Graphic Novels

Gr 3-6–Young Max Greene is a member of a karate club for highly talented students. In this adventure, the BBC gang battles a large werewolflike monster of hate. Through working together, Max and his teammates find their true powers. While ambitious, this title fails to deliver. The mix of text, illustration, and comic panels proves too busy on many of the pages, and the story is pedestrian and schmaltzy. Chang’s illustrations are well done, though they are lost in this idiosyncratic format.–Jennifer Feigelman, Goshen Public Library and Historical Society, NY

Gr 7 Up–Geary’s story, set in 19th-century Scotland, tells of the scandalous affair between an upper-class woman and a lower-class man that ended with his gruesome death. Smith was an architect’s daughter and the graduate of a London finishing school. Emile L’Anglier was a seed merchant’s son, a clerk with a history of bad relationships. Their attraction to one another was instantaneous, and they began to correspond. The book is filled with excerpts from their letters; as much as Madeleine pushed Emile away, she clearly needed him, since nearly 200 of her letters were later found in his possessions. But their love was doomed because of the tension involved in keeping their relationship private. After years of turmoil, Madeleine became engaged to another man and Emile threatened to send her letters to her father. The poisoning began in cups of hot chocolate that she gave to Emile. The pen-and-ink images artfully convey this gripping story, notably in the scene in which the lovers’ eyes first meet and later when a veiled Madeleine walks up a staircase through a door in the courtroom floor. This book maintains the level of excellence set by the other volumes in this series, and would be an asset to any collection.–Andrea Lipinski, New York Public Library

Gr 2-4–Babymouse is spunky, ambitious, and, at times, a total dweeb. In this fourth book in the series, she daydreams of being a rock star, and her concerts and world tours are illustrated in shades of pink. Meanwhile, in her ordinary life, she enchants the audience at a student concert with her flute playing, but never gives up her dreams of stardom on the big stage. The illustrations, both pink-toned and black and white, are clever and uncluttered, making them easy to follow for a young audience. They do a fine job of showing the emotions of the endearing young mouse and her friends.–Scott La Counte, Anaheim Public Library, CA

Gr 2-4–In the first book, Brad, his dog, and a mad scientist find one another when a predictable accident turns Duke into a monster. The humor and wide-eyed characters pull this story along. However, the pictures don’t always match up with the text, and the school bully who taunts Brad looks like an adult. Super Sam lives on a distant planet where things happen for no reason. In a series of gross flukes, he gets superpowers. Sparkplugs includes three hilarious stories about a robot family trying to find its place on Earth. Twisted Tales offers the viewpoints of the witch in “Hansel and Gretel,” the Big Bad Wolf, and the troll under the bridge. The pictures are engaging and unique. These slim easy readers claim to support the No Child Left Behind Act. How they do this any differently from other beginning readers is unclear. A short list of story and sight words is included. The format and Saturday-morning-cartoon quality of the art will undoubtedly appeal to reluctant readers. However, with the exception of Sparkplugs, the books are additional purchases. Libraries looking to build a younger graphic-novel collection should stick with classics like Osamu Tezuka’s “Astro Boy” (Dark Horse) or new favorites “Pinky & Stinky” (Top Shelf) by James Kochalka.–Sadie Mattox, DeKalb County Public Library, Decatur, GA

Gr 2-4–These two early chapter books work well for reluctant and/or transitional readers. In Joker, Mel works with his part-time magician dad, Magic Max, and attempts to do his own magic in school. If a trick doesn’t work, he is teased by a jealous classmate. When his dad is kidnapped and held hostage at the bank where he works, Mel manages to foil the robbery and help rescue him. Themes of honesty, respect, teasing, and showing off are rolled into a simple yet intriguing mystery. Arf uncovers a greedy developer’s scheme to shut down the animal shelter when he tries to earn some money as a budding photographer in order to buy his favorite computer game. Through his shots, he is able to expose the villain. Both books use the balloon format for all dialogue, yet include enough narrative above and below the comic-book-style tableaux to develop a full story. Appended discussion questions and writing prompts provide easy follow-through for literacy centers or classroom libraries. Engaging, well-designed titles.–Rita Soltan, Youth Services Consultant, West Bloomfield, MI

Gr 5 Up–It seems like a regular Sunday. Aki has slept in, eaten a nice breakfast with her parents, and promised to help her grandfather clean out the garage. It’s there that her life changes forever. She comes upon her cousin Toru’s old bike, which “comes alive.” Aki finds herself dressed in full retro-60s biker-girl gear. It turns out that she is destined to become a “bike hero” like many before her, including Toru, who was killed by the leader of an evil gang. It is then up to Aki to race against the gang members, using all of her skills and the powers of her spirit bike to defeat them. Little does she know that in destroying the leader, she may also be destroying her family. The art is very cinematic and looks more cartoonish than traditional manga. Aki is a strong protagonist, and while the twist is not the most original, it still works. The plot moves quickly, there are some elements of romance with the boy next door, and the race sequences are exciting. Despite some of its darker themes, this title is, for the most part, lighthearted and fun. It’s great for younger manga readers.–Melissa T. Jenvey, New York Public Library

Gr 3 Up–While Library of Congress places this book with graphic novels, it stands on its own as a traditional tale. It’s possibly the first novel written in the Korean alphabet. O’Brien has done her homework, using sources in Korean and English and researching her images to display the culture and time period accurately. Her references are well explained and documented. This is a book that demands that readers engage with the text and the art. Hong Kil Dong is successfully characterized from the beginning, and as he is the son of a maidservant and a powerful minister, it is easy to sympathize with his plight. Unable to be acknowledged or even to refer to his father as such, he must determine his own destiny. It is this pursuit that leads him to learn of the injustices toward common people brought on by corrupt officials. The layout alternates between full-page images that frequently include insets and text bubbles and a traditional frame-by-frame graphic format. This serves to heighten the action. The art, done in heavy black line and mostly pastel watercolors, will appeal to the comic-book crowd, but the story–with its magic, martial arts, and drama–will entice reluctant readers as well as adventure lovers.–Janet S. Thompson, Chicago Public Library

Gr 4-7–With a new Hulk movie rumored to be in the works, the comics might be making a comeback. While these books don’t have the thematic elements found in classic Marvel comics, they’ll still hold kids’ interest. In Green Men, aliens have taken control of the city of Roswell and are preparing to wage war on the planet. Hulk meets a girl who has the ability to turn into an alien but doesn’t know it. He relates to her ability to change into a different person because he, too, can change his appearance–an interesting theme that is not fully developed. He helps her destroy the enemy and thus save the world. The illustrations do a good job of showing Hulk’s rage, but the aliens resemble Spock from Star Trek and don’t fit the story well. In Bugs, Bruce Banner meets an ambitious young scientist who is working on an experiment that enlarges the size of crops by several times and agrees to help him. When bugs are accidentally enlarged and threaten to destroy the small town, he changes into the Hulk and saves the day. The bugs look a little too much like something from a bad B movie, but the illustrator does manage to show the emotions of the Hulk as well as the terror of all the characters being attacked by the giant creatures.–Scott La Counte, Anaheim Public Library, CA

Gr 5-9–Each of these volumes presents three myths, accompanied by brief introductory information about the stories and the people from which they came. Greek Myths includes “Jason and the Golden Fleece,” “Icarus,” and “The Labors of Hercules.” In Mesoamerican Myths, two of the selections are creation stories, and the third is a hero tale. The particular appeal of this volume is the relative unfamiliarity of the selections. The comparatively frank nature of the stories will be the hook for many students: human and divine sacrifice, including the removal of the heart, feature prominently. The story of the two sets of hero twins is the most richly developed; it’s full of character and action as well as the stark enmity of humanity and Death. Roman Myths includes the stories of Aeneas, Romulus and Remus, and Horatius and the bridge. Artistically, the books’ covers are distinguished, exhibiting almost lifelike representations from the myths. The internal illustrations, however, are conventional comic-style work, in full color but of no particular distinction. Mesoamerican Myths features the most detailed work; Roman Myths, the simplest. Action moves quickly and without a lot of extraneous detail. This makes them perfect for reluctant readers, though students already devoted to comics and manga may find them slight in content. Back matter includes brief accountings of other characters from each mythology. Mesoamerican Myths is the most significant of these three titles, especially for libraries serving Mexican-American and Central American populations, but all three should prove popular in most collections.–Coop Renner, Hillside Elementary, El Paso, TX

Gr 7 Up–Set in feudal Japan with all of the ceremony and honor of the samurai, Kurogane should appeal to readers who like Masaru Gotsubo’s Samurai Champloo (Tokyopop, 2005) and Hiromu Arakawa’s Fullmetal Alchemist (Viz Media, 2006). Jintetsu is a young assassin who has set out to avenge his father’s death. He has been attacked by dogs and lies dying when he is found by a scientist/samurai with no master. Genkichi reanimates him, making him a Frankenstein-like creature, half human and half steel. He cannot talk and retains little if any of his memory, but has all of his skills as a swordsman, and Genkichi uses him for his own revenge. His only companion is a talking sword his creator gave him. The art is full of fight scenes as Jintetsu battles countless opponents in his quest. The talking sword supplies some lightheartedness, and Otsuki, a waitress in his old hometown, sparks the possibility of a love interest if she can deal with his new appearance.–Melissa T. Jenvey, New York Public Library

Gr 8 Up–A book with a unique premise, a host of reliably appealing manga elements, and high-quality artwork. Yume travels to Tokyo to begin her magic-user classes. As soon as she steps off the train, she gets into trouble for using her magic too frivolously; the government pays magic users to alleviate suffering, like restoring severed limbs and resurrecting dead children. Unlike other stories that have magic-wielding teens as major characters, this title provides a larger overview that explains how the characters fit into the world around them. There are plenty of winsome, long-haired boys to make the teen blush and trip over herself, and Yume does not resemble the typical manga girl lead: she has shorter hair and is rather plain. The plotline has some tender moments, centered on a lost child and a lost love, which are unusually serious for manga. This title is one of the sharper and more intelligent offerings in the genre.–John Leighton, Brooklyn Public Library, NY

Gr 7 Up–Graphic novels that focus on nonwhite characters are exceedingly rare in American comics. Enter American Born Chinese, a well-crafted work that aptly explores issues of self-image, cultural identity, transformation, and self-acceptance. In a series of three linked tales, the central characters are introduced: Jin Wang, a teen who meets with ridicule and social isolation when his family moves from San Francisco’s Chinatown to an exclusively white suburb; Danny, a popular blond, blue-eyed high school jock whose social status is jeopardized when his goofy, embarrassing Chinese cousin, Chin-Kee, enrolls at his high school; and the Monkey King who, unsatisfied with his current sovereign, desperately longs to be elevated to the status of a god. Their stories converge into a satisfying coming-of-age novel that aptly blends traditional Chinese fables and legends with bathroom humor, action figures, and playground politics. Yang’s crisp line drawings, linear panel arrangement, and muted colors provide a strong visual complement to the textual narrative. Like Toni Morrison’s The Bluest Eye and Laurence Yep’s Dragonwings, this novel explores the impact of the American dream on those outside the dominant culture in a finely wrought story that is an effective combination of humor and drama.–Philip Charles Crawford, Essex High School, Essex Junction, VT

Gr 5-8–Prototype warsuits are stolen from supposedly neutral territory, igniting the fires of a galactic civil war only a year after a hard-fought peace treaty had been established. Choppy and undertold, this re-creation of the popular cartoon series Mobile Suit Gundam SEED is confusing and unaffecting. Key characters are almost impossible to distinguish without color, and dialogue is jumbled and limited. The continual inclusion of a series of wordless, punctuation-based exclamations fails to convey anything near the effect they desire. Most disappointing, however, is the artwork. Scene-to-scene transitions are almost nonexistent, and characters are rendered in tight close-ups, providing a limited sense of place, atmosphere, and action. This wouldn’t be so bad if the characters’ faces conveyed a convincing range of emotions, but figures are stiff and repetitious, looking as though they had been rendered from a model sheet without reference to the circumstance. Two scenes of weeping are especially poorly presented; they are unintentionally comic and depict all the deep despair of an I Love Lucy episode.–Benjamin Russell, Belmont High School, MA

Gr 10 Up–Twenty-something American slacker Carla moves to Mexico, land of her long-lost father. She crashes at the apartment of her ex-boyfriend, a wealthy, WASPy American who socializes mostly with people like himself. Carla soon meets some locals, wannabe revolutionary Memo and wannabe DJ Oscar. After moving in with Oscar, she becomes less engaged in society, rarely interacting outside of this limited group. As she becomes even less involved, her naïveté allows some horrible events to occur. While readers see the writing on the wall long before Carla catches on, she is still a sympathetic heroine. This is Abel’s first full-length graphic novel after her Artbabe comic and collections (Fantagraphics), and it’s both simple and ambitious. The black-and-white artwork is sketchy, but evocative. The story is intricately plotted and suspenseful. The decision to write the first chapter’s dialogue in Spanish, translated at the bottom of the panels, is interesting. Later, when Spanish is spoken predominantly, all of the dialogue is in English, putting words that were actually spoken in English in brackets. This not only reflects Carla’s move into Spanish, but also allows readers to feel more strongly her lack of knowledge upon arriving in Mexico. The lengthy glossary defines Spanish words, phrases, vulgarities, and characters and places referenced in the text. Abel has successfully portrayed characters both on the fringes of society, and those who wish that they were.–Jamie Watson, Harford County Public Library, MD

Gr 10 Up–Campbell has penned a postmodern volume about an investigation into his own mysterious disappearance. The gorgeously produced pages blend photographs, type, real and fake comic strips, autobiographical anecdotes, and musings about the nature of fiction and humor into a marvelous rumination on writerly inspiration and family dynamics. Portions of the story are told from the perspective of Campbell’s family members, who–like the author–are also rendered as various semi-fictions, mostly in the form of the mock comic strips that stud the narrative. The technical production of this book and the risks the author has taken in expanding his visual vocabulary and storytelling techniques are great fun, but the investigation sequence ultimately disappoints. However, Campbell’s continuing conversations about the nature and possibilities of sequential art are as enjoyable as they are effectively rendered. The volume ends with an interpretation of O. Henry’s “The Confessions of a Humorist,” with Campbell casting himself as the story’s protagonist. This does an excellent job of summing up or echoing many of the concepts about fiction and funnies that Campbell explores in the previous pages. It is also an artful adaptation and a satisfying and coherent close to the scattered but well-intentioned series of musings that precede it. Charming and beautiful, the book might just be slightly too rarefied and abstract for average readers, but it is a superlative example of the scope and potential of the form.–Benjamin Russell, The Derryfield School, Manchester, NH

Gr 10 Up–An amazingly constructed horror story that operates on several levels of despair and grotesquery, this book is an effectively disturbing and affecting read. During a hurricane and a power outage, all individuals beyond their early 20s die and are reanimated as zombies. Readers follow the slow deterioration of a band of outcasts and counterculture youth who try to survive. The characters are not bright or beautiful, and the fact that they could inherit the Earth is as terrifying as their inevitable deaths. Campbell hits all the right notes with the zombie action, and the scenes of dismemberment and the undeath of loved ones are vivid and terrifying. The artwork is rendered in black and white and red, and the atmosphere intensified by the red wash gives mud, blood, and flesh a dimension that lends additional substance to the earthy, palpable physiques of the characters. Grim, grotesque, and gory, this book will appeal only to a limited and stouthearted audience as most readers won’t be able to see beyond the visceral depictions to appreciate the craft of their rendering. But both in terms of artwork and a fine twinning of existential and tangible horrors, this is an exceedingly well-made volume.–Benjamin Russell, The Derryfield School, Manchester, NH

Gr 10 Up–This book continues the story of the mild-mannered speechwriter who, after having his mind transferred to a superpowered, nearly indestructible body, finds his life changed forever. One of the central themes of this series is Concrete’s efforts to maintain some semblance of a normal life. Here, he hears the call of Hollywood. Faced with extreme budgetary issues, the producers of a fantasy/action film hire him–not as an actor, but to cut their special-effects budget by putting his abilities to use. Concrete spends his days tossing boulders, tearing down sets, and even powering the shell of a car careening through a city street. Much of the action works as wry satirical commentary on the art and fakery of filmdom. Chadwick’s visual style is at the same high level as in previous volumes; black-and-white drawings lend an odd sense of realism to the impossible happenings. Originally published in four separate issues, Creature is the longest Concrete story to date. Chadwick makes full use of the extra space, working in layers of satire and mixing in a few subplots with side characters. But the heart of the story–and its main appeal–lies firmly within the well-developed, and ever-evolving, character of Concrete. Through it, the author continues to show what the medium of superhero comics can do in the hands of someone willing to push the boundaries just a little bit.–Matthew L. Moffett, Ford’s Theatre Society, Washington, DC

Gr 9 Up–Satoru, often mistaken for a girl, has a strong crush on his long-time best friend, Shirou. He has confessed his love every year, and each time he is rejected. Unable to understand why, he decides to give up his quest, assuming that Shirou has fallen for the beautiful Seiichi. Seiichi, on the other hand, has fallen for Satoru. This all-male love triangle finally untangles when, after a three-year time lag, a long-lost letter arrives in Satoru’s mailbox, providing the catalyst that allows the boys to confront one another with their true feelings. This is a sweet and angst-filled example of the boys’ love genre. Filled with innuendo and a few PG-rated love scenes, the “will they or won’t they” intrigue will surely charm readers. The fluid art style with its pretty male characters works exceptionally well. This one-volume edition is perfect for any library looking to add boys’ love manga to their collection without a huge commitment to additional volumes.–Jennifer Feigelman, Goshen Public Library and Historical Society, NY

Gr 9 Up–This seemingly promising volume tells ghostly tales of a haunted school. There are 13 short stories and urban legends; some are laughable, others are downright spooky. All of them weave together to form one seriously spooky book. Like a sick and twisted “Goosebumps” for older readers, Inuki’s writing incorporates components of a good horror story: evil dolls, wicked ghosts, and malevolent children. In sharp contrast, the illustrations are disappointing. While the art is fluid and customary to the manga style, all of the characters have a permanently shocked expression–characterized by round widened eyes and a mouth frozen in a perpetual “O”–whether they are frightened or not. A device meant to make the story seem more terrifying ends up making it unconvincing and repetitive. Libraries looking for more horror manga might find a readership for this volume, but overall it is a secondary purchase.–Jennifer Feigelman, Goshen Public Library and Historical Society, NY

Gr 9 Up–Edweard Stoop makes his way onto an island that isn’t on any maps and proceeds to paper it with posters for an upcoming slave auction. This act and his very presence precipitate a series of hijinx on the part of the residents. The characters are all given amusing ways of talking, and many have a secret agenda in their interactions, but the main point of the story is to provide or provoke a comic perspective on race and slavery, ending in a resolution that literally comes out of a machine. The exaggerated characters border on offensive, with attitudes that would be easier to classify if the story or artwork, and not the cover flap, informed readers that the action takes place in the 19th century–a claim undercut by relentlessly anachronistic dialogue and situations. The artwork is clever, with marvelous colors and elegantly rendered backgrounds, but the characters have been reduced to an objectified simplicity that makes them difficult to read. Additionally, visual sequences are frequently interrupted by sudden vignettes, either of a flashback or a metaphor rendered literally. These seem to exist in order to inject an additional dose of comedy into the proceedings while breaking up lengthy expository narratives. What they serve to do, however, is jar readers and further fracture the reading experience.–Benjamin Russell, Belmont High School, MA

Gr 9 Up–With its quiet blend of fantasy, folktales, and character-driven storytelling, this charming collection brings the first 12 issues of an Eisner Award-winning comic-book series to a wider audience. It opens with “The Brambly Hedge,” which gives the origin of the castle itself. In a comic retelling of Sleeping Beauty, a medieval castle and its loving inhabitants are abandoned when the princess wakes up, finds her Prince Charming, and rides off into the sunset with him. The castle transforms into an outpost of sorts for the unusual, the unwanted, and those just needing a place to hide from the world. Talking chivalrous horses, pregnant mothers on the run, and nuns who were once bearded ladies in the circus are just a few of the colorful inhabitants whose stories fill the remainder of the volume. Medley’s storytelling becomes more assured and complex as the series progresses, and she uses flashbacks and stories-within-stories in a manner that creates a rhythm that is both fun and gripping. Hard-edged lines with simple forms create black-and-white artwork that melds nicely with the fairy-tale feel of the stories. This volume is accessible for younger readers but filled with enough layers and depth to satisfy those looking for a bit more sophistication.–Matthew L. Moffett, Ford’s Theatre Society, Washington, DC

Gr 10 Up–Superhero comics have a long tradition of team-ups and origin stories, and Morrison pays tribute to both while simultaneously breaking exciting new ground. Selecting a group of lesser-known DC characters, all endowed with something that makes them super, but all debatable as “heroes,” he challenges himself to find an extraordinary set of circumstances in which these characters must pull together to become a team. This first volume of the collected comics focuses mostly on background information on the characters, with some overlap between their tales, hinting at future connections. Readers will enjoy the erratic and creative nature of the plots, including everything from a Western posse rounded up to defeat a giant spider to subway pirates terrifying New York City. The art is consistently strong and well framed, with excellent coloration and great lettering. However, the book as a whole is a bit overwhelming and confusing even for seasoned comics readers, and would probably have fairly limited appeal to teens. Course language, brief sex and nudity, and horrific violence will make this a dicey choice for most school libraries.–Dawn Rutherford, King County Library System, Bellevue, WA

Gr 10 Up–Itsuki is a 13-year-old inline skater who has been informally adopted by the Noyamano family. After a vicious beating and sexual assault by the Westside skate gang, the Skull Saders, he discovers that his adopted sisters are all members of the infamous and mysterious gang of “riders,” the Sleeping Forest. He further learns that there is an entire secret, multilayered world of skate culture that he is only beginning to understand. Combat scenes lack definition and clarity, as such flair seems to be reserved for a series of stunning set pieces showcasing the spectacle of speed and flight that the riders can achieve. Itsuki is presented both as a screwup and a success, which is a difficult dynamic to pull off, making his character inconsistent and tough to empathize with. This is compounded by the uncomfortable sexual crudity that permeates the dialogue and circumstances: statutory rape is one of the punishments levied when Itsuki loses a match. A number of Internet fans have reacted with glee that Ballantine is publishing the book, but purchasers should be aware of some of the dubious cultural content.–Benjamin Russell, The Derryfield School, Manchester, NH

Gr 10 Up–This is the manga adaptation of the Japanese horror movie Ju-On, which was later remade for American audiences as The Grudge. Although fans of the movies will recognize some similarities–the house is haunted by the spirits of a mother and son who were murdered–the rest of the plot is different. The films focus on the house, while most of the action of the novel takes place at the local school. Much more attention is given to the new family here. The book opens with the murder of a woman and her son. Their house is soon sold to a new family. Each of the family members sees a creepy little boy and, soon after, each is attacked by a multitude of cats. The tale doesn’t follow a linear time line, which lets readers learn more about the house and the grudge. The real-estate agent tries to sell the house, despite warnings about the evil there, and the prospective buyer dismisses the incidents as nothing more than childish pranks. The black-and-white artwork perfectly conveys the sense of foreboding. The eeriness and horror are conveyed in bold strokes, especially in the scenes at the school, where the mother’s ghost is encountered.–Erin Dennington, Chantilly Regional Library, Fairfax County, VA

Gr 10 Up–Taking place in a cold, distant future where humans have evolved past the need for sleep (but where sleep is still sought after and even sold on the black market as a kind of drug), The Resonator tells of a man who seeks to find the strength to do extraordinary things. The titular object is actually a normal house cat that has the power to induce sleep in humans without drugs. The political atmosphere of Rollins’s world is typical of much current sci-fi–a faceless corporation has control over the universe and most people are in its thrall. It uses humans as nonstop working machines, and sleep, although supposedly evolved out of the collective gene pool, is highly prized. The Resonator at times reads like a throwback to the American pulp sci-fi stories of the 1950s and ’60s and its format is reminiscent of comic-book adaptations of Ray Bradbury’s work. It’s an intelligent science-fiction story that will be appreciated by older comic-book readers as well as fans of hard sci-fi writers. The Making of a Graphic Novel, the other half of the book, offers 70 pages on everything from the story to the artwork and lettering. A strong purchase for genre fans.–Steev Baker, Kewaskum Public Library, WI

Gr 10 Up–Eternal Sabbath is a genetically engineered human with the power to “hack” into people’s brains and reprogram them to his liking. Those who try to resist him suffer harsh mental and physical punishments. He may have finally met his match, though, in beautiful and brilliant scientist Mine. The protagonists are compelling and the melodramatic techno-thriller plot should interest fans of both the romance and science-fiction manga genres. Violent or sexual images drawn from dramatic angles move the story along at a rapid pace. With more action than dialogue, this volume perfectly illustrates manga’s wide appeal among older teens.–Lisa Goldstein, Brooklyn Public Library, NY

Gr 9 Up–As with many shojo manga, this story revolves around a love triangle. In this case, there may even be four people involved. Yuri has had lots of boyfriends, many of whom have not treated her well. When she becomes enamored of Takahiro, her old friend Hirao worries that she will get hurt, and her new friend Motoko may be the object of Takahiro’s affection. Not the usual sunny Japanese schoolgirl, Motoko is mean, mean, mean. She has wonderfully evil expressions and can wipe the floor with anyone who gets in her way. The possibility that Hirao and Yuri might rekindle more than a friendship and Motoko might put Takahiro firmly in his place will have readers’ eyes peeled for volume two. Gatcha Gacha is a nice departure from the more traditional shojo, and although it takes a little while to get the characters straight, once readers do, it’s thoroughly enjoyable reading. This one is for the older set because of Yuri’s assumed reputation of being “easy” and some mature language throughout.–Melissa T. Jenvey, New York Public Library

Gr 10 Up–Known as the Stephen King of Japan, Umezu is the master of horror manga. Several of his stories have already been adapted to film, and fans of Japanese horror movies like The Ring and The Grudge will recognize his style. This volume contains two novellas. The author doesn’t rely on violence or gore to scare his readers; the horror is more primal, more psychological. In Mirror, a pretty girl who has spent too much time in front of her mirror learns just how tenuous a power beauty is when her reflection escapes and takes over her life. In Vengeance Demon, a warlord seeking revenge for his son’s injuries finds himself the object of revenge. The black-and-white illustrations are simple yet powerful. What sets this manga apart from others is the starkness of the drawings and the simplicity of the dialogue. Readers who seek to understand the influence of Japanese horror will enjoy this volume.–Erin Dennington, Chantilly Regional Library, Fairfax County, VA

Gr 10 Up–Advertising executive Chad Roe is working on the new Eter-No-Mark permanent marker when its indelible nature causes its stock to plummet unexpectedly. Reeling with shock and disappointment, Chad wakes from “one’s prescribed poison” binge to find himself tattooed from tip to toe with his own marker. This transformation takes place immediately before the destruction of the World Trade Center, and the combined experiences send Chad on a surreal, bacchanalian voyage of exploration of America and the inner self, culminating at a celebration modeled on the Burning Man festival. The book’s horizontal format creates a series of easily accessible layouts without the complicated panel tiers that can render an ordinary comic page difficult to follow. Combined with the bold line work, which effectively showcases the contrast of Chad’s intricate tattoo, the artwork is very legible, telling its story clearly without the need for any additional verbal narration. And good thing, too, as the narrative captions are lumbered with a series of complex metaphors and ruminations, all of which are presented in most purple prose. One of graphic literature’s unique features is its ability to have two narratives take place simultaneously, one in the words and another in the images. The parallel verbal and visual narratives here have interesting conjunctions, but the short phrases and constant churn of reference make the verbal portion extremely difficult to absorb. This is a bold experiment, but it’s unlikely to provoke the sort of emotion or awareness for which it’s clearly aiming.–Benjamin Russell, The Derryfield School, Manchester, NH

Gr 10 Up–An example of the potential of the graphic-novel form, Bluesman combines a spellbinding narrative with compelling imagery. Set in the Deep South sometime in the last few decades, it tells of murders in an outlying cabin. The tough-talking, fair-minded sheriff sees right away how serious the case is, but the powers that be step in and proclaim that only they know what’s best. Meanwhile, a lone bluesman, haunted by weird dreams and traveling an endless countryside populated by uniquely American archetypes, comes to town. Even though they draw on every possible stereotype of the Deep South, the authors present a fresh and evocative story. The artwork, heavily drawn with near-grotesque portraiture and thickly done backgrounds, fits the mood. The color scheme ranges from midnight blue to gray, and it works. Its simplicity highlights the drama of the story.–John Leighton, Brooklyn Public Library, NY

Gr 11 Up–A bloody feud has raged between the warring Iga and Kouga clans for years. A scroll has been drawn stating that each clan will designate 10 ninjas in an attempt to end the fighting. The combatants will fight to the death, and the winning clan will reign for 1000 years. In the wake of this turmoil, Oboro, a comely young member of the Iga clan, has fallen in love with Gennosuke, a handsome Adonis from the Kouga clan. Though they care for one another, the infighting and betrayal between their groups threaten to destroy not only their love, but also the fine balance between the two rival sides. Based on a Japanese novel, this first volume of a projected four has also been released as an anime DVD. Segawa relies heavily on image and uses text sparsely. This action-packed manga has a clean panel layout and is cinematic in its action. A wide array of characters is introduced, but readers are aided by a chart with names and affiliations to help keep straight who is who, and where their loyalties lie. The nudity, violence, and adult language make this most appropriate for older teens.–Jennifer Feigelman, Goshen Public Library and Historical Society, NY

Gr 12 Up–This horror/humor manga mixes teenage angst with bodily fluids, eyeballs, and intestines in alarming proportions. Takako is a goody-two-shoes who is the target of a group of girls who tape her mouth shut and jump on her stomach until the remains of her lunch come out of her nose. The punishments escalate as the bullies nearly drown her in a pool, pull her out so that she can vomit profusely, and then shove an octopus into her mouth. Because Takako is allergic to octopus, this causes still more vomiting (it’s here that readers will be grateful that the artwork is not in color). That night Takako wakes to find that she has mutated into a creature with a human head and an octopus body. Her life as a good girl ends abruptly as she exacts her brutal revenge on the bullies who tortured her. In subsequent chapters, Octopus Girl falls in love with a human, battles a vampire, and even stars in a highly entertaining “Trying Too Hard to Be a Shojo Manga Special.” The cover of this book will appeal to younger readers, but, because of the language, nudity, and mind-altering gruesomeness, it should definitely stay in high school or adult collections.–Andrea Lipinski, New York Public Library