One Piece, Vol. 69

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.

The majority of this volume of One Piece is composed of running around and fighting, as we tend to get when we’re 2/3 of the way through most story arcs in this series. Everyone is coming together from various disparate points (or, in the case of Luffy, getting dumped way the hell away from everyone) to try to stop Caesar Clown, who is upset that he has to kill them all in his secret base rather than out on Punk Hazard’s surface. We also get to see more of the fighting styles of minor villains Monet and Vergo. And thankfully we also get lots and lots of silliness.

op69

One thing that gets a bit more attention this volume is the way that trust works in the world of One Piece. Luffy is, let’s face it, a man who inspires devotion and loyalty in his crew, but he’s not the only one. Most of the pirates, marines and mooks we see here are all fiercely proud and supportive of their leader, to the point almost of mindlessness. This is where Luffy’s crew stands out, of course – being real characters, they’re allowed to disagree with him or tell him he’s being stupid. The nameless marines and villains, however, don’t have that option, so they remain trusting and gullible to an extreme. When it’s someone like Tashigi who inspires them, that’s fine – she would never tell them to do something stupid, and indeed tries to protect them by stating that their foe is not the real Vergo. When it comes to Caesar, though…

Let’s face it, Caesar is a terrible, terrible liar. His “I am a good guy trying to help you all” act is pathetic, and it doesn’t say much for his mooks that they buy into it wholeheartedly. At least the little kids have the excuse of being too young to really understand. (though kudos to the one kid who sacrifices herself for the others, after Chopper finally convinces her what’s really happening). Caesar is not quite as scummy as, say, Spandam, but it’s still very satisfying to see Luffy beat the ever-loving snot out of him here.

There’s also Zoro and Tashigi, who get a lot of spotlight here. Tashigi’s character has always been fairly problematic, and it doesn’t really get any better here, as her compassion wars with her fierce competitiveness and her belief that Zoro is holding back whenever he’s near her because she’s a woman. Zoro, of course, is not about to tell her the real reason, and in any case is so far beyond her skill level now that he can take out Money, let her get in the final blow, and then agree to have her take the credit for it. Makes no difference to him, as that sort of thing is irrelevant when you’re on the level he is. In short, their relationship is still just as amusing yet awkward to read about as ever. (I did love her nerding out about his new sword as he carries her away from the gas, though.)

So overall another solid volume. The crew get chances to show off (Even Nami, whose weather control works well briefly against someone like Monet), and the collective treatment of Brownbeard is a comedic masterpiece. I am, however, looking forward to this arc being done in a volume or two.

License Roundup – Seven Seas

2 Replies

Seven Seas has put out so many press releases lately that I kept waiting for it to stop before I could do a post summing it all up. Luckily, we seem to be in a lull, so let’s see what they have in the way of 2014 manga for us.

d-frag

D-Frag! is a Comic Alive title from Media Factory, and seems to combine several popular otaku elements. Young man gets shanghaied into a club with four very strange women and has to deal with their wacky antics. Clearly there will be some harem stuff going on, and with the hero being a delinquent type it’s hard not to think of Haganai when seeing this one, especially as this also involves playing a lot of games.

shobon

Speaking of Haganai, after having been on Amazon for several months as a preorder, Seven Seas finally admits they have licensed the Shobon side-story volume, which is going out under the title “Now With 50% More Fail!” because, y’know, translating is good. (I think Shobon is an emoji or something? Totally untranslatable, I suspect…)

hiyori

Yes, of course there’s a one-shot sequel to the one-shot, with more side-story madness. Given Haganai doesn’t have much of a plot to begin with besides the harem antics, side stories seem a bit odd, but hey, I still enjoy the series. This is called Haganai Hiyori in Japan, and comes over here as Club Minutes.

biscuithammer

This title may have been seen before by a few people back in the JManga days, and I’ve always been a huge fan of it. The Lucifer and Biscuit Hammer is a rather twisted Japanese take on superheroes, and at 10 volumes (which Seven Seas will be publishing as 5 omnibuses), is just the right length. The hero, in particular, has a certain horrible mindset that makes me smile (and occasionally wince). Of all Seven Seas’ new licenses, this is the one I most recommend. (It’s also a Young King Ours title. We need more YKO over here.)

orealice

Looking at that picture, and the fact that this is called “I Am Alice – Bodyswap in Wonderland”, you might be forgiven for thinking this is the latest QuinRose spinoff series in the Country of Hearts. But no, Alice in Wonderland is to 2014 what Survival Games were to 2013. Ore Alice runs in Media Factory’s Comic Gene, meaning it’s appealing to shoujo readers. Given that Alice is in reality a young boy, and that the Wonderland Inhabitants look to be just as bishey as Country of Hearts, I expect there may be BL content in here somewhere, but who knows? I’ll admit this is the title I know the least about.

strikewitches

Lastly, we have three more Strike Witches manga spinoffs, with the cover above being for the story “One-Winged Witches”. We also get “1937 Fuso Sea Incident” and “The Sky That Surrounds Us”. They’re all Kadokawa series, from either Nyantype or Comp Ace, which is to say they are marketed solely to young men with lots of money who want cute girls. None of the Strike Witches manga have come out over here yet, so I can’t really say for sure if this will be another Haganai or another Monster Musume for me. Time will tell. In the meantime, fans of the series have to be happy at seeing all of these.

And that about covers it, at least until next week when they may announce nine more series. Seven Seas has come a long way in just one or two years. Is this all thanks to Country of Clover and Vampire Bund? Well, more licensed manga is always a good thing.

Soul Eater, Vol. 17

1 Reply

By Atsushi Ohkubo. Released in Japan by Square Enix, serialization ongoing in the magazine Shonen Gangan. Released in North America by Yen Press.

One of the most enjoyable things about Soul Eater is the way that the author balances out the seriousness and humor throughout the story. A lot of shonen fighting series tend to have long serious parts, then chapters that are pure goofy. Ohkubo, though, simply lets the humor come in anytime he feels like it, even if it’s in the middle of a pitched battle for everyone’s life. This is not to say that there aren’t pure comedy bits here (the middle chapter, which features Maka’s dad trying to be sympathetic and failing spectacularly – again) but the fact that you can find a goofy face or a silly moment anywhere actually helps add to the mood of the overall work. Soul Eater has always thrived on being one step off the edge, leaning slightly into madness.

souleater17

The converse of this, of course, is that any silly moment can turn on a dime to become serious. Thus Black*Star’s self-aggrandizing has a serious point – the reason why he can push back Crona so easily is due to his own self-confidence and ego, while Crona is simply filled with hatred and loathing. Crona’s “I DON’T KNOW WHO MAKA IS!” is a cry of anguish that once again makes you realize that Crona’s entire life (the manga may choose to say he, but I prefer to be awkward – Crona is genderless on purpose) has been mental torture and abuse by Medusa. Speaking of Medusa, she’s back to being a mad scientist, and is perfectly content to justify her actions by noting she is a witch – not that all witches automatically stand against our heroes, but as Kim has shown us, they are generally assumed to be evil until proven otherwise.

As for Kid, once again we get the goofy stuff – his obsessive-compulsive disorder comes to the fore in a very funny way, as you realize that the one who’s really best at torturing Kid is Kid himself – followed by an unnerving scene where Kid meets another one of the Great Old Ones whose presence has made this world what it is – and is seemingly taken over by it, as the cliffhanger shows. Soul Eater does star Maka and Soul, but has been excellent at giving Black*Star and Kid enough character arcs and development that they also feel like co-stars.

And then there’s the gender-bending. Rule 63 has been around the Internet forever, but has appeared in actual canonical works less so. As such, it’s highly amusing to see the cast transformed into their opposite-gendered selves (though I do have a little niggle with the explanation why – it makes it sound like gays and lesbians don’t exist), particularly as Maka and Soul have to deal with the thing that most annoys them about the other – Maka’s male body is tempted by the succubus, and Soul bemoans the fact that it’s “just big boobs” that turn men on. Judging by the previous, this swap won’t take up too much time, but it’s fun to see.

In the end, this is why Soul Eater is one of the best shonen titles coming out here. It’s fun, but with a tinge of madness that never quite goes away. It skitters at the back of your brain.