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Ai Ore!, Vol. 2

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By Mayu Shinjo. Released in Japan as “Ai wo Utau Yori Ore ni Oborero!” by Shogakukan, serialized in the magazine Shoujo Comic (“Sho-Comi”). Released in North America by Viz.

Another volume of the meant to be fun but mostly incredibly frustrating Ai Ore, where you keep waiting for the heroine to embrace her inner prince and tell Akira where to stick it. But that’s not what’s going to happen here, and instead we’re going to get more and more of Mizuki getting in touch with her inner feminine emotions and learning what love really is. Which, honestly, is mostly fine. As long as Akira’s not being a horrible jerk.

No, really, it’s true. There’s a sequence of about 100 pages or so midway through this volume where Mayu Shinjo stops focusing on how possessive and stifling Akira wants his love to be, and how he will destroy everything about Mizuki’s life in order to make her his. Instead, we get actual fun plots featuring our heroes interacting with the other characters. Mizuki has to pretend to be a yakuza girlfriend. Akira gets sick and Mizuki has to take care of him. Mizuki goes to Akira’s culture festival, and finds him dressed as a catboy. This is really fun stuff. Mayu Shinjo has been writing manga for years, and has none of the newbie’s issues with pacing or padding. And since Akira isn’t being a brat, his relationship with Mizuki is actually enjoyable.

Then there’s the rest of the manga. As I noted in my review of Volume 1, he’d be a perfect horrible shoujo male lead if he weren’t so immature about it. We see here that he comes from a very overprotective family, and was no doubt spoiled rotten. This helps to explain a lot of his behaviors, but doesn’t necessarily make them any better to watch. To be fair, he is a little better here, especially when he finds he has competition in the form of Mizuki’s old childhood friend Shinnosuke, who has returned from university and is (needless to say) smoking hot. And also manly, something which sets Akira’s teeth on edge.

As for those wondering how seriously Shinjo is taking this manga, I would like to point to the helicopter, the boxing match, the shopping trip, the entirety of the yakuza omiai and culture festivals… there’s a lot in here that’s just a hoot, provided you remember to turn off your brain a bit. The humor here is a bit more subtle than Butterflies, Flowers, so it’s not as easy for me to throw off the casual sexism the way it is for that title. But I have to admit it, even if I do want to strangle Akira half the time, Ai Ore! remains a complete page-turner. It’s pretty much exactly what you want from a potboiler – the inability to put it down. Let’s hope the next volume continues that trend, and I’ll try to stop complaining about things that I would rather the author be writing about.

The Melancholy of Haruhi Suzumiya-chan, Vol. 3

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By Nagaru Tanigawa and Puyo. Released in Japan as “Suzumiya Haruhi-chan no Yuutsu” by Kadokawa Shoten, serialization ongoing in the magazine Shonen Ace. Released in North America by Yen Press.

It always amuses me when I try to review one of these volumes, as one would thinks that a review is designed to tell people whether they would be interested in a book or not, and these Haruhi-chan manga are by definition so narrow in audience scope that I have to add “the only reason you should buy this is if you’ve bought it already.” And yet here I am, reviewing the 3rd volume. Because, as a huge Haruhi fan and someone who loves 4-koma type humor, I continue to find these a hoot.

Given that this is a gag comic, it’s always interesting when I find bits of character development in it. You would think by definition there could be no character development, as the author is constrained by the boundaries of his parent series. Yet this leaves a surprisingly large canvas for building on what has come before. Thus Tsuruya and Mori’s friendly martial-arts rivalry continues, and Nagato’s addiction to games becomes so bad that when forced to give them up by Haruhi (for an eating contest, to give her ‘fighting spirit’), she nearly ends up dead. The manga is also well past the animated episodes as well, so no longer has to worry about the anime outdoing it.

The beginning of this volume is also, I suspect, important for another reason. It’s based off of Disappearance, and so we see the cast briefly styled in the characterizations of that movie. Seeing a rather hapless Yuki, overprotective Ryouko and clueless yet polite Kyon all having hotpot together, you can almost see the lightbulb go on in the author’s head. And now we have The Disappearance of Yuki Nagato, running in Kadokawa’s Young Ace, a spinoff which seems designed to take Disappearance and hit the ‘heartwarming’ button as much as it can. I will be completely unsurprised if Yen licenses this soon as well.

Haruhi gets a bit more to do here as well, not being confined by Kyon being the narrator. She still doesn’t get to participate in anything supernatural, but she still manages to come up with the weird ideas she’s famous for. My favorite chapter was likely the one where she tells everyone to try their hand at drawing a manga, with herself as the editor… then ends up spinning in a chair, bored out of her skull, while everyone else is doing things and she has to wait for them. There’s also some lovely ship tease between her and Kyon during Setsubun, when an argument about bean-tossing ends up turning into a tickle fight, which is innocent but doesn’t look that way. “I don’t think you should be doing sexy things!”

Mikuru probably gets the least to do here, but honestly, that’s true of the source material as well. And it’s lampshaded in a fantastic intro (in color) by Asahina’s older self. Bitter about the fact that she only gets to appear once in the entire volume, she sets about recasting the entire Haruhi franchise with herself in all the lead roles. Including Koizumi. Kyon is the exception, probably so he can make the tsukkomi response. Poor Asahina! Hang in there!

The drawbacks to this series are the same as prior volumes – it’s entirely dependent on its humor, so when it’s not funny there’s nothing else. Likewise, if you don’t like Osaka-style 4-koma gags, you’ll hate it. But I’m pleased to see the Haruhi-chan spinoff has become a world of its own, one where Taniguchi can turn into a giant 50-foot demon, Halloween can feature Haruhi wearing an eye mask straight out of 20th Century Boys, and Asakura can spend over an hour trying to kill Yuki and Kimidori-san with knives. OK, that last sounds like it might actually work in the real continuity. But in context, it’s extra goofy. As always, recommended highly to those who would get it anyway.

I Am Here!, Vol. 2

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By Ema Toyama. Released in Japan by Kodansha, serialized in the magazine Nakayoshi. Released in North America by Kodansha Comics.

I’m pleased to see that we’re getting the second and final omnibus of this quiet, down-to-earth shoujo series from Kodansha. It has a satisfying conclusion, though I admit that I think I liked it better when the series was focusing on Sumino trying to open up and make new friends. This final volume deals more with Sumino’s romantic love triangle, and it’s simply not as interesting.

We left off with the manga trying to confuse us more about the two online friends in Sumino’s blog, and whether one or both of them were the two guys at her high school. It should come as no surprise to learn that one of them is, nor should it be too much of a surprise to find it’s a bit of a role reversal. I was rather surprised to find that the other online friend was completely unrelated to Sumino’s life in every way, and in fact lives in Osaka. It was a reasonable fakeout that I appreciated. (It also led to a mostly boring side story at the end, but hey, can’t have everything.)

We do also see Sumino clash with the schoolgirl bully who hounded her in Volume 1, Aya. I liked this as well, if only for a look at the mentality of this sort of person. Aya’s already been ostracized by her classmates, and has pretty much already ‘lost’. But she’s bullying Sumino, because, well, that’s what she does. And there’s still these unresolved feelings inside her that need to come out somewhere. The resolution of their fight was cliched, but still rather heartwarming. Although I will admit I could have done without ‘the sunflower in my heart isn’t bent!’. There’s cheesy and then there’s just corny.

But the majority of the volume is dealing with which guy Sumino is going to choose – Hinata, the sweet, caring boy that she’s already grown close to, or Teru, the harsher but sexier type whose words gave her more encouragement? Needless to say, this also leads to a rift between the two boys, who are now after the same girl. I found this more interesting for Teru’s backstory than anything else – he’s a certain type of shoujo boy that if this were a title for teens rather than young girls might be the lead – a jerkass sort who tries to encourage the heroine in an oblique way. Hinata, unfortunately, comes off as rather bland in comparison, though he did get more attention last volume.

Overall, it’s a nice, sweet manga, but it’s still hard not to compare this with Kimi Ni Todoke and find it wanting. No new ground is broken, and after a first volume focusing on broadening our heroine’s world, it all comes down to the standard love triangle. It doesn’t really put a foot wrong, and if you like this sort of genre it’s an easy title to recommend. But you might want to grade it on a bit of a curve.