Category Archives: reviews

Princess Knight, Vol. 1

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By Osamu Tezuka. Released in Japan as “Ribon no Kishi” by Kodansha, serialized in the magazine Nakayoshi. Released in North America by Vertical.

We’ve been waiting for this one a while. Gripping, depressing Tezuka seinen is all very well and good, but sometimes you have to bring out the big guns. And there are few guns bigger than Princess Knight, which most argue is one of the most influential titles ever, inspiring a generation of shoujo artists. There are actually several versions of the title; the original, in 1954; a sequel with the heroine’s children, in 1958; a rewrite and expansion in 1963; and a science-fiction tie-in to an anime in 1967. Vertical is releasing the 3rd and most well-known version.

Though enjoyable to children and adults alike, this work is definitely aimed at the younger reader, with its premise being couched in fairy tale language. In heaven, they give out girl hearts and boy hearts to babies about to be born, determining their gender. A mischievous angel, Tink, feeds a baby a boy heart right before God gives the same baby a girl heart. As a result, the girl is both with hearts for both genders. And what’s worse, the girl is a princess of the kingdom of Silverland! Now the girl is raised as a boy, to avoid rousing the suspicious of the evil Duke Duralumin, who wants his own son on the throne.

The inherent sexism of the kingdom (which must have a male ruler) is offset by Sapphire herself, who manages to be incredibly badass. Yes, there are those moments where the series undercuts itself – at one point, Sapphire’s boy heart is temporarily removed and she grows weak and loses her fencing skills – but for the most part she is a bright and active heroine, one who longs to be a young woman but who also does not want to give up the freedoms of being a young man. Things aren’t subtle here – her love for Prince Charming (yes, really) verges on the histrionic at times – but Sapphire remains a great heroine throughout, who you want to see emerge victorious.

That may be difficult, though. As with many stories in this vein, there are any number of traumas and disasters that befall her. Her father is killed, her mother imprisoned. She is forced to work menial tasks a la Cinderella, turned into a swan, and kidnapped by pirates. Sexy pirates. Once it gets started, the action never really lets up, just like the best children’s stories. Not that it’s all grim tidings. The basic plot trimmings may sound like Disney, but a lot of the gags are also right out of animated cartoons, with circus horses mocking the King, plucky mice helping the heroine escape, and the villain double-act of Duralumin and Nylon hamming it up for all they’re worth.

Vertical is releasing the three original Japanese volumes here as two slightly larger ones, and so naturally we end with a cliffhanger. Their presentation is excellent, with a lovely original cover (whose color is slightly more purple than the picture above, the only one I can find online), and the translation captures the broad, declamatory language. As Sapphire swashbuckles her way through various deathtraps and tries to gain her love and her femininity while remaining strong and speaking her mind, you’ll find that you absolutely can’t put the book down. The second volume cannot come soon enough.

The Drops of God, Vol. 1

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By Tadashi Agi and Shu Okimoto. Released in Japan as “Kami no Shizuku” by Kodansha, serialization ongoing in the magazine Weekly Morning. Released in North America by Vertical.

Everyone’s been waiting for this one for a long time – since before the announcement of its license, in fact. It’s rare that you can say that a manga actually has an effect on the real world, but that’s what we have with The Drops of God, which has drastically impacted the sales of wine in Japan and the Far East. It’s been featured in the New York Times over here, and there’s buzz about it in wine magazines as well. Does it live up to the hype?

It does, even though it’s not quiet as revolutionary as you may have been led to believe. This is another in a long line of foodie mangas, and this time around it happens to be about wine. The plot could almost be taken straight from Oishinbo: there is a truculent young man, at odds with his father, who joins forces with a cute young woman to try to capture the “perfect” wines. Indeed, the basic setup of “people bring out food/drink and the hero and heroine gasp and describe its taste” could be from any number of food mangas out in Japan, many with volumes numbering into the 50s and 60s.

That said, where Drops of God draws you in is its writing. The main duo are perhaps not as well-written as the rest, but I’m hopeful we will see character development for them as the book goes on. (Less hopeful for romance, I’m pretty sure that there isn’t an ongoing plot with them as there was in Oishinbo.) More interesting is the so-called villain of the series, Tomine, who manages to capture that ‘sneering bastard’ type very well. I also really liked his sister Sara, who comes across as a shallow and vain model but whose description of the wine she’s drinking is possibly the highlight of the entire volume. I hope we see more of her.

The wraparound story of finding Shizuku’s father’s wine collection is really a way to develop any story needed. Here we see a man and his lover torn apart by circumstance and by his misreading the taste of a wine 15 years earlier; and the cliffhanger deals with a co-worker who refuses to accept French wine, noting that Italian is the best there is. Naturally, most of these problems can be solved by just the right vintage.

The descriptions of the wine can be a bit over the top – everyone by now knows that Shizuku describes a wine as tasting like a Queen concert – but that’s apparently true to life, and it’s noted that the ability to speak poetically about wine is just as important as the identification. Oh yes, and for lovers of fanservice, we get to see Miyabi in bed with Shizuku and in her underwear (don’t worry, nothing happened), as well as Tomine pouring wine onto the back of his lover (yeah, something happened there, but not on screen.)

Vertical’s translation and presentation is as good as we’ve come to expect from them. I was startled to find that the series is unflipped – Vertical tends to go for the widest readership they can get, which usually means flipping the art – but apparently the wine labels used throughout the manga made this impossible. You’re also getting two volumes in one, as Vertical is publishing 4 omnibuses of the first 8 Japanese volumes. The series is 28+ volumes in Japan, and not ending anytime soon, so Vertical has just licensed the first ‘arc’. If sales do well, they may get more. I’d like to see more, this is a fun title, if very typical of its genre.

Negima! Magister Negi Magi Omnibus, Vol. 2

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By Ken Akamatsu. Released in Japan as “Mahou Sensei Negima!” by Kodansha, serialization ongoing in the magazine Weekly Shonen Magazine. Released in North America by Kodansha Comics.

With this second omnibus of Negima, Ken Akamatsu is starting to make his move. He’s obeyed his corporate masters and written in a giant harem cast, with tons of fanservice and blushing tsundere heroine, just like his last title. Indeed, this omnibus contains a mini-arc where the cast fight a battle to get a kiss from Negi. However, bigger things are afoot, and this omnibus is also where Akamatsu lets us know that there will be adventure and pure shonen fighting here as well – and that eventually it will be the main thrust of the plotline.

The most obvious thing we get out of this re-read of Volumes 4-6 is we see another of the main cast introduced – Setsuna Sakurazaki. Just as Asuna bears similarity to Naru from Love Hina, and Nodoka is like Shinobu, Setsuna is clearly meant to be the Motoko of this series, right down to the flustered panicking whenever love is mentioned. (Indeed, the connection to the Aoyama family is later made explicit, about 20-odd volumes later). Setsuna is briefly introduced as a potential villain, but that doesn’t last long, and soon we’re finding out about her loyalty to her friends, her amazing sword powers, her yokai heritage, and of course her repressed yearnings for her Konoka-ojosama, which manages to be played for laughs *and* taken seriously at the same time.

The other thing I noticed here was how casually we’re introduced to two of the major villains of the entire work. Fate and Tsukuyomi both appear as supposed ‘mid-level bosses’ of the villain of this arc, Chigusa. However, Chigusa proves to be mostly useless (Akamatsu lampshades this by having her defeated by Chachazero, Evangeline’s two-foot-tall puppet creature), so Fate quickly takes over, and proves to be more than a match for Negi, who is powerful but inexperienced. Fate is mostly drawn as a blank here, though I did like some of his dry humor when he muses about the water spells he’s using on Asuna, and how they interact with her magic cancel abilities. And Tsukuyomi is cute and adorable, and only wants to fight her sempai in a sword battle! Except for one panel, she is not at all the terrifying lunatic we will see later on.

Akamatsu is still feeling around how to work in all 31 girls in his plot without making the whole thing too unwieldy – he never did quite master that, though he got close. The popularity poll included at the end shows that Makie is the most popular of all the girls for two polls running, so perhaps she is the character that is most disappointing – despite a late run, Ken hasn’t really worked out her potential. On the other hand, he’s also realizing which girls *do* work well as a main cast member. Setsuna arrives and is immediately one of the crew, as I mentioned, and Nodoka is the second girl to get a pactio with Negi (and oh what a pactio it is). As for Evangeline, let’s just say I think her skyrocketing popularity caused both Shonen Magazine and Akamatsu to go “Whoah,” and after being casually disposed of by Negi in the first omnibus, she’s back to full strength here, going toe to toe with Fate, taking out huge building-sized ancient demons, and laughing all the while.

The translation here is new, as with the first one, with the Nibley twins replacing the work of Peter David (Vols. 4-5) and Trish Ledoux (Vol. 6). A replacement of David’s very loose adaptation was quite welcome. The extras have the preliminary sketches included at the end, but lack the ‘character bios’ and cover art sketches we get with individual releases.

Overall, if you’re going to be getting into Negima, this is likely where you’ll hop on. Vol. 5-6 have a great arc that shows the series finally escaping its harem roots, and even though there will always be fanservice, it’s a gamechanger. Fans want magical battles, and Akamatsu is here to provide them.