Before Yoshihiro Tatsumi penned such seminal works as A Drifting Life, he published this noir thriller about murder, star-crossed love, and a pair of convicts on the lam.

I reviewed Black Blizzard for Comics Should Be Good, and that review can be found here.

Review copy provided by the publisher.

Nanase Takamine is a fire investigator, a job at which she not only excels but also approaches with a dogged determination to discover the truth. In this volume, she’s on the case of a fatal fire at the home of an elderly, wealthy man with three suspicious children, and later must determine why an experienced arsonist made a beginner’s mistake.

Nanase is, in a way, haunted by a notorious arsonist called Firebug, who seems to turn up at every crime scene, provides clues that point Nanase in the right direction, and is possibly responsible for the fire that killed her parents seven years ago. Their interactions are the highlight of this series, with Firebug increasingly insisting that Nanase turn to administering vigilante justice, either against arsonists or, more recently, against a detective who seems to know Firebug’s true identity.

Usually, the Firebug scenes overshadow Nanase’s investigations, but the first case in this volume proves more interesting than most, managing to sneak in some character development and surprises with a cast that’s only around for four chapters or so. This improvement, coupled with intriguing glimpses of the detective’s suspicions, means that the fourth volume of Fire Investigator Nanase is its best so far.

Review originally published at Manga Recon.

From the back cover:
“The Towering Inferno” continues! Nanase and her team are sent into the Astro Tower, a brand new skyscraper that everyone believes to be practically indestructible. But when the anti-fire device system suddenly goes down, there is no advance warning when the boiler blows. Now, Nanase is trapped in the fiery building with all of the terrorists, but the Wolves of Vengeance might not be what they seem. And when people start dying from non–fire-related deaths, there might be a real killer on the loose… but who?!

Review:
The third volume of Fire Investigator Nanase finds our titular heroine trapped in a skyscraper that’s allegedly the target of terrorists. As she tries to work out what’s going on—this series still feels a great deal like Case Closed to me—more fires and explosions erupt inside the building, and with various civilians depending on Nanase to see them to safety, she’s forced to come up with some clever solutions (occasionally with some possibly telepathic help from Firebug, a notorious arsonist who has taken an interest in her) on the spot.

I really want to like Nanase more than I do, since it has such a neat premise, but the fact remains that the culprit here is entirely easy to guess and even indulges in some stereotypically evil cackling after his/her deeds have been discovered. At times, it feels more like a shounen series than a seinen one, but then you’ll get a particularly grisly and random death by fire to remind you that this series is intended for older readers.

I like Nanase okay as a character, though I find her most interesting when she’s interacting with Firebug. The highlight of this volume for me is a scene in which he’s goading her to kill the culprit, even showing her how, but she resists. As the volume concludes, she learns a few things that may forever alter their working relationship. Is the series about to get truly good? I hope so.

Lastly, a note on the art, specifically Nanase’s wildly improbable anatomical proportions. I think if one were to take her measurements, they’d be something like 35-16-17, because her bosoms have at least twice the circumference of her tiny waist. The bosoms play no part in the story, thank goodness, but they are there and fairly distracting in some panels. I guess I should consider it just another concession to the demographic.

From the back cover:
The Great Tokyo Earthquake. Ten years ago, it destroyed lives as it tore buildings asunder. Among those who lived through the disaster was Ganta Igarashi, now a middle school student finally getting a footing in his own life… that is, until the day the “Red Man” appears at his school and turns his world upside down again. Ganta’s entire class is brutally murdered, and although innocent of the crime, Ganta is sentenced to death and sent to the bizarre prison known as “Deadman Wonderland.” There, a brutal game of survival begins, where Ganta must discover the truth behind his classmates’ murder.

Can Ganta break out of Deadman Wonderland… or will it break him first?

Review:
The year is 2023. Ten years ago, the Great Tokyo Earthquake struck, leaving 70% of that city submerged by water. Ganta Igarashi used to live in Tokyo, but doesn’t remember anything prior to the evacuation. Now he attends middle school in Nagano, loves soccer, and has a couple good friends among his classmates. All of that changes on the day when “the red man”—a wonderfully creepy cyborg-looking fellow—arrives and murders all of Ganta’s classmates. In a rush to judgment, the authorities blame Ganta for the carnage and sentence him to death, at which point he’s shuffled off to Deadman Wonderland, the single privately owned prison in Japan, which doubles as a tourist attraction.

There, Ganta must learn to survive in the irrational environment or die. He’s fitted with a collar that is continually injecting him with poison—his death sentence—and the only way to delay it is to take a candy antidote every three days. To buy the candy, one must earn “cast points,” which are awarded for winning the various challenges put on for the benefit of the visiting public. When Ganta loses his first dose of the candy, he enters a deadly race with the hopes of using the prize money to procure another. Meanwhile, he meets a strange girl named Shiro who claims they knew each other before, gains some new super powers, and befriends his gentle-seeming cell mate who is hiding his true intentions.

There’s an awful lot going on in Deadman Wonderland, a fact made clear from the very start with a series of color pages depicting the moments right before the earthquake, but it all boils down to the fact that Ganta is likely not the normal kid he always thought he was. Sometimes I grow frustrated with stories that advance this many mysteries simultaneously, but it’s handled very well here, and the sense of a sure, guiding hand is palpable. I also really, really like “the red man,” who is not the only villain of the piece but merely the most visible. His character design is magnificent and menacing and you just know some crazy stuff is going to go down when he appears.

Ganta himself is also likable, as he rallies from his confusion and depression to fight for his life. I feel a little like one of the Deadman Wonderland patrons for enjoying watching him cope with some of the awful situations he faces, but he pulls through heroically enough that I can avoid feeling too bad.

This first volume of Deadman Wonderland does an excellent job introducing the reader to Ganta’s world and instilling a desire to read more about how he adjusts to his extreme circumstances. I also look forward to him learning more about some of the things at which the color pages hinted, like the truth of his early childhood and why, exactly, he’s been drawing a certain symbol on his possessions for years.

Deadman Wonderland is published in English by TOKYOPOP. The series is ongoing in Japan; seven collected volumes are currently available there.

Review copy provided by the publisher.

I’ve heard a lot about the works of Kazuya Minekura over the years—mostly in praise of Saiyuki and Saiyuki Reload—but was never particularly tempted to see what all the fuss was about. That changed when Melinda Beasi, who has uniformly good taste, raved about Wild Adapter on her blog back in June, and was immediately greeted with a chorus of agreement from other trustworthy sources. The time had come, it seemed, for me to have a look for myself.

On its surface, Wild Adapter is the story of Makoto Kubota, a former leader of a yakuza youth gang who is looking into a string of gruesome deaths, victims transformed into beasts by overdosing on a drug known as Wild Adapter. He takes in a “stray cat,” Minoru Tokito, with no memory of his past and a bestial right hand that indicates he’s had at least some exposure to the drug. Together, they attempt to unravel the mystery while Tokito strives to regain his memories and rival yakuza groups pursue Kubota for various reasons. Delving deeper, Wild Adapter is about two broken men who care for each other deeply but are so damaged that their affection manifests in unusual ways.

The first volume of the series serves as a prologue, introducing Kubota as he was before he met Tokito. He joins the Izumo syndicate on a whim and spends seven months as a youth gang leader, forming a close relationship with his second-in-command, Komiya. It’s primarily through Komiya’s eyes that we see Kubota, who seems to shirk his duties and is underestimated by many until he single-handedly administers violent payback to a rival organization. This Kubota trusts only himself, and says things like, “It was him or me, and I only choose me.” After Komiya is killed for investigating Wild Adapter, Kubota quits Izumo and takes in his new houseguest.

Beginning with volume two, which picks up a year later, the series features Kubota and Tokito together, following various leads on Wild Adapter and getting into dangerous predicaments. Each volume is self-contained and introduces a new character who gives an outsider’s perspective on the leads and their relationship. This storytelling approach is fascinating, because by never really allowing us into Kubota’s head, he’s able to come across to the reader the same way he does to the characters who encounter him, like “a mysterious, untouchable man who seemed to float on air.” Tokito is much more openly expressive—as Kubota notes, “he can only tell the truth”—and though his past is unknown, who he is now is not nearly so difficult to ascertain.

Kubota has never cared for anyone before meeting Tokito, and is gradually changed by the relationship. Throughout the series there are quite a few poignant moments where he demonstrates how much he cares for and even needs Tokito and by the end of volume six, he has evolved from someone who only chooses himself into someone who will unhesitatingly risk his own death in order to rescue his kidnapped friend. We probably get the most insight into how Kubota feels about Tokito in volume five, where our point-of-view character is Shouta, an elementary school kid and aspiring manga artist who lives next door. Shouta finds his neighbors cool and exciting and is drawing a manga based on them. He confides to Kubota that he’s having trouble with the character based on him, and in a rare moment of candor, Kubota suggests that the character was searching for something to make him feel alive, but didn’t know what to do once he got it.

We begin to see that Kubota wanted to feel a connection like others do, but the only person he’s ever been able to rely on is himself, so it’s difficult to trust in someone else. “He really cares about Tokito,” the observant Shouta concludes. “He just doesn’t know how to express it.” Interestingly, these insights and the undoubtedly positive influence Kubota and Tokito have on Shouta can lull one into thinking Kubota is a good guy, an impression thoroughly tested by the Kill Bill-esque levels of vengeance on display in volume six.

Tokito, on the other hand, immediately trusts Kubota and gets petulant a couple of times when details of Kubota’s past of which he was not aware come to light. Although he’s by far the more endearing of the two, I find I have less to say about Tokito, perhaps because his origins are still shrouded in mystery and therefore all we have to gauge him by is the present. Readers receive a small tidbit of information about his past in volume six, and he’s had a few flashes of memory, but one can only assume that further development for Tokito will come later.

In addition to possessing fantastic, nuanced characters and a well thought-out approach to storytelling, Wild Adapter also boasts terrific art. In a word, it’s best described as “dark,” with black margins on every page and a gritty and shadowy feel that befits the subject matter. Kubota, in particular, has a knack for appearing distressingly cool while committing heinous acts. Despite the darkness, the art is seldom hard to follow and can also be much brighter, especially when the leads are enjoying some pleasant time together in their apartment, as well as versatile, like when Minekura draws the characters in the style of Shouta’s obviously shounen manga. I’m also impressed by the covers, each of which depicts the characters with a barrier of some kind, be it barbed wire, prison bars, or police tape. The cover on which they are the least obscured is for volume five, which just so happens to be the volume in which their missing first year together is finally revealed. Coincidence? I think not.

About the only complaints I could make is that the Wild Adapter plotline is occasionally sidelined for volumes at a time—volumes four and five, specifically, though these are also my favorites, so make of that what you will—and that there isn’t more! I’m sure Saiyuki fans are thrilled by announcements of new spinoffs, but I’d much rather Minekura work on this series instead!

Wild Adapter balances action, mystery, suspense, and strong character development while being downright addictive and capable of inspiring passionate devotion. In my quest to have more Minekura to read, I might even defect and check out Saiyuki, but in my heart I’ll really be wondering, “How long until volume seven?”

From the back cover:
There are secrets buried at Maidenwood—dark secrets that span generations. Medical student Julie Newcomb, who once spent four miserable childhood years at this rundown Virginia plantation, would rather not resurrect ancient memories, or face her own fears.

Yet Julie cannot refuse her relatives’ plea that she spend her summer caring for the bedridden—but still malevolent—family matriarch. Reluctantly, Julie agrees, praying that life at Maidenwood will not be as bleak as before. From the first, though, Julie finds Maidenwood a haunted place, not merely echoing with grim reminders, but filled with dark secrets that will become part of her life even today.

Review:
Med student Julie isn’t thrilled when she’s asked to spend her summer caring for the cruel grandmother with whom she spent four dismal years—years that are strangely blank in her memory. She complies to spare her mother the thankless task, and ends up in the middle of a local mystery. Shortly before her arrival, the skeletons of a woman and infant were found on a road cutting through the family property, known as Maidenwood, and Julie and her family are besieged by reporters, archaeologists, and psychic anthropologists who are interested in the story.

Although I enjoyed reading Be Buried in the Rain, there are several things about the way that it’s written that puzzle me. For example, nothing really happens for about 80% of the book. It registers about a two on the suspense-o-meter. Oh, little things occur that do turn out to be important later, but mostly it’s Julie coping with her hateful grandmother, complaining (rather bitchily) about a co-helper’s cooking, caring for a stray dog, and bantering with and/or eventually rekindling a romance with her ex-boyfriend, an archaeologist who’s been given permission to dig at Maidenwood in an attempt to locate the burial site from which the skeletons were presumably exhumed. Things finally start to move near the end after Julie begins work on reconstructing the face of the adult skeleton based on the skull—apparently someone doesn’t want an identification to be made.

The ending leaves rather a lot to be desired, though. One question is not answered particularly well—how the kooky psychic manages to unearth a genuine archaeological find—and a couple of others not at all, including how the skeletons wound up in the middle of the road. Although the book is grounded in reality throughout, at the very end, Michaels throws in a random dollop of supernatural hijinks, with Julie believing she’s been in communion with the dead woman’s spirit and putting forth the theory that each year, the skeletons pop up again and have to be reburied by the party responsible for their deaths. I’d more easily buy this explanation if there were any notion of supernatural doings anywhere other than the final ten pages or so of the novel.

Still, though I have my complaints I still found Be Buried in the Rain to be reasonably entertaining and expect that I shall read more by Barbara Michaels in future.

After losing her parents in a fire, Nanase Takamine resolved to become a firefighter. Now 21, she has achieved her goal and works as a fire investigator, not actually battling fires directly but determining where and how they started. Three years ago, while she was still a student at the academy, she came upon the scene of a hospital in flames. Rushing inside, she saved the life of a burning man, ignorant at the time that he was actually responsible for setting the fire. After he escaped from the ambulance, taking the lives of a pair of paramedics in the process, his identity as the wanted arsonist Firebug became known. Now, as Nanase is facing some puzzling cases, Firebug has contacted her and, in an effort to repay her for saving his life, provides clues and insights that help in her investigations.

When a story features a young female investigator receiving hints and advice from a notorious criminal, comparisons to The Silence of the Lambs are inevitable. What Fire Investigator Nanase reminds me most of, though, is actually Gosho Aoyama’s long-running mystery series, Case Closed (Viz). You’ve got the rookie investigator spotting things that others with more experience miss and piecing together the elaborate methods used to commit and obscure crimes. Even the little boxes that introduce the suspects and the anonymous way the culprits are drawn pre-reveal are similar. Unfortunately, the cast of suspects is more limited in this series, making for predictable outcomes in most cases.

The cases themselves are mildly intriguing, and certainly fast reads, but I found them to be easily forgettable after I’d put the book down. One story, too, cuts off rather abruptly, with Firebug taking off in a burning car with an arsonist while Nanase, left behind, thinks, “How horrifying.” It took me several pages to realize that the next chapter had moved on to a different case entirely.

Nanase is another problem. She’s plucky and determined as one might expect, but early on she’s portrayed as klutzy and cries frequently. I had been hoping for someone more… badassedly professional, I suppose. Firebug is the real star of the series, wonderfully creepy in his omniscience and equipped with the ability to disguise himself as others in order to get close to Nanase. The moments when he appears before her, managing to elude her attempts at capture while doling out just enough information to get her on the right track, are eclipsed in greatness only by chapter sixteen, “Stalker,” in which he protects Nanase from an assailant in order to preserve her for his own evil purposes.

Tomoshige Ichikawa’s art works well for action sequences, with a good sense of place that makes it easy to keep track of characters’ locations within burned or burning structures. Less successful, though, is the depiction of people. The two adult males that figure most closely in Nanase’s career—her supervisor, Tachibana, and the police arson detective in pursuit of Firebug, Ogata—look superficially similar, with slick-backed black hair, sneering smiles, and arching brows, and it took me a while to be able to tell them apart. Too, there’s a shower scene in which Nanase’s torso is so asymmetrical it looks like she’s missing some bones.

On the whole, I found Fire Investigator Nanase to be a bit of a disappointment. It isn’t bad by any means; it’s simply just not as cool as I was expecting it to be.

Fire Investigator Nanase is released in English by CMX and two volumes have been released so far. It’s complete in Japan with seven volumes.

Review originally published at Manga Recon.

I reviewed the first volume of this well-regarded series for Comics Should be Good. Check it out!

After eighteen action-packed volumes of murders, secret organizations, suppressed memories, and the most exciting book donation ceremony known to man, Naoki Urasawa’s Monster has come to a close. With its multitudes of well-developed characters, unique setting, expressive art, and interwoven plot threads, the tale of Dr. Kenzo Tenma, a gifted surgeon who is out to stop a murderer whose life he saved in the operating room, has been a rich and rewarding reading experience. It can be hard to have faith that such an ambitious undertaking will hold together, however, and I wouldn’t blame anyone who had put off reading it until they’d heard whether all of the lingering questions had been satisfactorily answered in the end.

Well, the answer to that question is “mostly.” Throughout the course of the series, various people have played a part in the creation of the monster that is Johan. Unfortunately, anyone expecting the final volume to provide a conclusive explanation for exactly how he turned out the way he did will be disappointed. Some additional insights are revealed, though, which at least will give readers a basis upon which to come to their own conclusions.

On the positive side, several of my other questions were unambiguously addressed. On the whole, I found the conclusion of the series to be a satisfying one. In a volume full of important scenes, my favorite moments were those between Tenma and his pursuer, Inspector Lunge, who’s quite the fascinating character. The penultimate chapter also catches up with a few characters who haven’t been seen in a while; I can’t think of anyone whose fate was left to dangle.

While Monster is not without flaws, they are far outnumbered by its virtues. I wouldn’t hesitate to recommend this series to anyone.

Review originally published at Manga Recon.

From the back cover:
In the little mountain town of Ruhenheim, life is simple and peaceful. Neighbors greet each other on the street, and the biggest case the local authorities have to worry about is a lost dog. But this bucolic splendor is about to change. Will Tenma, Grimmer, and Inspector Lunge be able to prevent the massacre Johan is planning for this sleepy village and its unknowing inhabitants? Or will the cobbled streets of Ruhenheim soon run red with innocent blood?

Review:
Of the unanswered questions listed in the review for volume sixteen, only the fifth is answered. The identity of the child who was taken to Red Rose Mansion and what they experienced is, indeed, cleared up.

Plotwise, we get one of those situations where some characters seem to know where to go and what Johan’s planning without the audience having any idea how. Eventually, some explanations are given, but I think my confusion over that kind of hampered my enjoyment of the malevolent happenings going on in a secluded mountain town. It’s fairly interesting, but not nearly as good as the previous half a dozen volumes or so have been, even if Grimmer and Lunge are awesomely working together.

At this point, it’s kind of hard to say anything that isn’t a spoiler of some kind. If it’s not evident by now, Monster is not a series without flaws, but it’s got an exciting story full of twists, turns, and random awesomeness.

Oh, and I still love Dieter.