Durarara!! Yellow Scarves Arc, Vol. 1

By Ryohgo Narita, Suzuhito Yasuda, and Akiyo Satorigi. Released in Japan by Square Enix, serialization ongoing in the magazine GFantasy. Released in North America by Yen Press.

You’ll note in my header that I said ‘serialization ongoing’, even though this particular arc has ended in Japan. Square Enix and the author have decided to sell this series in self-contained arcs, each one taking in one of the light novels it’s adapting, rather that putting it all under one umbrella of volumes. Technically this is the 8th volume of Durarara!!, and it’s time to sit back and take stock of where we are. The first arc served to introduce one of our teen protagonists, Mikado, and show why he wasn’t quite what he seemed. The Saika arc did the same for Anri, and now here’s Masaomi on the cover of the Yellow Scarves arc, so it must be his turn.

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In some ways, Masaomi’s past is the least surprising of the three kids. He’s always seemed like his over the top happy, perverse guy side has been a front for something, and here we see what it is. The Yellow Scarves are his gang, and though he may not have had intentions of it becoming what it is today, what matters is that his people were hurt by the slasher. As such, he’s pulled back in in order to give the gang a figurehead and leader, and to get revenge. The irony here being that in the end, the person he may need to seek revenge on is also the girl he’s been hitting on this entire time.

Naturally his past is also tied up in Izaya’s, who appears here not just in his monomaniacal ranting phase of the present day, but also as a manipulative bastard in Masaomi’s past. I will say this for DRRR!!, it is not afraid to paint Izaya as an utter asshole. He confidently manipulates those he knows into doing what he wants; he spouts cod-philosophy that even makes Namie, a girl who has justified murder and her own incestual feelings, retch; and if it happens that someone who is equally broken latches onto Izaya and treats him almost like a savior, well, that’s fine too. Everyone in Ikebukuro is a game piece to Izaya, and since he mashes games together at will, the more pieces the better the chaos.

This leads me to Saki, who is introduced here. I had been spoiled a bit on who she was and the internet backdraft she was hit with when the anime came out. She is Masaomi’s old girlfriend, who suffered a crippling injury that has kept her hospitalized for an extended period, and she’s also utterly devoted to Izaya. Thus we have fans who hate her for being manipulative towards Masaomi (which she would be the first to admit, I suspect – I’m not pretending she’s a nice, innocent girl) and those who hate her for pairing reasons. Frequently I find myself drawn to characters who get this sort of backlash, and I find myself liking Saki, and wanting to see more of what makes her tick. Does she really love Masaomi? Is she merely a sleeper agent of Izaya’s? Both?

I suspect that this arc will lead up to a confrontation between the three kids – the cliffhanger here, showing Masaomi almost catching Anri spying on the gang, suggests it. This is a good thing. You can only sustain a buildup so much, sooner or later you have to have a payoff. We’ve had two smaller ones in the first two arcs, and I want a big one here. It should also be a lot of fun.

A Preliminary NYCC 2014 Schedule

This year the Thursday that used to just be “Pros and Press” has become a full-blown day, meaning it’s just as busy as the others, if not worse. I also note with trepidation that almost all my panels are in the small panel rooms from last year. Sigh. As always, this is what I have as planned to go to, but it may not reflect what I actually get to.

Thursday:
1:00 – 2:30 Big Hero 6 preview (Main Stage)
2:15 – 3:00 The Mary Sue Presents Fight What You Know (1A14)
3:15 – 4:00 Viz Media Panel (1A14)
5:00 – 5:45 New Simon & Schuster imprint (1B03)
6:00 – 6:45 – Weekly Shonen Jump (1A10)
7:00 – 7:45 LGBT in Comics (1A10)

I may duck out of Big Hero 6 early, as I want to see the Fight What You Know panel, as well as Viz, which is in the same room right after. The new S&S imprint may also fall prey to the dreaded “I have to eat sometime” rule, not to mention the Jump panel will have a huge line. This is a very busy Thursday, but at least it ends for me at a reasonable hour.

Friday:
11:00 – 11:45 Crunchyroll Industry Panel (1A21)
1:15 – 2:00 Yen Press Industry Panel (1A14)
3:15 – 4:00 Damsels in Distress Need Not Apply (1A01) (warning: Gillian Anderson)
4:15 – 5:00 Archie Comics Panel (1A05)
5:00 – 5:45 Takeshi Obata panel (1A10)
8:00 – 8:45 Sailor Moon Panel (1A21) (?)

The questionmark is because I’m not sure if this panel is just a screening. If it is, I’ll skip it. The warning is because “celebrity = very, very long lines”, so it will likely be hard to get into. Yen has, at least, been moved out of the tiny rooms at the back, though the rooms are still small – manga fans, be warned! I suspect I won’t be able to do the Archie panel and the Obata panel.

Saturday:
11:15 – 12:00 The Art of Animation and Saturday Morning Cartoons (1A01)
2:15 – 3:00 IDW Artists (1A14)
3:00 – 3:45 Harrassment in Fandom (1A21)
4:15 – 5:00 Official Sailor Moon Panel (1A14)
5:15 – 6:00 Vertical Manga Panel (1A14)
8:15 – 9:00 Ranma 1 /2 (?)
8:15 – 9:00 Doctor Who Fan Screening (Empire Stage)

Usually Friday is my biggest day, but this year it’s Saturday. You’ll note the same questionmark next to Ranma – if it’s a screening, then I’ll go to see Mummy on the Orient Express, which is what I assume the fan screening is. It’s a packed day from 2-6, but otherwise I should find time for the DR and AA.

Sunday:
2:00 – 2:45 Kodansha Comics (1A18)
3:00 – 3:45 Crunchyroll Manga (1A18)
4:15 – 5pm – Toon Tunes (1A01)

A surprisingly late Kodansha panel, but being my first panel of the day I have time to do everything I didn’t before. Toon Tunes sounds fantastic, but if I’m burned out and just want to take the train home, it may be jettisoned.

Wireless connection allowing, I will be doing daily posts regarding the con every evening. I hope to give you all a lot of great info, news and tidbits about NYCC!

Shoulder-a-Coffin Kuro, Vol. 4

By Satoko Kiyuduki. Released in Japan as “Hitsugi Katsugi no Kuro – Kaichu Tabi no Wa” by Houbunsha, serialization ongoing in the magazine Manga Time Kirara. Released in North America by Yen Press.

Sometimes, when I’m reading a series with as much ambiguity as this one, I find it difficult to discern which parts I should be picking apart as clues to what’s going on, and which parts I should just let wash over me as part of the overall mood. That’s slowly starting to go away – we get more information on Kuro, Sen and the witch here than in any previous volume – but there’s still large chunks of the story where I feel like I’m trying to connect the dots without a pencil. Luckily, the style and mood of the series are still superior, so it’s an excellent read even if I am sometimes baffled at what’s really going on.

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The volume opens right away with a lot more info than previous ones, as we see a young, grumpy man meet a cute young girl who he reluctantly takes in as his apprentice. The girl is clearly meant to be a young, innocent(ish) Kuro, but the man eludes us at first, until the horrific cursing itself, which we finally see in a bit more detail, and which rebounds horribly on not just Kuro but her master as well. After this flashback, the story (seemingly) picks up where it left off in Volume 3, with Kuro still in a coma and Nijuku and Sanju patiently waiting for her while trying to deal with the fact that her face is starting to fade in their young memories the longer they wait.

Kuro has never been a bright and upbeat series (it’s a contrast with the overtly happy and content GA Art Design Class), but this volume really seem to go above and beyond by dwelling on Kuro’s search for the one who cursed her, which also ties into what is clearly Kuro’s deathwish. We see several stories with Kuro traveling by herself, meeting people who are going on a long train journey, and she plans to go with them but doesn’t seem optimistic. Sure enough, as the train is about to leave she realizes she suddenly left her hat and coffin – which she never lets leave her sight – outside on the platform. You don’t have to read Night of the Galactic Railroad to know what this is a metaphor for.

Once awake and recovered, Kuro’s journey continues, but even then it seems to be a bit more fatalistic. She meets a young girl waiting for her parents who have never come home, and helps convince her to move on with her life. We see a long forgotten kingdom that destroyed itself in search of a perfection that doesn’t actually exist. And Sanju gets a nasty lesson regarding the fragility of things that are not her when she rips the arm off another girl’s cat by “playing too hard”, and they have to deal with the consequences. Kuro makes it very clear in this book that the two young girls she travels with are her “baggage” keeping her tied to this world, far more so than finding the witch who cursed her, and one worries what will happen when they finally have to part.

Shoulder-a-Coffin Kuro comes out so infrequently that it can be a hard series to connect with at times, but when you do it rewards the connection handsomely, being thoughtful, intelligent, moody, and somewhat depressing. Kuro’s heavy coffin is a metaphor, but it’s also real, and seeing her without it feels deeply wrong. I do wonder if the next volume might be the last – we seem like we’re near the end of our journey. There will likely be a long wait till we find out, though.