Water Dragon’s Bride, Vol. 7

Water Dragon’s Bride, Volume 7 by Rei Toma

I suspected that when the Water Dragon God sent Asahi home, she wouldn’t stay there long, and that was definitely the case. She struggles to feel at home back in her own world, with a younger brother that she’s meeting for the first time, and her parents, especially her mother who desperately missed her. This brief story line shows how The Water Dragon’s Bride is a story of a family tragedy, in addition to exploring how human rules fight for power and resources. Asahi misses her old life, but back in the realm of the Water Dragon God, the young king is struggling with drought and the idea that he’s lost the favor of the heavens since Asahi’s disappearance. Subaru even attempts to intervene with the Water Dragon God in Asahi’s absence. When the Water Dragon God does intervene, in his cold and calculated way, Subaru reflects that Asahi was incredibly powerful to make a god change.

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Asahi’s disarming way of talking with both the Water Dragon God and Subaru show that she doesn’t regret her choice to leave her family behind, and the way the Water Dragon God is actually able to articulate his emotions and even show a sliver of a smile shows how far he’s become from a god who would dispassionately watch a human starve. While so far the elemental gods that we’ve seen seem content to observe and occasionally make some cutting observations to the Water Dragon God, now that Asahi has returned the next storyline for this series looks like it will be even darker than before. When will hte suffering end????

I’m delighted to keep reading this manga, but there was such a great artistic leap for Toma between Dawn of the Arcana and Water Dragon’s Bride (which makes sense given when they were released in Japan), I’m also extremely curious to see other series of hers.

Idol Dreams, Vol. 5

Idol Dreams Volume 5 by Arina Tanemura

Idol Dreams is a fun, if a bit uneven, soapy series about a repressed office lady reliving her youth in the best way by occasionally taking magic pills that turn her into a teenage aspiring teen idol singer! People fall in and out of love and deal with show business shenanigans, but will Chikage’s teenage adventures translate into any newfound maturity in the real world? Indications in this fifth volume are promising!

Chikage is much more assertive and resourceful in her teen idol persona as Akari. She’s trying to gain more recognition through a sing-off battle and manages to dodge a series of mean girl attacks and come out on the other side victorious even though she’s just a slightly better known aspiring idol singer. One of the things I’ve been wondering about is when Chikage’s old classmate and magical teen pill supplier Tokita was going to get a bit more focus, because so far he seems to be mainly pining in silence. My patience was rewarded with this volume, as it focuses on him. The real world is much more complex than teen idolland, as Chikage learns that Hanami who one of her workplace mean girls is also Tokita’s girlfriend, and she’s been cheating on him. Chikage is able to stick up for Tokita in a way that she’s never managed for herself, but she doesn’t realize what her own feelings are for Tokita until it is far too late. There is more time spent on the characters’ backstory in this volume, especially Tokita, which was a nice change of pace. I’m a bit worried that Chikage is going to bury herself in her teen persona in the next volume to distract herself from her pain as an adult.

It is all breezy fun although I’m slightly terrified about what might happen with Akari and Hibiki. I think that the series would also seem a bit less disjointed if I was reading it all with less time in between volumes, where the quick pace of people falling in and out of love might be less noticeable in a larger chunk of story. Still, I’m always up for an Arina Tanemura manga, and I’m hoping that Chikage becomes a more self-assured woman by the end of the series, and I’m glad that she’s showing some signs of assertiveness, even though she still needs more self-awareness to match.

Yona of the Dawn, Vol. 14

Yona of the Dawn Volume 14 by Mizuho Kusanagi

I always put down each volume of Yona of the Dawn feeling like Kusanagi has just served up a master class in plot and character development, but I felt that way even more in this volume, which shows Yona traveling to visit the Water Tribe and confronting some very serious issues along the way. As soon as they arrive on Water Tribe land, Jaeha takes the opportunity to invite Hak along to visit the Red Light District, because the women of the Water Tribe are legendary for their beauty. Yona’s cloaked reactions as this conversation unfolds underscores how much she cares. Hak turns Jaeha down, and Jaeha heads out to explore the city solo, sensing that something is very wrong with the town. He meets up with a couple ladies, who burn some suspicious incense and offer him some of the special local rice wine. Jaeha goes along with everything, as he suspects that someone is watching both him and the girls.

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Yona and her crew rescue Jaeha and go out to investigate, learning that the Kai empire is flooding the town with a drug called Nadai. Yona is determined to stay and fight the drug traffickers, even though Jaeha urges her to leave. The leadership and confidence Yona has developed over the course of 14 volumes has me confident that she’ll leave the Water Tribe lands in a better state than when she arrived. Yona’s group also attracts the attention of some local dignitaries, Ladi Riri and her two companions Ayura and Tetra. Riri first thinks that Yona is suspicious, but eventually realizes that the groups have similar goals. Seeing Riri’s assessment of Yona shifting as she learns more about her just serves to underscore Yona’s strength. There’s time for a little bit of situational comedy as Riri is horrified that Yona routinely sleeps outside, surrounded by men.

After some army battles in the last volume, there’s a return to close action sequences featuring Yona’s determination as well as the unique abilities of her protectors. This volume ends on a cliffhanger, but I’m very curious to see how Yona and her companions change and grow after being challenged by the situation in the Water Tribe kingdom. I’m also happy to see Yona getting some more female friends as she continues her travels.

Ao Haru Ride, Volume 1

I remember when Io Sakisaka’s series Strobe Edge was announced initially there was plenty of excitement, but also many many people wondering, “What about Ao Haru Ride?” So I was excited when I heard that this series was being added to the Shojo Beat lineup, even though I wasn’t terribly familiar with it. The story opens with a bit of a prequel as Futaba spends her time in the junior high hallways attempting to escape any attention from boys, because she thinks they are loud and obnoxious. The only exception to her “No Boys Allowed” rule is Kou Tanaka, who is short, quiet, and gentle. After a couple random close encounters they agree to go on a date, but Tanaka overhears Futaba proclaiming her hatred of all men when she gets teased. Futaba waits alone for her date, and then Tanaka moves over the summer, so she’s never able to find out what has happened to him.

Fast forward into the present time and Futaba still wonders about Tanaka as she attends high school, where’s she’s determined to reinvent herself after being ostracized in junior high. She tries to play down her good looks and attractiveness, because she doesn’t want her new “friends” to think that she’s attempting to look cute for boys. There’s a classmate named Mabuchi who dimly reminds Futuba of Tanaka, but she tells herself that he’s too tall to be her long-lost friend. While Futaba continues to go through her tomboyish charade to fit in with the mean girls, she takes notice of a couple different girls in her class who are all alone, who actually seems interesting. While Futaba tells herself that she’s better off with her girl group, I think she’s unconsciously drawn to people who would be much better friends, given the chance.

Tanaka/Mabuchi is very intriguing in this first volume. He smirks at Futuba a bit, and when she starts to realize who he might be, reveals himself to her by leading her back to a shrine where they waited out a rainstorm when they were younger. He seems like a snarkier, more cynical version of his younger self, even though it seems like he can’t help himself from occasionally being kind. His kind actions are immediately balanced out by his habit of bluntly commenting on Futaba’s life, for example by telling her that she has “fake friends”. Sakikasa has a winning way with facial expressions, but one of the things I loved in this first volume was the sense of place, seeing Futuba and Tanaka having charged encounters in the shrine many years apart evoked the themes of both future and nostalgia that Ao Haru Ride is touching upon.

Unusually for a shoujo manga, this first volume covers the first year of high school, but it shows Futuba making some important decisions about who she wants to be as a person, helped along by Tanaka’s blunt prodding. Ao Haru Ride reminded me most of series like We Were There and the Sand Chronicles, just in terms of having the potential to develop into a very sensitive and emotional love story as the characters work through various complex issues. I feel like it has been some time since we’ve seen a series with such a strong emotional core story, and Ao Haru Ride seems like it has exactly that type of potential.

Skip Beat!, Vol. 41

Skip Beat!, Volume 41 by Yoshiki Nakamura

There’s something about picking up a new volume in a long-running shoujo series that is the manga equivalent of comfort food to me. It is great to settle in to a story arc, even if the situations are similar to what has happened before, seeing how the characters have grown and evolved as they encounter new challenges still makes it rewarding for the reader.

Kyoko has a big audition in this volume, and even though this has happened so many times before in Skip Beat!, this was very satisfying to read simply to see the way she’s grown into her comfort zone as an actor. Also, Skip Beat! excels at serving up sweet sweet revenge as Kyoko proves people who underestimate her wrong with her unique skill set. In this case, Kyoko is competing for the role of the ninja Momiji against the spoiled niece of the director. Kyoko is able to bring something unique to the role due to her recent training in stage fighting, combined with her skills and instincts as an actor. One of the many things that makes Skip Beat! so special after 41 volumes is Nakamura’s gifts at drawing the process of acting. Kyoko’s body language and intensity utterly change when she’s inhabiting a role, and seeing her dynamic approach to her character’s demanding physical scenes makes it clear that the executives are crazy if they cast anyone else.

Kyoko is at her best when proving herself, and her agency isn’t afraid to pile on a little extra difficulties by manipulating the situation behind the scenes, in an attempt to improve the casting possibilities for all the actors who get started as “talent” on variety shows instead of the pure acting track. Rory’s oversight and machinations doesn’t just stop at Kyoko’s career. This volume is largely Ren free, but we get a hint at what might be happening in the next few volumes as Ren returns and Rory tips him off to a situation that might actually inspire jealousy in Ren! As always I’m having it hard to manage my anticipation until the next volume.