Barrage, Vol. 1

By Kouhei Horikoshi. Released in Japan as “Sensei no Barrage” by Shueisha, serialized in the magazine Weekly Shonen Jump. Released in North America by Viz Media.

It can be somewhat difficult when you advertise the popularity of your own series. Weekly Shonen Jump has made it a point to discuss the “popularity poll” table of contents they do every week, with the strong series in the front and the ones with fewer votes in the back. As well as their culling of the latter at a moment’s notice. That said, just because a series is unpopular doesn’t mean that it’s bad. When Shonen Jump Alpha started up, they grabbed a few new series to show off the web magazine, and North American readers quickly found that new series in Jump die far more often than they live. Barrage being the first casualty.

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Barrage makes it a point to say it takes place somewhere out in space, on an alien world. And indeed we do see a few aliens here and there, mostly of the villainous lizard type. But for the most part this world is “fantasy-ish”, about as alien as Naruto or One Piece’s non-Japanese worlds are. Astro is this spunky teenager who takes odd jobs to take care of the heartwarming band of orphans he’s gathered… and seems to lose said jobs just as fast due to his loud mouth and sense of justice. Then he runs into a boy who looks his exact duplicate, says he’ll have to impersonate the prince for a while… and then promptly gets shot, leaving Astro to fend for himself. Luckily, this is Jump, so a strong sense of justice is pretty much all you need. Well, that and an evolving alien sword.

There’s an over-earnestness that grates on me a bit when reading this. The scrappy band of orphans in particular look straight out of the Our Gang playbook, and their farewell scenes with Astro as he goes off to fight enemies are meant to be overly sappy in a humorous way, but instead becomes mawkish. The art is OK but not great, and at one point there’s a roving band of female outlaws (sort of) who are mostly indistinguishable from each other. And the plot and feel of this book does not particularly feel original (if Astro doesn’t turn out to have been the real prince after all by the time this wraps up, I’ll eat my copy of Volume 2).

That said, there’s stuff to like here. Astro is a good hero, being straightforward and sticking to principles without coming off as stupid or moralistic. Tiamat, the grumpy knight who is forced to mentor Astro on his journey, is the perfect antidote to Astro, and gradually won over by the boy’s immense charm. It’s also nice to see a competent, benevolent king for a change. Still, at the end of the day, if this were a 30+-volume epic like Bleach or Gintama, this would be where I’d say “it starts off poorly, but gets better after the first few volumes.” Sadly, Vol. 2 of Barrage was the last, and I suspect that the ending will feel like a “you’re cancelled, wrap it up” ending. I hope I’m wrong.

Paradise Kiss, Vol. 3

By Ai Yazawa. Released in Japan by Shodensha, serialized in the magazine Zipper. Released in North America by Vertical, Inc.

The cover of this final volume of Paradise Kiss features Yukari, looking gorgeous in that vaguely ridiculous way that haute couture always does, with butterfly wings on her back and roses on her breasts, staring off towards the camera looking like she’s about to cry. It could almost be one of her model shoots, except that none of them really want that kind of emotion – they want happy, relaxed, “wow, I want to be like her so I will buy this product” Yukari – or, when she’s modeling with George, “Wow, I want George so I will be like her.” Yukari is best in modeling when she’s self-assured and casual, which is the exact opposite of her teenage years and her relationship with George.

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There was a point about halfway through this volume when I’d really had it up to here with Yukari, as her self-loathing, jealousy, and highly wrought emotional state all come together at once with the arrival of Kaori, George’s old classmate and friend. Not only is she the one girl who seems to have resisted his advances – but she’s become successful, seems to have her act together, and also manages to be the one to advance the plot (and George’s career) when George himself is unable or unwilling to. And yet she’s not with George – and neither is Yukari, as after this scene I think George has realized that being with her as a couple is bad for both of them individually.

Yukari has realized this too, of course, but wants desperately to cling to what she has anyway. We’ve all been there – it’s our first love, so we’re determined to make it work even when there’s all sorts of evidence that it won’t. It’s hard to let go. In addition, it’s all too easy to let fear and self-hatred put things in a holding pattern as well. This is Arashi’s issue, who can’t understand why Miwako doesn’t hate him, especially as she knows she still loves Hiro. Of course, it’s because she loves Arashi, and is trying hard to make things work. They, unlike George and Yukari, have a relationship where they’re better people together than they are separately. Arashi’s still bad with words, but his inviting Hiro to the shrine visitation speaks volumes.

Of course, just because the two leads aren’t a good couple in the long run didn’t mean there wasn’t a lot of love and affection there. George’s final gesture to Yukari is typically grandiose, but also shows how much she really meant to him, even if he didn’t always communicate it properly. It could be argued that the epilogue is a bit overly happy – Yukari is successful as a model and actress, George is designing Broadway shows, Arashi and Miwako have a kid – but that’s pretty much exactly what we want from the series. This was about a group of overambitious, overemotional overachievers. They crashed and burned in their teenage years, both in love and in the ParaKiss brand, but it only gave them more strength. Yukari gets told at one point, worrying about embarrassing herself on a catwalk, “Well, yeah, you’re gonna do that, all models do at first.” By not giving up, and keeping that drive for success and happiness, Yukari and her friends earn the right to their shiny happy ending. Even if, like Yukari, you’ll tear up a bit as well.

One Piece, Vol. 66

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

The cover to this volume of One Piece is very telling, given that this volume ends one arc and begins another. In the foreground, we have Luffy, Jimbei and Shirahoshi, but new events are creeping in in the background, with Big Mom’s pirates one the right and Smoker and Tashigi on the left. Things are in a state of flux, and we aren’t quite sure where the manga is headed next. (That is, if we’re reading the manga only by volumes, Most North American readers can now read Shonen Jump weekly on Viz’s site, where Punk Hazard has just finished. Viz seems content to have the volumes be about a year behind the weekly chapters.)

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Hody Jones having been defeated at the end of the last volume (and his comeuppance is highly amusing, and makes for a good capper to the “drugs are bad” plotline he and his mates had), all that’s left is to stop the ark crashing into the island and sinking it. Which is done, with the help of some ancient and powerful sea monsters who are mostly there to be mysterious. Then there’s the standard “we’ve won, let’s have a party” finale, which always gives us a nice two-page spread.

Most of what’s interesting about this volume, though, is the backstory we don’t really see. Robin has discovered the true nature of Shirahoshi, and it’s quite surprising. (And makes me wonder about Alabasta, which told of the location of another one of those ancient weapons – man, if it turns out to be Vivi, I’ll be highly amused.) Jimbei tells us that Akainu and Aokiji fought to see who would be leader of the Marines. It’s not a big surprise that Akainu wins, but Aokiji then resigning might lead to more surprises down the road. Oda sometimes compresses manga stories for time, and I suspect this is a battle he wanted to show but just never got a chance to. And of course this means the Marines are still after them, with Smoker and Tashigi, both now promoted, hot on their trail.

Speaking of Tashigi, the Marines seem to be treating her as they did Hina, which is to say half-awesome Captain and half sexpot. Hina, like Nami and Robin, didn’t really give a rat’s ass what they said. But Tashigi is obviously bothered by the sexism, and calls it out. Of course, I doubt very much this will stop it. Oda’s less sexist than some other Jump authors, but it creeps in here and there (look at how he draws most of the women now vs. 10 years ago), and I think Tashigi drawing attention to it just makes it more obvious. But hey, I’m glad to see her back regardless.

The Straw-Hat crew, meanwhile, leave Fishman Island to travel to, naturally, the most dangerous place Luffy can find (this is after going through a deathtrap waterspout with the help of some whales who aren’t Laboon, but could be his parents). There’s some lovely art here, and I like that, while the spout itself terrifies the designated crew members who get scared (Nami, Usopp, and Chopper), the terrifying visage of the New World just makes everyone happy. Well, happy till they reach Punk Hazard, with its ravaged landscape, fire-breathing dragons, and bottom halves of samurai. Oh, and half the crew already captured. Never let it be said that Oda paces things slowly.

If you love One Piece, you’ll love this. If not, this is absolutely not the perfect place to start – go back and read the early volumes.