Bunny Drop, Vol. 7

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By Yumi Unita. Released in Japan as “Usagi Drop” by Shodensha, serialized in the magazine Feel Young. Released in North America by Yen Press.

Please do not discuss Bunny Drop in the comments beyond Volume 7.

Everyone thinks a lot in Bunny Drop. I don’t just mean that we see their thoughts in addition to their dialogue, which we do, but that they think deeply all the time. Weighing decisions – and then wondering if they’re the correct ones – is something that Daikichi and Rin have done since this series began, and now that Rin is getting near graduating from school, she’s starting to think about her future. Which will involve having to resolve her past, and that means that she is finally going to have to meet Masako.

Yumi Unita knows that the best way to write a lovable, heartwarming manga is to make sure everything is as awkward as possible, so I was relieved to see that when Rin and Masako finally do meet, it wasn’t all hugs and tears and resolve to see each other every 2nd Saturday from now on. Rin still barely remembers Masako, even now – though we find out a reason for that here – and Masako may be moving on with her life and trying to be a better person, but she still acts like she regards Rin as a failed time in her life that makes her think lots of things she doesn’t want to. Masako’s childish qualities haven’t gone away, and it’s still very hard to sympathize with her. But we’re meant to be on Rin’s side here anyway.

Rin does a lot of soul searching here, spurred on partly by what happened with Kouki in Vol. 6 and partly through hearing about Reina getting a boyfriend (and then later watching it fall apart). She’s spent her last ten years growing up in an unconventional family, and realizes that she has a rather small pool of friends as well, mostly as she’s not doing clubs or sports, but going home to take care of Daikichi. I don’t think this is meant to be a dig on Daikichi himself – the general sense is that Rin really wants to do these things, and is likely better at cooking, etc., so has just stepped into this role at home.

Daikichi, meanwhile, is also growing older, and is having to deal with a serious injury for the first time – he puts his back out catching Rin when she falls off a stool. Given that he works in the shipping industry, this could be a big problem if it lingers. I was amused to see his co-workers coming over and reminiscing about their own back pains of the past, as well as Kouki’s mother telling Rin she had a back injury when she was in her twenties. But all this does is remind us how insular Daikichi’s own life has become as well. He doesn’t really hang out with co-workers anymore – his closest friend, in fact, may be Kouki.

So Rin is wondering about what it means to be a mother, and what it means to be a daughter. And realizing that the time may come when her life takes her away from Daikichi. And, unsurprisingly given how she’s grown up, she is not particularly fond of that day coming at all. That said, it’s not clear that day is coming soon in the manga either. The romantic drama we saw in Vol. 6 gets a brief mention here, but for the most part still appears to be over. So where does Rin go from here? Stay tuned for Vol. 8, coming out in April. Which may have a certain elephant that’s been lurking around the room. In the meantime, Vol. 7 gives us more of what we like about this series – thoughtful moments in the life of a kid who’s far too smart (but naive) for her own good.

Shoulder-a-Coffin Kuro, Vol. 3

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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.

I never reviewed the first two volumes of Shoulder-a-Coffin Kuro, the main reason being that I didn’t have a blog when they were both released. It’s been four long years (and 4 volumes of GA Art Design Class, the cute 4-koma series by the same author that many fans blame for Kuro’s hiatus) since we last saw the adventures of the stoic girl and her coffin. Indeed, the author apologizes profusely at the end of Vol. 3 for the delay, and hopes that we’ll keep reading regardless. Luckily, that should not be an issue. Not only is there a particularly vicious cliffhanger to keep us hungry for Vol. 4, but picking up this series again is like revisiting an old friend – after a few pages it’s like they never went away.

A lot of people note that this series often has a downbeat and melancholy tone, which is true and certainly doesn’t go away here. It’s just as important, though, that it manages to keep a light touch, mostly in its portrayal of Nijuku and Sanju. TV Tropes has a page called ‘Morality Chain’ which discusses characters whose basic existence is what keeps our heroes on the straight and narrow. While Kuro isn’t close to becoming a supervillain, there is a certain sense that the two mysterious children/scientific experiments function that way to this series as a whole. They have the childlike wonder of a Yotsuba, while also being able to sustain a level of creepy due to their supernatural origins. It makes for a good balance.

As for the manga itself, much of it is the same as the previous two volumes – Kuro, Sen and the two kids roaming the countryside of ‘generic pre-industrial world’ and trying to find information about the witch who cursed Kuro. And while there are stand-alone plots throughout that have nothing whatsoever to do with Kuro’s past, we are starting to see events come together into a coherent whole. We meet a strange young woman who is called a witch, and who ‘is searching for the person searching for her’ – an obvious connection to Kuro. Kuro, meanwhile, not only deals with her mirror opposite, but also her possible evil twin… though given what we know of Kuro before her curse, there may be far less difference between them than we’d like.

And much as I enjoyed the fluffy slice-of-life chapters and the twins, they are outnumbered by the melancholy in the end. We meet wind-up dolls waiting forever for their long-dead owners, and fairy-tale legends built around not-so-great men. But most of all, we get Kuro, who walks on her journey with an air of stoic suffering that is absolutely necessary. She is not stoic by choice, but by pure force of will. And when that will is shattered – as it is at the end of this volume when she encounters a war veteran searching for his wife and daughter – we are reminded that Kuro is CURSED, and there’s a very good reason why she carries that coffin all the time.

As I said, Kiyuduki urges us all to forgive her hiatus and watch over Kuro for a little longer. And she couldn’t have chosen a better volume to get us to do it. I *need* to find out what happens next. Unfortunately, while Kuro may no longer be on hiatus, it’s still not the fastest series in the world, so I may have to stoically suffer until the next volume. Get this book at once, and go back and get 1 and 2 as well if you didn’t already.

Haganai: I Don’t Have Many Friends, Vol. 1

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By Yomi Hirasaka and Itachi. Released in Japan as “Boku wa Tomodachi ga Sukunai” by Media Factory, serialization ongoing in the magazine Comic Alive. Released in North America by Seven Seas.

It can sometimes be very difficult to practice what I preach. It’s all very well and good for me to offer advice to others, but sometimes a situation comes up where I have to take it. And so it goes with this first volume of Haganai, where I can’t help but hear the voice in the back of my head reminding me of Teru Teru x Shonen, where I urged bloggers who read Vol. 1 and then stopped to not judge an ongoing character arc by its first volume. And so it goes with Haganai, where I feel obliged to note that the plot is likely meant to be ‘this characters grow better and learn to be nice as the series goes on’. Or at least I hope so, as Haganai has some of the most irritating leads you’ll ever meet.

As if you had not been able to guess by the title and cover, Haganai is based on a series of light novels. The basic premise seems like some odd fusion of Haruhi Suzumiya and Toradora: a young man who has trouble making friends due to his natural blond hair and his squinty eyes meets an antisocial young woman who has trouble making friends with anyone. After a brief discussion, she gets the idea to form a club, supposedly devoted to learning how to make friends but in reality most likely just an excuse to hang out. Of course, she doesn’t count on the club actually gaining new members, all of whom are just as socially maladjusted as she is.

One thing the manga does that I enjoyed was have a ‘Chapter 0’ which takes place several months after the events of the rest of the book, a flash-forward of sorts showing us what the club will eventually be like. It helps to introduce the major players (including several who then don’t show up again for the rest of the volume) and shows off the basic plot and how it leads to cringe-inducing humor. Seeing it, I felt a bit more prepared for the rest of the volume.

Unfortunately, Haganai is also part of a brand of ‘moe’ that I’ve never really come to love. The old ‘harem genre’ of shonen manga used to have the nebbish hero choosing between nice girls, tsundere girls and the occasional bottle fairy, but there was never any indication that the girls weren’t able to function in society as a whole. But manga lately, mostly due to the related boom in light novels, has seen a huge increase in socially maladjusted high schoolers who simply can’t interact properly with anyone (except of course our hero… and even then). And you’re left exhausted as you see them blackmailing people gleefully as it would be fun to abuse them (as Yozora does here) or getting offended that the male lead refuses to act as her slave/footstool (as Sena does). It’s a love triangle of two girls who re all tsun and no dere. And what that leaves is basically a somewhat nondescript hero listening to two loud and obnoxious women yell for 200 pages.

That said, as I noted, clearly the premise will be (besides which girl gets the guy) about seeing the nice and sweet side of these girls. But it’s getting harder to justify digging for it. Even Haruhi Suzumiya eventually mellows out. Can I expect the same for Yozora and Sena?