment and makes for a good jumping off point as Higuri changes history to tell her story.

The art is nicely done, with all of the characters getting something to distinguish themselves. The clothing looks period-accurate to me, but I would imagine an SCA person could find a problem that I'd miss. I also don't feel like anyone is speaking anachronistically, which can be an issue in period pieces like this.

I enjoyed this one a lot, and will definitely keep reading.

Captain America and the Falcon: Secret Empire

Written by Steve Englehart and Mike Friedrich
Illustrated by Sal Buscema, Vinnie Colletta, and Frank McLaughlin
Marvel

In this collection putting together one of Cap's famous arcs from the 1970s, we see the maturation of the Steve Rogers-Sam Wilson partnership. As the Falcon struggles for his own role, Cap's reputation is smeared in the mighty Marvel manner, as he becomes a wanted man framed for murder.

Cap's innocent, of course, but how do you prove it when there's a whole conspiracy against you? As Cap and the Falcon run from everybody from the Avengers to Nick Fury, they run into a rather unlikely ally--the X-Men! Can they combine forces in time to stop the Secret Empire before it's too late? Plus, having seen his own country give in to hatred, can Steve Rogers carry on as the symbol of the nation?

There's a lot of cool universe-building feel here, as the Falcon turns to the Black Panther instead of Steve's white friends because he's just as smart as they are and can understand Wilson's needs better. Meanwhile, the X-Men are shown as being a part of the world, even if they don't have a comic to do it in. (Yes, there was a time when there was no X-Men comic. Amazing to think of that, isn't it?) The Avengers and Nick Fury also lurk about, though I kinda feel like they're miscast here as people easy to turn on Steve. There are also some nice uses of other comic stories to drive the plot, something we don't see nearly as much of these days but happened on a regular basis in 1970s Marvel.

In addition, we get what might be the first time we see Rogers as a man, not just an unthinking fighter for freedom. Forced to choose between following the law and following what he feels is right--Cap goes for the latter. It's a side of him we'll see again several times, most recently during the Civil War.

I also like how Englehart tries to make sure that the Falcon is not just an also-ran in this book. He's more than a sidekick, he's a partner. There are some dated and clunky racial relations scenes, but at least he's trying to make him more than just another hero that follows Cap around.

The story itself is very much a product of its time. Watergate looms over the whole thing and the very idea of a secret society that runs the US Government is something that probably could not have gotten made in the 1960s. Plus, Englehart nails the idea of public relations as a tool that can be used for evil very well, years before we'd be seeing it all over the place.

Those who know me are aware I love Sal Buscema's art and he's in his prime here. Action flows on every panel, even if his lines are stripped a bit of their magic by the Coletta inks. His characters move and react to the situation, rather than stand for their photo shoot in Vanity Fair. There's also a few neat Kirby-like contraptions that he throw in for variety. I know his style is not for everyone, but I think he's perfect for the job at hand.

Despite some dated material, Secret Empire still holds up as a solid story with a few modern elements that may surprise you lurking in a comic from 1974. There's also some character development on the part of Steve Rogers that I think a lot of later writers built upon. This is a slice from the past that is definitely highly recommended.

Children of the Sea Volume 1

Written by Daisuke Igarashi
Illustrated by Daisuke Igarashi
Viz

Children of the Sea was Viz's debut manga on the Ikki site they created last year. I have to admit that after reading the first chapter, I was not exactly wowed. The pacing seemed as slow as the drifting glaciers and I didn't see much that would excite me.

However, I don't think you should ever judge a comic by one chapter. (Imagine the impression you'd get of the Fantastic Four if you only looked at the issue where they're battling common crooks from early in the run.) Children of the Sea, like the ocean upon which it is focused, has a lot going on under the surface, making it a good read.

Children of the Sea is the story of Ruka, a young girl who has issues in her regular life. She once saw something strange at an aquarium and feels the need to return to the ocean to escape her problems. This leads her to Umi and Sora, two boys that are more fish than man, even having to keep themselves constantly hydrated.

Turns out that her father knows the boys, and is working with a guy named Jim to discover why these boys exist and how to keep them alive. It allows Ruka to spend time with them, as they seem to share a common bond--that strange thing she saw way back when. As fish keep disappearing and acting in strange ways, Ruka can't help but think its linked to herself and the boys--but how?

That's the mystery that's still to be unveiled, as Sora goes missing and more sea life rises from the ocean floor. By the end of this volume, we're left with more questions than answers and that's the bait that will lure me in to reading future volumes.

This volume of Children of the Sea is slow and methodical, like the waves of the ocean itself. A grown up Ruka introduces the story, giving hints as to where the story will progress. Then we have an overly long section where we learn that Ruka is a bundle of frustrated energy. I'm sure there's a reason for it, but I can't help thinking it could have been shorter.

Once we get to meet Sora, the least human of our trio of characters, things start to pick up. Sora isn't sure he likes Ruka joining the world of Umi and himself, but he goes along with it--if only to show Ruka over and over again how unlike them she is. Around that point, we also get key information on just what Umi and Sora are as well as why the fish are disappearing. Still, Igarashi is very slow to provide any definitive information, preferring to make the reader follow along at his pace.

The story itself looks like it could go some very interesting places. Most who believe in evolution feel that life came out of the sea after something dropped into earth making it capable of holding life. I think there's a definite set of hints, starting with older Ruka's opening narration, that this is going to be a big part of the story. I'll be curious to see where Igarashi takes the reader next and if we will have any science fiction mixed with our fantasy.

Ruka, Umi, and Sora are a good set of main characters. They share the common bond of the sea mystery, but not much else. But that one item is enough to bind them together, as no one else in their world, save perhaps the tatoo-laden Jim, understands the strange nature of the ghosts calling to them. (I say "in their world" because I think this might be happening elsewhere based on a scene towards the end of the book.) In addition, they are like varying degrees of the same person. Ruka is more human than Umi, who is in turn more human than Sora. All three act accordingly, with Umi having the hardest role, that of the person not different enough to fit in either world.

Igarashi is setting things up so that these three look like they hold the key to solving the entire mystery of the lost fish, but can they work together to solve the mystery? Furthermore, as kids with their own emotional issues, will they care enough to try? Only future volumes will give us the answer to this one, and it may take awhile as this is an ongoing series.

One of the things I found most interesting about Children of the Sea is Igarashi's art. He draws intricately detailed fish, right down to their markings, and the aquarium scenes have machines drawn almost down to the last bolt. But his human figures are a bit fuzzy at the edges, often with almost undefined features. Jim's head never looks quite right to me, and I feel sometimes like the people in the story were left two-dimensional while their world has a vibrant depth. I think this is the first manga I've read where I felt the backgrounds were better drawn than the characters.

It's a fascinating design choice that might be a commentary on the story itself or maybe is just an artistic quirk. Either way, it makes the art in Children of the Sea stand out against most manga. I was a bit thrown at first, but soon grew to like the look--it reminded me of reading a small publisher comic with a unique style as opposed to the house style of a major publisher. It made me start to think about all the manga out there that doesn't fit the conventional norms and how we probably only see a fraction of that comic work here in English.

Viz is breaking out of the usual comfort zone with their Signature line, and I'm happy to see that a major English manga publisher is willing to try that. If Children of the Sea is any indication, there's a lot of good manga out there that doesn't happen in a school, on a magical-based battlefield, or in the inner city of Tokyo.

Don't be afraid of Children of the Sea's slow start. Within this manga is a really intriguing story and an innovate art style that's only just starting to get really good by the end of the first volume. I can't wait for volume two to wash up on my shores to continue the story of Ruka and her two mermaid-like companions.

You can sample a bit of Children of the Sea here.

Hicksville

Written by Dylan Horrocks
Illustrated by Dylan Horrocks
Drawn & Quarterly

[This was recently reprinted, so I thought my thoughts on it from when I read it might be interesting to some.]

A comic indirectly about the business of comics, staged in a mysterious town that seems to have every comic book ever written--and some that weren't! A comic news writer comes to Hicksville to interview the townsfolk about their most famous son, Dick Burger. However, there's more to the story than a fluff piece on a hot creator turned company man.

Mystery abounds in this one, as our protagonist can't get the populace to talk. As he draws their ire over and over again, we learn bits and pieces of the past, sometimes by reading comics within the comic. It's a neat trick and fits in well with the storyline.

In the end, we learn just what Hicksville is and why Burger is so hated. What will our hero do, and how will his decision affect Hicksville, a tiny town with a lot of 4-color funnies?

Dick is based on a number of figures but it seems to me like Joe Quesada is the most likely candidate as a primary source. Even though he's shown to have taken over an Image-like company, not Marvel, he seems to be the best fit. I'm basing this on several references within the text but maybe it's just that Quesada shows the same flaws as the character in the narrative?

There's a lot to like about this one as a comics fan and a student of comics history. Horrocks has one main problem, however, and that's his slavish devotion to Jack Kirby. I realize there are a lot of people who worship Kirby, but the man wasn't perfect. I take issue with the fact that Horrocks tees off on Stan Lee at every opportunity, including alleging he did not create any of the characters he created. That's being overly harsh, in my opinion. I don't disagree that Kirby was a magical man and one of the best of all time (or for that matter, that Stan Lee deserves criticism for building himself up on a daily basis), but this is going too far.

I also am disappointed that Steve Ditko is completely ignored here, and for that matter, so are any of the DC creators. This story benefits Kirby at the expense of all the others (Eisner, Cole, Kane, and Wood, just to name a few) and that hurts my enjoyment of what is otherwise a wonderful book.

Overall, however, I really liked Hicksville. The swipes at the modern comics industry are biting and relevant and the characters here are well written and well used. This is a must-read for any fan of comic books.

Ocean

Written by Warren Ellis
Illustrated by Chris Sprouse and Karl Story
Wildstorm

It doesn't take much convincing for me to try a Warren Ellis comic. He's really good at setting up a story, adding some convincing science fiction, and building from there with crusty characters guaranteed to say obnoxious things to one another.

Ocean hits all three of Ellis's trademarks in a mini-series from Wildstorm that has solid art from the Sprouse and Story team. Nathan Kane is the prototypical Ellis wise-ass with a cynical edge, working with the UN as the Jovian moon Europa is explored. Also there is a corporate bad guy in waiting, the DOORS Corporation.

When the frozen ocean holds the prospect of undreamed up weaponry (with ties to earth in a neat allusion to our propensity for violence), it's Kane versus a driven corporate man with nothing to lose. Can he keep these weapons out of the hands of evil or will there be proliferation on a scale undreamed of by an ever-militarized humanity?

This story reads very much like the plot of an action movie, and I don't mean that as an insult. Kane is a solid hero, working for the betterment of mankind. He's got brains, guts, and a dry wit that causes him to try and insult a human drone and threatens to shoot people over bad coffee. The stakes are incredibly high--Europa's hidden weapon makes a stolen nuke look like a slingshot--and the odds are impossibly long. The villain is cold and calculating (quite literally, in fact) but is given just enough reason and personality to make the reader care. Our support characters are quirky and likable. In one case, she's also incredibly horny, giving Ellis a way to express his trademark crude jokes. These are the kinds of people you want to root for, and you feel worried if they might die and happy if they make it.

Ellis has a lot of science jargon flying around, but it works for me. I don't particularly care how the science works, but if you do, Ellis will deliver in spades. The idea of a race so powerful it blew up a 10th (9th now, I guess) planet and ruined Mars permanently is a great concept. He also adds some neat space-friendly weapons and talks about why they're needed. I'm not really the type to geek out on such things, but if you are, there's plenty to entertain you. For me, I'm just happy to see bullets that can change shape on whim.

I don't know how many people read Ocean when it came out, but it's a fun book that doesn't require any prior knowledge, just a love of a good action story set in space. If you like action stories, science fiction, or Warren Ellis, you'll find Ocean to be a great read. This one is definitely recommended.

Incredible Hercules Volume 2: Secret Invasion

Written by Greg Pak and Fred Van Lente
Illustrated by Rafa Sandoval, Roger Bonet, and Greg Adams
Marvel

Incredible Hercules is part of why I don't stop reading superhero comics. Born out of a crossover event, the series has managed to keep going despite the odds. I picked up on this one rather late, much to my chagrin, and am trying to catch up on it now.

This second volume finds Herc and Cho (with pup in tow) crossing the country with wise Athena to convince the other pantheon of gods that they must do all they can to stop the Secret Invasion of earth. Despite her sweet tongue, they can only get a paltry force together, made up mostly of people who aren't real sure about Hercules as leader.

The God Squad, as it gets named, must seek out Nightmare for help,and if they can manage to get past him, they must take on the two most powerful Skrull Gods to put a crimp in the Invasion plans. But how can they do that, when they can't even get along together?

With allusions to mythology placed everywhere, Pak and Van Lente put the Prince of Power and his young companion through every test possible, and even if they save the day--what will be the cost?

As I mentioned at the end of my last review, I was a bit worried about this one because of my desire not to have to read all of Secret Invasion. Wisely, Pak and Van Lente merly skirt the edges of the main series and concentrate on an idea that we don't see much of in the Marvel Universe--the gods of the other races. As a result, about the only thing you need to know is that the Skrulls are trying to take over earth, they've been trying this for quite some time now, and they're doing it by replacing humans with Skrulls, just like they did way back in Fantastic Four number 2.

Beyond that, you don't really need to know anything else to enjoy this story, although a knowledge of past Marvel history is helpful. As they've been doing all along, the writing team uses but never abuses Marvel continuity. We have references to Nightmare's dealings with the Hulk, Gaiman's forgettable Eternals series (I was impressed with that inclusion), some old Thor references, and even right down to how Avengers Disassembled gave us Ragnarok. Pak and Van Lente tell you what you need to know, just in case, but I continue to be astounded by how they are telling their stories within the complexity of Marvel's never-rebooted past instead of rejecting it.

It probably also doesn't hurt to have a solid grounding in mythology, particularly that of the Greeks. There are allusions to Jason and the Argonauts all over the place, as Herc's love of a boy then mirrors his devotion to Cho now. There's also the Twelve Labors, Zeus's infidelities, and even some mention of other myths, like Atum's connection to the Egyptian gods. The vanquished gods that litter the Skrull world probably have a few snuck in as well that I couldn't recognize. (I know there's a shout out to the New Gods of Kirby in there!)

Pak and Van Lente give Hercules a depth we've never seen before and do it in a way that's true to his character. Here he wants to be a leader, but by his own admission, the only thing he knows how to do is fight with his fists. He uses brawn to win the day, and so far that's worked--but look at the cost by the end of this trade. He can be jocular one moment and maudlin the next, experiencing human emotions without any filter. It brings the reader in closer to him than he's ever been before, regardless of the story. He is a fuller person here than in the myths that spawned him!

Cho grows up a bit, too, as he learns that being the smartest person in the room doesn't always help. No matter how smart you are, there are things that thinking can't solve, especially if you have a blind spot. Athena seems to want to mold him (makes sense, being the goddess of wisdom), but are her motives pure? With a god, that never seems to be the case, especially as this story progresses.

Speaking of progress, I liked the artwork of Rafa Sandoval much better than his predecessor on the last story arc. While not doing anything flashy, he does a nice job with the Kirby characters and gives the whole story an epic feel. These are not just any superheroic characters--they are gods. Sandoval draws them that way, and it shows, particularly when compared to Cho. He also adds some great nods in a few crowd scenes, such as the fear of a Rubik's Cube or your mother-in-law. His pacing fits the story very well, alternating between small closeups and longer spreads of grand battles. Best of all, even the battle scenes do more than just take up pages. We can follow the fight along, and it looks like they are fighting, not posing.

Filled with humor, myth, and great characters, Incredible Hercules is everything a superhero comic should be. There's respect for the past without copying and at no time does a character feel like they are being changed to fit the writer's needs. Instead, Pak and Van Lente use the characters they need that fit the story by looking at what that character brings to the table, instead of forcing them into uncomfortable roles based on a reader's knowledge of them.

Not even a crossover (the second one) slows this team down! I can recommend Incredible Hercules to anyone, and if you're not already reading this one yet, those who love good stories in their comics really need to give it a try.

The Twilight Zone: Deaths-Head Revisited

Original Script by Rod Serling
Adapted by Mark Kneece
Illustrated by Chris Lie
Walker & Company (Bloomsbury)

Continuing my trip into Mark Kneece's graphic visits to the Twilight Zone is this story about an escaped Nazi officer who can't help but return to the scene of his unspeakable crimes. Unfortunately for him, those he murdered still lurk in its ghastly cells and looming gallows.

With the help of publisher Walker & Company, the permission of Carol Serling, and the use of the talents of the alumni of the Savannah College of Art and Design, Kneece brings the Twilight Zone back to its roots, using comics to retell the stories Serling spun on television. Given that Serling himself was influenced by the comics of the time, this is perfectly appropriate.

One of the things that bothered Serling most was man's inhumanity to man, perhaps most cruelly on display during the reign of Hitler. Serling has no mercy on those who claim to only be following orders, as this story makes clear. Freed from the need to please a television sponsor, Kneece can take this to the limit, saying whatever Serling wished to in his original script.

The story itself follows a pretty typical Serling plot. We meet the villain and see how he escaped punishment. He retains all of the arrogance of the SS, thinking he can come back and lord it over those whom he destroyed. Things look normal until closing time, when the ghosts of the past return. The limitless budget of the comics page pays off here, as Kneece can make the scene of the ghostly victims as creepy as he'd like.

After the victims have their way with the captain, he is returned to the normal world, a blubbering idiot who cannot express to anyone that he's had vengeance wreaked upon him--in the Twilight Zone.

Given the audience this is aimed at--my guess is Junior High--I was pretty impressed with Kneece's unflinching look at the horrors of Nazi Germany. He's not out to sugarcoat anything, just like his inspiration, Serling himself. There's a hint of preaching in this one, especially in Serling's closing narration, but that's okay in this case. The whole point of the comic/episode is to serve as a reminder of the horrors imposed by those trying to take power via any means at their disposal.

Chris Lie's art compliments the story very well. He is not out to do anything fancy with his character designs--you could find similar models anywhere. However, his pacing of the panels is pitch-perfect for the story. We get a lot of close-ups, so we can see the emotion in the character's faces. The captain is made to be stiff and unfeeling, until he starts to unravel. As the story marches on towards his insanity, he is placed at odd angles and shown to be unable to handle the mental torture about to be presented to him.

The camera view keeps changing, giving the reader a sense of unbalance. The ghosts look like they are ready to jump out of the panels, and at times the captain looks trapped within them. It's some nice work that shows you don't have to be able to draw everything perfectly in order to draw it well. Giving the reader the right frame of mind is key to telling your story.

My favorite part of Lie's art, however, are the eyes. Once we get into the story, everyone's eyes look crazed, driven mad by the horrors of sheer barbarity. It's a look that a 1960s TV series just would not be able to match. If he could see it, I'm sure Serling would approve.

On a completely unrelated note, I was amused at how Serling is placed in the issue, sipping a coffee on the street as an opener and looking down on the city as closure. It's a nice touch that adds to the feel of the comic.

Overall, this is a very strong adaptation that takes the best parts of the show and uses them in a way that fits a comic best. As a fan of the Twilight Zone, I really like this series by Kneece, and I think any other person with a fondness for the 5th dimension will, too.

Kurosagi Corpse Delivery Service Volume 3

Written by Eiji Otsuka
Illustrated by Housui Yamazaki
Dark Horse

After reading a fair amount of light shojo and shonen, it's always nice to return to one of my favorite kinds of manga, horror, served up on a seinen plate by Otsuka and Yamazaki.

Our cast of characters returns to the shorter episodic format of the first volume this time. First up, Karatsu learns his powers are stronger than he thought as the team must help a dead body part of a living man find their way home. Along the way, they run into illegal organ harvesting, a crusty welfare office worker, and even the second Iraq War!

Next up, Oni Press gets its revenge on a rival publisher when...um, sorry, that's not quite right. Oni's symbol, however, features in a complex murder scheme that the team must foil--without letting the police get wise to their involvement. Finally, returning to the theme of missing body parts, an ear leads the Delivery Service to a trail of suicides along a particular track. Can they figure out why before the killer sound takes them along for the ride?

I was particularly impressed with the plotting of these stories. Each one was perfectly logical based on what was going on in the story, yet Otsuka manages to keep the reader surprised. The first story is spoiled a bit by Dark Horse's back cover blurb, but the idea of being able to use dead organs to find a live person was brilliant. Plus, it allows further stories to blossom, such as the tale of the suicidal ear that closes out this trade. It's one thing to create an intricate plot--but to use that plot to drive other stories? Now that's impressive.

Otsuka uses a lot of little clues to lead up to the big picture, just like he did in the longer story of volume two. Delivering newspapers might seem like a way to keep the team in ramen noodles, but it also helps the team solve the crime. The tools needed are always shown to the reader, but they aren't always apparent at first glance. I really like that as a narrative trick and Otsuka is one of the best I've ever seen at doing it in a comic.

There is a depth to Otsuka's writing that comes out on the page. Our heroes aren't just thrown into a situation, hoping for the best. They must do research and put the clues together, even if it doesn't mean a profit. So Sasaki will dig up research on the location of suicides or homeless Iraqis that have been deported while Karatsu and Numata do legwork at an abandoned chop shop or even a military base. It's like reading a detective story mashed up with a horror novel, and the results work very well.

Much as I enjoyed the long story in the last volume, it was nice to see the team work on several adventures this time. Otsuka is adept at writing both short and longer stories, as this volume clearly shows. He's also taking some time to expand the universe a bit, giving them a new recurring character in the social worker who looks like Yakuza. He also does a better job of involving the whole team this time, as Makino gets some screen time as part of the link to the war that drives the first story.

My only complain, and it's minor is that it's mostly the Karatsu and Numata show again, with Sasaki being the woman who looks at the big picture, sometimes at her own peril. I'd like to see Otsuka round things out a bit better than he's doing currently and also stop using Sasaki as a victim. She's strong enough to handle herself, but we've not seen it yet. (I'm wondering if this is a seinen trope, and I've just not read enough to know yet.) I'm sure it's hard to give everyone enough screen time, but I think we need to have a reason for the others to be around, which is not fully developed at this time. Since this in an ongoing series, however, I'm sure there's plenty of time to do that.

I have to admit, I was a bit disappointed by Yamazaki's art this time around. He's normally a very crisp artist, with fine detailing that helps give the series its realistic feel. This time the art looked rushed in places, particularly in medium shots. There was a sketchiness to some of the drawings that make me feel like he was rushing a bit at times to get the story completed. This seemed to happen the most with Susaki, who also ends up being dressed in a lot more revealing clothing than in the past. I hope this was just a few bad panels to meet the dreaded deadline doom, as Marvel used to say.

Overall, however, his art is still very good. Yamazuki has a great ability to make the horrific look perfectly normal in context, both in this series and in Mail. The walking organ donor is a thing of nightmare, but is drawn with pinpoint accuracy. The horrors of the war dead are captured as though a photo, reminding us that battles are never clean. Even a man with an axe in his head is shown as it would look like in real life, without any embellishment to add to the gore. I sometimes wonder how Yamazaki manages this, but perhaps I don't want to know!

Kurosagi continues to be a solid manga that keeps to its premise without getting stale by adding new wrinkles into the team's adventures. I like the idea that sometimes they are a crime prevention unit, not just a crime avenging group. I look forward to reading more creepy adventures with the team as the volumes progress.

Black Cat Volume 3

Written by Kentaro Yabuki
Illustrated by Kentaro Yabuki
Viz

Former secret society member and current bounty hunter Train, now known as the Black Cat, continues his sweeping duties along with his partner Sven and Eve, who they rescued in a prior adventure.

This time around, Train is invited by a former associate in Chronos to stop a serial killer that has ties to both Train and Sven's pasts. Can they stop a man who can use his chi to turn into a freakish version of the Incredible Hulk using only bullets and Sven's secret powers?

Meanwhile, Creed continues his quest to bring anarchy to the world with the help of two new characters that will definitely warm your blood. A top agent of Chronos is out to stop them, but is that enough? And are these two seemingly different plot points related in a way that might draw Train back into Chronos's clutches?

On its surface, Black Cat is a romp of a story, with Train and his pals going from city to city fighting bad guys. It's a variation on the same concept as Bleach, Inuyasha, or Rurouni Kenshin. However, what sets these stories apart and makes them interesting are the characters involved and/or the stories underneath the stories.

In the case of Black Cat, it's mostly the latter. I enjoy reading about conspiracies or secret organizations, even if I don't believe they exist in real life. Chronos must have been bad if Train wanted to leave them, but now Creed has a second secret society, one that is more evil than the first. Train does not want the help of either, but can he fight both at once? That's a question that's going to need to be answered over the course of the series, and I'm curious to see what Yabuki does to resolve that dilemma. No matter how he tries, it seems that Train can't escape his past. At some point, he's going to have to face it. I think we get several hints of this here in this volume, as the Black Cat's past bleeds further into his present.

This doesn't mean I don't like Yabuki's characters, just that I'm more interested in how the overarching plot plays out instead of seeing the cast evolve over time. Yabuki sets a lot of the future up in this story all while giving the reader a huge battle that at first seems impossible to win. Eve wants to find herself, but can she do so in the transient life of a sweeper? Creed's schemes seem to place him one step (maybe even two) ahead of Chronos. Does that mean they will fall? How often will Sven be the key to winning a fight?

Black Cat almost slips too far into traditional shonen drawing tropes for my taste, but seems to manage to skirt the border of my tolerance for such things. There are quite a few action lines in every battle scene, but the exaggeration is saved for when it's most needed, namely when serial killer Gyanza bulks up. Some faces get turned into rubber, but only here and there. Despite these quirks, it's still very easy to tell what is going on from panel to panel, which is what I look for in a shonen manga. If I can clearly see the action being portrayed, you can use all the action lines you'd like.

One of the interesting things I noticed this time was how Yabuki used a shot of a prior page as the flashback tool rather than draw a flashback sequence. I thought that was kind of neat. (There seems to be a lot of casual self-referencing in manga that you don't see in capes comics.)

Black Cat's story is still intriguing to me and is well written by Yabuki. While it follows the standard action formula, there's a lot going on underneath and I look forward to seeing how this plays out. This is a shonen title I can definitely recommend to any reader.

My Heavenly Hockey Club Volume 1

Written by Ai Morinaga
Illustrated by Ai Morinaga
Del Rey

I'm a little odd when it comes to humor comics. While I love great comedians and a wry joke, I often miss the punchline when a book is played only for laughs, rather than letting the humor come naturally. That means a funny book has to be really funny to hook me, and it meant that My Heavenly Hockey Club would have to work hard to get over my issue with the genre. Unfortunately, at least for me, it wasn't able to do so.

Hana likes to eat and sleep, and would probably do both together if it was possible. She studied like mad to get the school closest to her house, but when she sleepwalks into a rich student's car, she's conned into joining their field hockey club, to help keep it from being dismissed.

The rest of the story shows Hana trying to sleep and eat wherever possible, fighting with the club's leader, and even dealing with a few rather humanoid animals. As Hanna vacillates about playing in the club, the club itself can't seem to get a game together. Just as Hanna thinks it might not be so bad, will a new set of school leaders shut them down?

This is meant to be a comedy manga, with absurd premise piled on top of absurd premise (at one point we have a bear as a goalie). Unfortunately, I just didn't find the jokes all that funny. The whole "Hanna is lazy" idea is fine as far as it goes, but I just didn't think it was all that cute. I guess having her sleep 64 hours or with a bear or while she's playing is supposed to be full of laughs, but I didn't get it.

The other problem is the fact that Hanna is our main protagonist. A girl who eats and sleeps might work as a side character for me, but as a focal character, I found her lacking. The other members of the club are just too stiff to prop up what I thought was a weak main character.

I read manga for the people who inhabit it, regardless of the style of comic. Not being able to get interested in Hanna and her friends, combined with my finding the jokes rather flat, is enough for me to give this one a pass as a candidate to keep reading. This one's not bad, but it's nothing special, either. If you are more into humor comics than I am, it's probably worth a try.

I mean, there is a field hockey playing bear, after all. That's gotta count for something!

Tarot Cafe Volume 7

Written by Sang-Sun Park
Illustrated by Sang-Sun Park
Tokyopop

It's closing time at the Tarot Cafe, as this manhwa series finishes off the story of Pamela, a fortune teller unable to see her own future and blinded by the truths right in front of her face.

In this closing volume, Pamela, with the help of two friends, goes off to confront Belial once and for all, no matter what the cost. But can she escape the traps of Hell itself? And once she's there, can she deal with the reality presented to her? Even if she fails, has Belial actually won, or did he wager more than he bargained for?

This is by far the most straightforward presentation of Pamela's story, as the last few loose ends are tied up and Pamela is given a closure that, while not what she hoped, works well within the structure of a drama. We get the climax and the anti-climax here, and both work really well. Pushed to the limit, Pamela is ready to do anything to finally be rid of her curse. But that may not be best for her after all, and Park does a nice job of showing what happens when you take a minute to step back from everything and think about what you really want, as opposed to what you think you want.

The problem is that the first three parts of the drama tree were chopped up so much across the first five volumes that it was hard to get into Pamela's story until it was very nearly too late. I felt like I was seeing her conflict clearly for the first time in this volume, and it really interested me. It's a shame that Park didn't make things a bit clearer from the beginning. I don't think it would have taken anything away from the big reveal in this volume at all, and might have even made it more powerful.

Pamela's journey through hell is really well done. Park turns up the creep factor, using her skills as an artist to full effect. The demons we see are horrifying and crafted with amazing detail and skill. Even those that are more human-looking have an air of creepiness, and her take on Charon is both darkly humorous and starkly horrific.

The resolution of the final confrontation, however, is the best part of things. As with all good characters, Pamela grows by the choices she makes here, and with amazing dexterity considering how (maddeningly) dense she was in most of the series, especially towards the end. There's one last deception that she misses, but I think that one's understandable. In the end, she is at peace, even if it may not have been the peace she thought she wanted.

Belial, too, gets to show he's more than just an evil demon. Despite his claims, he cannot help but be affected by his time interacting with humans. But will he end up charting a new course? That's up to the reader to decide.

I've mentioned before that Park's art on this series is something to behold, and that continues here. I already commented on her demons, but there's also images like the city of Dis, where a large number of the damned souls are given individual bodies, actions, and facial features that make a reader stop and linger over the details. Other parts of Hell are similarly detailed, as are lines in an old man's face or the patterns on past characters' fashions as they show up in a cameo. A lesser artist might have skimmed on things, but not Park. I'd definitely read another manhwa by her, just to see more of her art.

While I was frustrated by the often-confusing origin story and the trailing off of the one-off stories of Pamela's patrons, I was happy with how Tarot Cafe ended. It felt like a logical progression based on where Park was taking the story and I didn't feel like any of it was forced to meet a series deadline. Pamela and Belial end up in a very satisfying place, I think, for both reader and fictional character.

Overall, I think those interested in trying manhwa as a genre could do a lot worse than starting here, though I think Bride of the Water God would be ideal. The series is short enough to allow them to sample without having to buy too many volumes. The story is a bit muddled in places but has a good overarching plot that ends in a satisfactory way. Plus, Park's art is some of the best I've ever read in a comic, Western or Eastern. If you opt to visit the Tarot Cafe, plan to linger a bit and enjoy your visit--the view alone is worth the price of admission. Having a pretty good (if slightly flawed) story is just a bonus.

Tarot Cafe 1-3 Tarot Cafe 4 Tarot Cafe 5 Tarot Cafe 6

Marmalade Boy Volume 5

Written by Wataru Yoshizumi
Illustrated by Wataru Yoshizumi
Tokyopop

It's been a little while since I caught up with the cast of Marmalade Boy, so I figured it was time to get back into it.

This series started out as a screwball comedy about two families that divorce and remarry each other. There are two children involved and they couldn't be more different. The boy, Yuu, takes it in stride, but Miki, the girl can't stand the idea. Their love-hate relationship and Miki's inability to deal with any of it drove the start of the manga.

As we move on, however, the series shifts into a more traditional shojo drama, as Miki and Yuu finally get together in this volume and our first set of romantic rivals are moved off the scene. For a minute there, I was thinking the series was wrapping up, but as we progress through this trade, new anxieties are created. Miki tries to keep her love for Yuu a secret at home and frets as Yuu is exposed to a model with eye for pretty things. Is Miki doing her usual overreactions or is there something more?

I have to admit that I'm a bit sad at the change in direction in Marmalade Boy. While Yuu and Miki are still the main characters, I can't help but feel like the series lacks a bit of focus. We started off on the comedic situation of two married couples marrying each other's ex-spouses. Then we moved on to the various emotional problems of Miki and Yuu's friends. Now it seems like we're looking at our two protagonists as fragile young lovers. Unlike a lot of the manga I read, I can't get a feel on what this series is about as an overall theme, and that makes me a bit unsettled as a reader.

I really enjoy Miki and Yuu's relationship, and seeing it develop is part of the charm of the series. But at the same time, I think there's been development in too many directions. By this latest change, I'm a little weary of seeing how they're going to relate to each other next. I'm hoping that the last few volumes will allow their love to follow the path of fragile lovers, now that we've finally gotten that out into the (mostly) open. It may be a bit odd that Miki has forgiven Yuu's cruel streak or that Yuu would reach for Miki when they are so different, but I am okay with that--unless we start to drift off that path in volume six and head somewhere else entirely.

Yoshizumi really likes to use side characters in this manga, and that part of things works really well here. The defeated rivals for Yuu and Miki's affections may be forming a bond of their own in a natural progression that Yoshizumi develops nicely. I also liked how the new characters are inserted logically, without feeling like they are only there to serve as foils. The only problem I have in this area is that she really doesn't do anything with the parents. I'd love to see more about how they are doing in their new lifestyles, as I think there's a lot of room for comedy with them, especially now that Miki and Yuu must hide their own affections.

Given how well Yoshizumi handles side characters, I'd love to see how she would do on an ensemble book, as I think that style would play to her strengths as a creator.

I may have given the impression that I don't like Marmalade Boy anymore, and that's definitely not the case. I like Yuu and Miki as characters, and that's what drives my shojo reading, since the plots and settings are frequently similar. Yoshizumi writes very natural progressions for all of the changes that have happened so far. It's just that I feel sometimes like I'm reading a new series with the same characters every time I pick up a new volume, given all the shifts in tone.

I think there was a different manga Yoshizumi could have written, one that would have strayed further from the usual tropes and set Marmalade Boy apart from other mangas that I read. As it stands, we've drifted into familiar territory. However, it is well written familiar territory, and I'll be happy to see how Miki and Yuu handle the new challenges to their relationship in the next volume. I just hope that it stays on the same path this time.

The Law of Ueki Volume 1

Written by Tsubasa Fukuchi
Illustrated by Tsubasa Fukuchi
Viz

At my old job, I was called the "recycling cop" because I hated to see things wasted. So when I saw this at the library, I figured I'd give it a shot.

Ueki is a young man who was unknowingly given talents by one of his teachers to serve as a proxy in a king-making contest. His biggest talent is the ability to turn trash into trees, but there are ten of them all told.

There's only one catch: If he uses his abilities to harm someone, no matter how noble the reason, Ueki loses a talent. Now he's forced into a contest without really knowing how or why, with only classmate Mori to help him. Can he survive or will he end up on the contest's trash heap?

This is a manga that is definitely skewed to a younger age demographic. There's nothing complex about the characters, the plot is entirely action-based, and the flow is all action, all the time.

Ueki is a pure hero, out to stop evil in all its forms, from neighborhood bullies to evil doctors to those who wish to win the contest for their own greed. Mori is the straight man, there to complain at the insanity of it all and unable to process that Ueki's world has changed. The villains are bent on evil, without any sort of redeeming value or complication that makes their position anything you might support.

As far as the story goes, we have a bit of a mystery at the beginning, as Mr. K (the teacher and king candidate) sets up tests for Ueki and discusses the contest. Once that is solved, however, we're into battle after battle as Ueki tries to right the wrongs he sees, no matter what the cost.

The art in Law of Ueki uses all the shonen tricks I'm familiar with, and uses them at every opportunity. There are action lines everywhere, making it hard to follow what is going on. Characters' limbs are exaggerated for either comic or action effect. People shrink or grow in size, as needed to fit the mood. Faces turn into rubber at a moment's notice. It feels like Fukuchi was afraid of missing any of the usual tricks of the shonen trade, so he added all of them, just in case.

I realize that saying this has too many of the typical shonen elements going on at once is funny coming from a guy that eats up shojo tropes like they were chocolate covered pretzels, but I think Law of Ueki overdoes it a bit, at least for me taste.

Law of Ueki was not written for an older audience, and it shows. If I had a young son or daughter interested in manga, who weren't yet ready for the character complexity of, say, Bleach, I'd give this to them and I think they'd really like it. The manga is fun and moves very quickly. It just isn't very deep. I could see them laughing at every exaggeration, but I was just wishing for a bit more. I can't recommend Law of Ueki for adults, but if you have kids at home, read it first and see if you think they might like it. I'm betting they probably would.

Nana Volume 3

Written by Ai Yazawa
Illustrated by Ai Yazawa
Viz

The story of the two Nanas continues in this third volume, as things start to look up for singer-Nana but look worse for her roommate. Slowly but surely the band is getting back together and singing Nana can afford to let loose a bit and allow her guard down, now that it might be time for her to shine.

On the other hand, our more open and expressive Nana is having problems all over. She's overspent, her job status is shaky, her mom thinks she eloped, and, worst of all, the boy she followed to Tokyo may not be all she thought him to be!

There's still a lot of comical situations in Nana's third volume, but from the opening lines on, you can tell that Yazawa is going to darken the tone a bit. Despite silly jokes about ghosts in the house, Nana K is starting to worry about the neighbors, a care I don't think she would have had at the start of the series.

As things progress, the formerly carefree Nana is worrying about making rent, looking good to her mother and boyfriend, and even what the future holds. (It may be a really stereotypical future, but still, it shows her desire to knuckle down and care.) Singer-Nana (Nana O) snarks about these things but seems more willing to let Nana K into her life, even letting her sing a bit at a band rehearsal. There's even just a bit of hinting that they are going to be actual friends, which I think is a good sign.

Oddly, it's as though the two Nanas reverse roles here. Nana O is getting her friends back and building on what she lost when Ren went to Tokyo. Meanwhile, Nana K's friends are avoiding her because of the actions of her boyfriend. He's not at all the man Nana K takes him to be, as we see further proof why long distance relationships don't generally work. Both of these parallel
plots are developed nicely here and neither have a payoff in this volume. (In fact, the ending of this one caused me to regret not requesting Volume 4 as soon as I got this one in, so be warned!)

This doesn't mean it's all seriousness, though. Yazawa still gets her inside jokes in, this time as Nana K joins a publishing firm and is summarily abused. Nana O's new bassist is underage, apparently has no home, and is a goldmine of comedy. Nana K overreacts in the most comic way possible to anything that isn't serious, with Nana O baiting her at every opportunity. While there is a new layer of seriousness on top, Yazawa is by no means cutting out the comedy. That's a good thing, because I'm sure that Nana K is going to need something to keep her mind off the tragedy headed her way.

I really like Yazawa's art style, mixing typical manga style with a bit of photo realism here and there. Her characters are all distinctive and dress according to their characterization. Even the new characters introduced fit into this pattern, especially Sachigo, who is presented as a total innocent about to get really, really hurt. Her fragile build and simple clothing are perfect.

Yazawa does a bit more with backgrounds than the other manga I've been reading lately, giving us details like the gingerbread on a staircase or hooks on curtains. Part of this is probably a result of the photo realism vibe, but part of it is most likely to show the striking difference between the Nanas. Either way, I like getting to see how Nana K blew her check or the idea that Nana O has almost nothing, something that would have been lost if we had sparse interior artwork.

Nana is quickly becoming one of my favorite shojo manga series, with two dynamic characters who should not be meshing together at all but forming a bond the reader wants to see developed. Combined with a great supporting cast (almost any of whom could easily be the focus of their own series), strong and distinctive artwork, and the right balance of humor, Nana shows the best things that a shojo manga can offer. I am totally hooked and can't wait for volume four to arrive at my library!