One Piece, Vol. 76

Leave a reply

By Eiichiro Oda. Released in Japan by Shueisha, serialization ongoing in the magazine Weekly Shonen Jump. Released in North America by Viz.

Let’s get the bad out of the way right off the bat: Rebecca has not remotely lived up to the hopes I had for her as a character. The reunion with her father, with all the overtones of “you should never have been a fighter, I’m so sorry you had to be strong and not a princess that needs protecting” left a bad taste in my mouth, and I’ve given up on it being subverted at this point. Unfortunately, this is not a sentiment that’s unique to One Piece, as we’ve seen it in countless manga and anime before this. I had hoped Oda might avoid it, but no, there it is. Luckily, it’s a low point in an otherwise excellent volume, so let’s talk about the rest of it.

OnePiece76

I have occasionally wondered if I praise Usopp too much, but then I wander on to forums and see more people talk about how useless he is, and so therefore I think no, there is not enough praise. Because he’s hella awesome here, taking out Sugar AGAIN with the help of a truly weird power from a minor character and what I believe is actual haki, which we haven’t heard much about since right after the timeskip. We’d seen Coby use it before, but it’s still awesome to see that a power that is basically “I am enforcing my will on reality” can be used not just by the brute force heroes but by support folks like Usopp.

Speaking of which, Robin and Usopp both have small speeches in this volume where they talk about their devotion to Luffy, and it’s worth noting how much of being a pirate captain in One Piece is creating a cult of personality around yourself. Luffy doesn’t do this deliberately, of course, but those who follow him know that he is the one, they one they can dedicate everything they have to protect and serve. It’s even given a parody over the last few volumes with Bartolomeo, whose idolization of the entire Straw Hat crew is a takeoff of the typical fanboy. It’s worth noting that Robin does not denigrate this love the way others have, though (and that she calls him rooster, I love that she still tends to give nicknames to everyone), as she’s a convert as well.

Meanwhile, Luffy and Law (finally out of the seastone cuffs) are ready to face off against Doflamingo, which means that we get two things that One Piece is most famous for – chaotic final battles with lots of punching, and flashbacks to explain a character’s tragic past, this time Law’s. Sure, we also get a bit of Doflamingo’s, which has a bit of a ‘fallen angel’ vibe to it, but Law, with his tragic white lead poisoning and massacre of his entire homeland (hmmm, seems familiar… Doflamingo even points this out, saying complete genocide is a standard World Government tactic) is the one we’re meant to feel bad for. This story leads us to the cliffhanger for this volume, and I suspect will take up the majority of the next. When it finishes, will we be finishing the Dressrosa arc? Don’t hold your breath. But keep reading One Piece anyway.

Golden Time, Vol. 1

Leave a reply

By Yuyuko Takemiya and Umechazuke. Released in Japan by ASCII Media Works, serialization ongoing in the magazine Dengeki Daioh. Released in North America by Seven Seas.

I’ve talked before about how difficult it can be to introduce an unlikable character early in a series and have their character growth be a part of it, mostly as fandom takes first impressions and encases them in amber forever. This is doubly true if the character is female, and quadrupley true (is this a word?) if it also happens to be a comedy romance, with harem overtones. Golden Time is starting off in a bit of a pickle, though, as its heroine, Kaga, is introduced to us as an obsessed stalker who’s also rich and beautiful, and rubs every single reader the wrong way. Luckily, we have our hero, Tada, who is determined to show that she has hidden depths, even if he can’t quite make them out. And, wonder of wonders, he is not the doormat that most of these series frequently use as male heroes, so as the volume goes on and we learn more about the two of them the good qualities of the series come to life.

goldentime1

That cover, to be honest, really doesn’t help, and panders to a fanbase that is more Monster Musume than Toradora. Oh yes, this is by the creator of Toradora, based on her light novels, which she started after finishing her other series. Toradora also featured an unusual lead male hero, and Golden Time’s Tada has a very good reason for sometimes acting out of character – he has amnesia of most of his life before the last year, and can’t recall what his character actually is. This is presented in the midst of a truly ridiculous chapter involving a religious cult who have kidnapped several students to indoctrinate them, so it’s no surprise that Kaga does not particularly believe him. As for Kaga, her backstory is more normal, being a lonely rich girl who has no idea how to do affection, so overdoes it to the point where it becomes terrifying.

Most of this volume just involved Tada, Kaga, and Kaga’s unfortunate crush Yanigasawa, who is thoroughly sick of her and horrified that she followed him to college (the fact that this is set in college – and indeed in the law program – is highly unusual for a harem comedy, and I hope more is done with it in future volumes). There’s another girl who gets cameos at the start and end, who I suspect will take on the position of chief rival/alternate heroine choice, but this is mostly a two-hander, relying on the two leads. They bond right away, and Tada is falling for Kaga while also clearly seeing her flaws – he just doesn’t really care, and also her flaws don’t impact *him*, as she’s in love with someone else.

I think fans of Takemiya’s other works will enjoy this, and fans of romantic comedies should give it a try, but be aware this is one of those series where you may need 2-3 volumes to star liking the heroine, and if you’re the sort who rolls out the word ‘psycho’ whenever it suits you, take my advice and don’t get involved.

Oresama Teacher, Vol. 19

Leave a reply

By Izumi Tsubaki. Released in Japan by Hakusensha, serialization ongoing in the magazine Hana to Yume. Released in North America by Viz.

In my review of the last volume, I said that Hayasaka’s past was looking more serious than this manga usually gets, but I didn’t think it was going to get that dark. Boy howdy was I wrong. Not that Oresama Teacher has suddenly turned angsty and depressing, but certainly this volume hinges on the fact that Momochi’s mental manipulation of Hayasaka is being helped along naturally by his own traumas, and that he has in fact had this sort of thing happen before. Luckily, he has the Public Morals club to help him this time, and the volume ends on an upbeat note (albeit one with our heroes at the bottom of a cliff – what is it with Hana to Yume series and cliffs?)

oreasma-19-2

Tsubaki enjoys playing with reader preconceptions and that’s certainly the case here, as Hayasaka’s supposed family background is the sort of thing we’ve seen in manga and anime before, with the mistress kept in a locked room away from everyone. Only that turns out not to be the case, and in fact is something that Hayasaka has created to cover up the real tragedy that he refuses to accept. The scene with Hayasaka and his father at the funeral is heartrending, something I never really thought I’d say about Oresama Teacher. And in fact, again contrary to our expectations, Hayasaka’s family turn out to be mostly okay – his hatred of his father stems from something that isn’t happening anywhere but in his head, and his dad, while trying to keep Hayasaka’s past hidden, shows genuine concern for him.

There is some humor in this volume, rest assured, though I wonder if the story turned more serious when Tsubaki was starting off Monthly Girls’ Nozaki-kun. Most of it comes from Mafuyu and Yui, who continue to react in a hilarious way whenever called on to be normal or mature. Mafuyu also gets an emotional arc in her desperation to make Hayasaka recover his memories, though I wonder if that will come back to bite her in the end, as it’s hinted that the main reason that Hayasaka hasn’t realized Mafuyu is Natsuo or Super Bun is his own mental blocks, and those may be coming down. Her emotional tears in the last chapter are well earned, though.

We’re still not quite done with this arc, though, as Momochi is still a threat. We see she’s used her ‘hypnosis’ powers in the past, and has forced several students to withdraw from school – even non-delinquents. There are, of course, nasty rumors about her, and I have a feeling that Hayasaka may not be the only one with a tragic past. (And he has a first name now! Though I can see why he wants to keep it a secret – and an endnote might have helped there, Viz.) Oresama Teacher is still worth reading for the comedy, but as it barrels towards a theoretical conclusion soon, it’s also gaining real depth and heart.