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18 January 2013 1 Comment

The Book of Heroes

Author: Miyuki Miyabe
Translator: Alexander O. Smith
U.S. publisher: Viz Media
ISBN: 9781421540832
Released: November 2011
Original release: 2009

The Book of Heroes is the second novel by Miyuki Miyabe that I have read. My introduction to her work was through her novel Brave Story and its various adaptations. The two novels share many similarities with each other: both were initially serialized in newspapers, both are fantasy stories featuring a young protagonist, and both were translated into English by Alexander O. Smith, just to name a few examples. But The Book of Heroes and Brave Story are each very much their own work. After its serialization, The Book of Heroes was released as a completed novel in 2009. Haikasoru, Viz Media’s Japanese speculative fiction imprint, first published Smith’s English translation of The Book of Heroes in 2010 in a hardcover edition. The novel was subsequently released as a paperback in 2011, which is the edition I picked up. Because I enjoyed Brave Story I was looking forward to reading The Book of Heroes.

Yuriko Morisaki, a fairly average girl in the fifth grade, was dozing off in science class when she receives terrible news: her older brother, who she adores, has gone missing after stabbing two of his classmates. Her family can hardly believe that Hiroki could be capable of such an act. They are desperate to find him and to understand what happened. Soon after Hiroki’s disappearance, Yuriko stumbles across a magical book in his room, one that may be able to help her find her brother. Suddenly, Yuriko is no longer an ordinary girl as she is swept into a world of story and magic. It is revealed to Yuriko that her brother and her very reality are in danger. The responsibility of rescuing them has fallen to her. She’s not without help and over time she gains some valuable allies, but Yuriko’s journey will be a very challenging one.

For me, The Book of Heroes worked better as a sort of philosophical exercise rather than as a novel. I absolutely loved the world building. I found the universes that Miyabe created to be fascinating and intellectually stimulating. I enjoyed thinking about the worlds in The Book of Heroes and loved the importance placed on books and stories—stories that hold tremendous amounts of power and that can quite literally change the world and reality; a reality that in turn can alter and affect those stories; and the grave repercussions that this system creates as a result. The ideas and concepts that Miyabe was exploring in The Book of Heroes were thrilling. But I found actually reading The Book of Heroes to be somewhat of a slog. Yuriko’s story felt terribly unfocused for much of the novel.

As often as The Book of Heroes frustrated me as a narrative (which was actually quite often), Miyabe pulls everything together beautifully in the end. In the beginning something just didn’t quite feel right about how things were progressing in The Book of Heroes. Yuriko, too, seemed to be frustrated and aware of this. Eventually, all is revealed to both Yuriko and the novel’s readers in the final chapter, appropriately titled “The Truth.” It was this chapter and the epilogue that follows it that made all of my frustration with The Book of Heroes worth it. The ending is fairly open-ended, but I thought it was very appropriate and very satisfying. The Book of Heroes is more complex and layered than it might first appear; Miyabe mixes reality and fantasy, light and darkness, in a very compelling way.

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12 December 2012 1 Comment

The Twelve Kingdoms, Volume 2: Sea of Wind

Author: Fuyumi Ono
Illustrator: Akihiro Yamada
Translator: Alexander O. Smith and Elye J. Alexander
U.S. Publisher: Tokyopop
ISBN: 9781427802583
Released: February 2009
Original release: 1993

Sea of Wind is the second novel in Tokyopop’s English-language release of Fuyumi Ono’s fantasy light novel series The Twelve Kingdoms illustrated by Akihiro Yamada. The novel was originally published in Japan as two separate volumes, both of which were released in 1993 under the title Sea of Wind, Shore of Labyrinth. Alexander O. Smith and Elye J. Alexander’s English translation of Sea of Wind was originally published in hardcover by Tokyopop’s Pop Fiction imprint in 2008 before being released in a paperback edition in 2009. I very much enjoyed Sea of Shadow, the first novel in The Twelve Kingdoms, and so was looking forward to reading the second volume a great deal. Technically, Sea of Wind is a prequel of sorts. Although they are not directly related, the events in Sea of Wind take place before those explored in Sea of Shadow.

Before his birth, the kirin of the kingdom of Tai was swept away by a great shoku, a terrifying storm that rips between worlds. Although the search for him began immediately, it is an unprecedented ten years before the kirin is able to be found. Having been lost in the world Over There, Taiki’s return to the world into which he should have been born is celebrated. Taiki never really fit in Over There but because he has been gone for so long he doesn’t quite fit in in the world that is welcoming him home, either. He has much to learn about the world he now inhabits and, more importantly, about himself. The kirin play a critical role and Taiki is desperately needed by Tai. But without the knowledge and powers that should have come naturally to him, Taiki must first conquer his own inadequacies before he can fulfill his role.

After the initial chaos surrounding Taiki’s disappearance, Sea of Wind begins fairly benignly. Taiki’s welcome home is a warm one and he is treated very kindly. But as the novel progresses danger and darkness are introduced to the story. The portrayal of Taiki’s growth as a character is particularly well done. His fear, confusion, and distress is almost palpable as he struggles with his newly discovered obligations and responsibilities. Taiki is plagued by doubt and guilt. He wants to please those around him and is terrified of making a mistake. He can hardly be blamed—the fate of an entire kingdom rests on his tiny, inexperienced shoulders. Most of the other characters aren’t nearly as well developed as Taiki, but Sea of Wind really is his story more than anything else.

Although Sea of Wind is the second book in The Twelve Kingdoms, it stands quite well on its own. However, there are some scenes that will be more meaningful to someone who has read Sea of Shadow as well. In particular is the appearance of Keiki, another kirin who was introduced in Sea of Shadow. He plays an important role in Sea of Wind, too, and his interactions with Taiki are wonderful. A few of the other characters from Sea of Shadow also make their return in Sea of Wind, which I was very happy to see. As for the story itself, Ono still has the tendency to infodump from time to time. However, I find the world of The Twelve Kingdoms to be so fascinating that I usually didn’t mind too much. I am still thoroughly enjoying the series and am looking forward to reading the next volume, The Vast Spread of the Seas.

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9 December 2012 2 Comments

Salvation of a Saint

Author: Keigo Higashino
Translator: Alexander O. Smith and Elye J. Alexander
U.S. publisher: St. Martin’s Press
ISBN: 9780312600686
Released: October 2012
Original release: 2008

Salvation of a Saint is the third novel by Keigo Higashino to be translated into English (and the third that I have read), following Naoko and The Devotion of Suspect X. Salvation of a Saint is the fifth book in Higashino’s Detective Galileo series (The Devotion of Suspect X is the third). But, like many mystery series, the individual Detective Galileo volumes are largely able to stand on their own. Salvation of a Saint was first published in Japan in 2008. Alexander O. Smith and Elye J. Alexander’s English translation was released in 2012 by Minotaur, the mystery and suspense imprint of St. Martin’s Press. I enjoyed both Naoko and The Devotion of Suspect X immensely; I was very excited to learn that Salvation of a Saint was being released in English. Even though technically published out of order, I am very glad to have the opportunity to read more Detective Galileo.

When Yoshitaka Mashiba is found poisoned in his home, the Tokyo police have their work cut out for them. It doesn’t appear to be a suicide and yet he doesn’t seem to have made any enemies, either. The only person with a clear motive is Yoshitaka’s wife, Ayane, except that she was in Hokkaido visiting her parents at the time of his death. The more the detectives investigate, the more is revealed about the Mashibas’ personal lives. Detectives Kusanagi and Utsumi have developed plenty of theories explaining Yoshitaka’s death, but they still need to find the evidence to support them. Eventually Utsumi calls upon Manabu Yukawa, a physicist who has helped to solve past cases, earning him the nickname of “Detective Galileo.” Even though he isn’t interested in working with the police after having a falling out with Kusanagi, Yukawa is intrigued by what at first appears to be the perfect crime.

It’s fairly clear, to the readers at least, who the culprit in Salvation of a Saint actually is. In this way, Salvation of a Saint is similar to The Devotion of Suspect X. However, each novel is filled with their own unexpected story twists. It’s not just important who committed the crime in Salvation of a Saint; much of the mystery focuses on how the person was even able to pull it off. Even the motive behind Yoshitaka’s murder is revealed to be much more complicated and involved than initially thought. Once again, Higashino has written and engaging and compelling scenario. I didn’t find it to be as emotionally hard-hitting as The Devotion of Suspect X, but Salvation of a Saint was still surprising. The novel is a clever page-turner. Once I started reading it, I didn’t want to put the novel down. I picked up on all of the clues that Higashino dropped and felt compelled to finish the book quickly in order to discover how they all fit together.

Salvation of a Saint isn’t an action-packed thriller. In fact, there is a lot of dialogue and discussion as the investigators work things out. But, the novel is still intellectually invigorating and very satisfying. I’m quite fond of Professor Yukawa. The series may take its name from him, but he’s almost a supporting character. I particularly enjoyed the scenes that he shared with Detective Kusanagi. The two may have their problems, but they’re old friends. Their good-natured ribbing greatly amuses me. I’d actually like to know more about their relationship, which I can only assume has been addressed in more detail in earlier volumes of Detective Galileo. Granted, there is still enough in Salvation of a Saint to get a good sense of their friendship. I’m sincerely looking forward to their return in the next Detective Galileo novel scheduled to be released in English, A Midsummer’s Equation.

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9 May 2012 4 Comments

The Guin Saga, Book Five: The Marches King

Author: Kaoru Kurimoto
Illustrator: Naoyuki Kato
Translator: Alexander O. Smith and Elye J. Alexander
U.S. publisher: Vertical
ISBN: 9781934287200
Released: July 2008
Original release: 1980
Awards: Seiun Award

The Marches King is the fifth and final volume in “The Marches Episode,” the first major story arc in Kaoru Kurimoto’s fantasy epic The Guin Saga. While “The Marches Episode” is the only part of the light novel series available in English, The Guin Saga lasted for one hundred thirty volumes in its native Japan, winning the 2010 Seiun Award for long fiction. The Marches King was originally published in Japan in 1980. Vertical released the English translation of the novel by Alexander O. Smith and Elye J. Alexander in 2008, retaining the illustrations by Naoyuki Kato. Even though The Guin Saga hasn’t been nearly as successful in English as it has been in Japanese, the series is still very important to the development of the light novel form and Japanese fantasy literature. The Guin Saga was an influence on and source of inspiration for many Japanese creators.

It is only a matter of time before the Sem and the secrets of Nospherus will fall to the Mongauli army. Although they have managed to deal significant blows to the indavers’ morale and nearly wiped out the Blue Knights completely, the Sem are still vastly outnumbered and have sustained heavy casualties. When it comes to military prowess and strategy there is no question that the Monguali are superior. The Sem’s only chance is the leopard-headed warrior known as Guin, but he has left the Sem to face the invading army alone as he desperately tries to find and convince the mysterious Lagon to join the their cause. If the giants agree to come to the diminutive Sem’s aid they may be able to repel the Mongauli forces. But until Guin returns with reinforcements, the Sem are on their own. And if Guin fails the Sem will be annihilated; the Mongauli are preparing for a final frontal assault that they cannot lose.

From the very beginning of “The Marches Episode,” Kurimoto has known how to write a fantastic battle scene, whether it’s the one-on-one fights that Guin frequently finds himself in, the ambushes and skirmishes of the Sem, or the more coordinated military maneuvers of the Mongauli army. In fact, the fight sequences feature some of the best writing in the series. The scenes are engaging and exciting. Despite the occasional similar setup, the fights never come across as repetitive. I found Kurimoto’s creativity and clarity to be quite impressive when it comes to writing a fight scene. The Marches King is no different as the battle for Nospherus reaches its climax and is finally resolved. Kurimoto doesn’t hold back, either. The fighting is brutal and the ramifications are gruesome. There will be casualties in war and it is not often pretty.

Although The Guin Saga was off to a bit of a weak start with the first book, each volume improved and built upon the volumes that preceded it. By the time I reached The Marches King, I was already sold on the series and want to read more. “The Marches Episode” is a complete story in itself but it is obvious, especially after reading the afterword which puts the arc into mythological and historical context within the world that Kurimoto has created, that there is still plenty of story to be told. Kurimoto’s worldbuilding, while not always particularly original as she makes very good use of fairly standard fantasy archetypes and tropes, is excellent. Throughout “The Marches Episode” she has given hints about what is to come and has established a solid groundwork for future stories. Unfortunately, it is very unlikely that any of the later novels in The Guin Saga will be translated into English. However, I am very glad to at least have the beginning of such an influential series available.

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15 February 2012 Leave a Comment

The Guin Saga, Book Four: Prisoner of the Lagon

Author: Kaoru Kurimoto
Illustrator: Naoyuki Kato
Translator: Alexander O. Smith and Elye J. Alexander
U.S. publisher: Vertical
ISBN: 9781934287194
Released: May 2008
Original release: 1980
Awards: Seiun Award

Prisoner of the Lagon, with illustrations by Naoyuki Kato, is the fourth book in Kaoru Kurimoto’s heroic fantasy light novel series The Guin Saga. Immensely popular in Japan, The Guin Saga is over one hundred volumes long. In 2010, Kurimoto even won a Seiun Award for the work as a whole. The Guin Saga hasn’t met with as much success with English-language audiences. Only the first five volumes which make up the first story arc of the series, “The Marches Episode,” have been translated by Alexander O. Smith and Elye J. Alexander. Originally published in Japan in 1980, Prisoner of the Lagon was released by Vertical in 2008 as a paperback. Prisoner of the Lagon is the first volume of The Guin Saga not to receive a hardcover edition from Vertical. Although I wasn’t overly impressed by the first novel in The Guin Saga, I have since become quite fond of the series and so was looking forward to reading Prisoner of the Lagon.

The deadly battle for Nospherus and for control of its secrets is a long one. The Sem continue to harass and ambush the the Mongauli troops. Despite its superior numbers and resources, the invading army’s morale is steadily declining. General Amnelis must take decisive action against the Sem and turn the tide of war before her troops lose all confidence in her leadership and their mission. Her foe, the mysterious leopard-headed warrior Guin, knows that the Sem won’t be able to hold out much longer. Their familiarity with Nospherus has given them an important advantage against the Mongauls, but no mater how dirty the Sem’s tactics they will eventually lose. Guin believes they only have one chance for success. Leaving the Sem to fend for themselves, he heads deeper into the wilderness of Nospherus, hoping to find and enlist the aid of the Lagon, a race of giants who are only rumored to exist.

While Guin has always been a prominent player, the saga is named for him after all, many of the previous volumes in the series have heavily featured other characters. Prisoner of the Lagon turns much of the focus back to Guin. More and more is revealed about him as more and more is revealed about Nospherus. But even now, very little is actually known about Guin. Both allies and enemies, not to mention Guin himself, wonder who this god-like warrior really is, what lurks in his past, and where his destiny lies. None of these questions are definitively answered in Prisoner of the Lagon, but the hints that Kurimoto drops are becoming less subtle. The convenient restoration of Guin’s memory when needed for the story still bothers me, but it bothers Guin, too. At least this means Kurimoto is aware of the issue and Guin tries to come up with a satisfying explanation.

A few things stand out for me in The Guin Saga. Kurimoto writes fantastic fight scenes. In Prisoner of the Lagon, Guin in particular has a few excellent solo battles in which he is revealed not to be all powerful even if he is an incredible warrior. While the conflicts in The Guin Saga are engaging, I wouldn’t say that the violence is glorified. Strategic errors made during war have brutal and fatal consequences; Kurimoto doesn’t shy away from horrifying outcomes. Morality is a complex issue in The Guin Saga. The protagonists are capable of truly terrible things that are made no less horrible because they are in the right. On the other hand, Kurimoto doesn’t demonize the saga’s antagonists. In fact, the characters are often sympathetic. Count Marus, commander of Mongaul’s Blue Knights, is a good example of this in Prisoner of the Lagon. He has a family that he misses, close friends and comrades that he worries about, and he genuinely cares for the men who serve under him. The Guin Saga gets better and better with each book. I’m looking forward to reading the final volume of “The Marches Episode,” The Marches King.

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