On the forbidding desert planet of Gunsmoke, a sixty billion double-dollar bounty hangs over the head of Vash the Stampede, a pistol-packing pacifist with a weapon capable of punching holes in a planet. Every trigger-happy psycho in creation is aiming to claim Vash dead or alive — preferably dead!—and although Vash is an avowed pacifist, he won't go down without a fight. And when Vash fights, destruction is sure to follow!Yasuhiro Nightow's Trigun is a worldwide sensation, and Trigun Omnibus collects both Trigun volumes in one value-priced package, nearly 700 pages of Nightow's signature creation!

As an anime series, Trigun gained a multitude of fans across the otaku landscape before gaining a huge mainstream manga audience. Now, Trigun goes beyond the storyline laid out in the anime and the first two volumes of the manga into brand new territory! Our hero Vash the Stampede disappeared for two years after blasting a crater onto the moon orbiting the desert planet he saved from annihilation. But, with good and bad people alike trying to track him down he won't stay lost for long! Count on more crazy gunslinger action, new dastardly villains…and a new outfit to boot!

In a post-apocalyptic future, wolves are supposedly extinct creatures who held some sort of mythical powers. Unknown to most human, wolves still do exist, and they walk next to them, disguising themselves as humans as their kind slowly dies out. However, some, like Kiba, are answering to their primal instinct to search out the flowers of the moon, which are supposed to someday lead them to paradise.

A Claymore - a female warrior named for the sword she carries - travels from medieval village to village to destroy Yoma, monsters who disguise themselves as humans and who are almost impossible to kill. Claymores are half-humans, half-demons who willingly transformed themselves by mixing their blood with monster's blood. Claire, nicknamed silver-eyed killer, is such a powerful Claymore, she can slay a Yoma using only one hand. But she must constantly struggle to keep from becoming a monster herself.

I haven't actually been a huge booster of the works of Osamu Tezuka. Beyond a hard-won affection for his \
  Buddha\
, I haven't come to take much enjoyment from the other books of his I've sampled. Phoenix, Adolf, Blackjack. They just haven't won me over. I think I may be too far divorced from the period of his innovation to view the works as fresh. They are so deeply products of their times that they appear quaint and stilted—to me at least (I've spoken before of my trouble with attempting to escape my biases). As the comics form has evolved and storytelling grown into using a more mature set of tools, I find myself unable to appreciate Tezuka as story. As artifact, sure. As an archaeological window into the development of the form, yes. But I do not find myself able to dive into his stories for the sake of those stories—I've always got to have an ulterior motive, usually one associated with academic appreciation.Because of this, giving Pluto a chance was a hard sell for me. I didn't know enough about Astroboy to be a fan or otherwise. I couldn't even be ambivalent. I was strictly apathetic. I had so little interest in the character or in a reimagining of one of his more famous episodes that even the promise of Naoki Urasawa's stellar storytelling chops wouldn't lure me out. It wasn't until I was bored at the library one day and happened to find the first volume on a shelf that the scales tipped.And now I wish that Urasawa would adapt all of Tezuka's works.As is spoken of near ad infinitum, one of science fiction's greatest conceits is the ability, through its speculative technologies, to engage the mind in such a way that contemporary issues are seen in new light. 1984 could prompt its audience to reevaluate the pervasive role of the government in shackling liberty for the sake of security. Gattaca could help alert its audience to the value of the natural individual in the face of the future's promise of a better genetics. The Time Machine could prompt its audience to remember to value literature in the face of emerging mass entertainment options. And Invasion of the Body Snatchers could alert its audience to the insidious creep of subtle ideological evolutions, whether in the face of communist utopianism or crass commercialism.It's a common enough use of the genre that one might even consider it boring to talk about. After all, it's been done over and again. What Urasawa does with Pluto, however, is of another level and to a-whole-nother magnitude. Rather than simply engage the mind through conceptual challenges, he affects the heart. And by working upon the seat of the emotional mind, he draws out a kind of empathy for non-humans who straddle the cole between personhood and non-personhood.Pluto is foremost the story of the murders of several robotic AIs. These artificial intelligences struggle with balancing their self-awareness with the shackles of their programming. In a way, Urasawa may even be trying to tackle, in some remedial way, questions of liberty vs determinism—something all those with any interest in metaphysics must come up against at one point or another. From another angle, these robots' lives spell out the same conflict that MT Anderson homes in on in his wonderful Astonishing Life of Octavian Nothing: the question of liberty and property; how can those who rally behind freedom, democracy, and liberty keep sentient beings as property.1Where Urasawa excels so ably is in making his robotic characters so human, so other-than-human, and so worthy of compassion in either case. There are moments for several of these robots (whose narrative destiny, set in stone fifty years ago by Tezuka himself, is to be destroyed) at which the average reader may very well need to take a moment to regain composure. We are never not aware of these characters' non-human status and the fact that they are creations of man, but all the same they become valuable recipients of our cares and well-wishes.And it is through that marvelous narrative inducement toward empathy that Urasawa sells his point home. He requires the reader to consider the what-ifs of his scenario. Ignoring plausibility for a moment, he not only raises the question of artificial personhood but also gives the reader a reason to care about that question. Adam Hines attempted something similar in Duncan the Wonder Dog, by actually giving personhood to animals; but as much as I laud Duncan as probably the pre-eminent work of comics fiction, I believe Urasawa pulls this particular thing off much more adeptly.2 It's difficult to balance the humanity and inhumanity of these characters in a way that makes them both comfortable and alien, but Urasawa succeeds. Pluto, against odds, is neither too heady nor too treacle nor even too plot-driven. And for a book structured as a detective thriller, that's some achievement.The story Urasawa is adapting (Tezuka's "The Greatest Robot on Earth") features the seven most advanced robots in the world falling one by one to a new challenger, a mighty robot named Pluto. Rather than push Atom (adapted from Astroboy) to the narrative center, Urasawa tells much of the story through Gesicht, a Europol detective robot and one of the seven most powerful AIs on earth. (Urasawa, to lesser degree, moves the narrative around between the remainder of the other six robots.) Gesicht is investigating this string of robot-related murders. As the number of murders mounts, Gesicht draws closer and closer to discovering Pluto's identity—all while trying to reign in an apparent fault in his robotic memory.Pluto is only eight volumes long and is therefore much more tightly plotted than either Monster (18 vols.) or 20th Century Boys (22 vols. and a short sequel). It's a good read and gives the reader opportunity to think about a number of fascinating subjects, all while carrying on a murder mystery/thriller. For a series that (at its most basic and dumbed down) is a book about a series of robot fights, Urasawa wisely shows very little actual robot-on-robot combat. He knows what's interesting and fighting robots is not quite that. Pluto is an investigation of emergent technologies, an investigation of the toll of contemporary international policies, and an investigation of the nature of the soul.Notes1. "These robots' lives spell out the same conflict that MT Anderson homes in on in his wonderful Astonishing Life of Octavian Nothing: the question of liberty and property; how can those who rally behind freedom, democracy, and liberty keep sentient beings as property."In one sense the question may be offensive, since with black people there is no question to their sentience and full personhood—while the question is still up in the air as regards the artificial intelligence. Still, within the scope of Anderson's work (taking place during the American revolutionary escapades), the same question is very much at stake for the people alive in that particular historical pericope.2. "As I laud Duncan as probably the pre-eminent work of comics fiction, I believe Urasawa pulls this off much more adeptly." Much of this is probably directly owed to the fact that we can much more easily imagine machines with self-aware intelligence and the capacity to communicate than we can mere animals._____________________[Review courtesy of Good Ok Bad]

Battle Royale, a high-octane thriller about senseless youth violence in a dystopian world, it is one of Japan's best-selling - and most controversial - novels. As part of a ruthless program by the totalitarian government, ninth-grade students are taken to a small isolated island with a map, food, and various weapons. Forced to wear special collars that explode when they break a rule, they must fight each other for three days until only one "winner" remains. The elimination contest becomes the ultimate in must-see reality television. A Japanese pulp classic available in English for the first time, Battle Royale is a potent allegory of what it means to be young and survive in today's dog-eat-dog world. The first novel by small-town journalist Koushun Takami, it went on to become an even more notorious film by 70-year-old director Kinji Fukusaku.

Edo period Japan has been taken over by aliens and the once-strong Samurai lie defeated, their swords now outlawed under the new regime. That is the setting in which our heroes – Gin, a former Samurai with a love of sweets and manga (a drop in his blood sugar levels means trouble for everyone), Kagura, a crazy (and) strong umbrella-weilding mercenary chick who can't stop eating, and Shinpachi, the one (and possibly only) sane man around trying to find the long lost Samurai spirit – do odd jobs to make ends meet. It doesn't always work out for them.The first volume is a collection of six chapters, each featuring one or another (mis)adventure this crazy trio goes on. Weaving in and out of the plot are the Shinsengumi, the elite police of Edo, Gin's landlady, the anthropomorphic Amanto (aliens), Kotarou 'Cough Syrup' Katsura and various other oddballs. The storytelling is solid, hilarity ensues at the drop of a hat (or a bomb), fourth wall references are peppered throughout. The year has barely begun and I think I've already found out what's going to be the best part of my reads this year.

An ice-cold killer is on the loose, and brilliant Dr. Kenzo Tenma is the only one who can stop him! Conspiracies, serial murders, and a scathing indictment of hospital politics are all masterfully woven together in this compelling manga thriller. Tenma risks his promising medical career to save the life of a critically wounded young boy. Unbeknownst to him, this child is destined for a terrible fate. Who could have known that Tenma would create a monster!

You can find an alternative cover edition for this ISBN here and here.A rich selection of background and source materials is provided in three areas: Contexts includes probable inspirations for Dracula in the earlier works of James Malcolm Rymer and Emily Gerard. Also included are a discussion of Stoker's working notes for the novel and "Dracula's Guest," the original opening chapter to Dracula. Reviews and Reactions reprints five early reviews of the novel. "Dramatic and Film Variations" focuses on theater and film adaptations of Dracula, two indications of the novel's unwavering appeal. David J. Skal, Gregory A. Waller, and Nina Auerbach offer their varied perspectives. Checklists of both dramatic and film adaptations are included.Criticism collects seven theoretical interpretations of Dracula by Phyllis A. Roth, Carol A. Senf, Franco Moretti, Christopher Craft, Bram Dijkstra, Stephen D. Arata, and Talia Schaffer.A Chronology and a Selected Bibliography are included.

I laughed out loud. While reading. In a Japanese rice bowl joint. Okay, so maybe it was more of a chortle, but it was definitely out loud. And more than just the once. Patrons quietly minding their own business while slogging through their Number Three Specials With Extra Tokyo Beef would be startled into wakefulness to see me - chopsticks in one hand, book in the other - as my grizzled maw broke forth with guffaws and irrepressible smiles.Really, Anansi Boys may be the first thing I've read from Neil Gaiman that I liked. I never got into Sandman (though I'm told I should have persevered). I never finished American Gods (though I'm told I should have persevered). I never finished 1602 (despite guessing that I should have persevered).Still, not only did I like it but I loved it. Enough that I gave my copy to someone else to read and purchased a second copy for another friend. And I'm certain they'll want to do similar things with the book.Anansi Boys is at all times funny, adventurous, and charming. And several other over-used adjectives. In fact, Anansi Boys may be the prototype from which overused adjectives should have come - before they were overused. I'm not sure that Anansi Boys is great literature and I'm not sure that it isn't. What I am certain of beyond any shadow of doubtfulness is that Anansi Boys may be the most fun I have ever had reading a novel.There may be others that I enjoyed more but my experience of this book was such that it pushed (if even momentarily) all other books from my mind. Someone on the back suggests that the book will make you love and be grateful for spiders. Critics and the things they say, huh? Well, I don't love spiders, but dang was this book good.The end.p.s. Anyone thinking of reading Blue like Jazz or Against Christianity or something by Karl Barth should definitely read this first. 'Cuz I mean what if you died after finishing the next book on your queue? It would be an all time tragedy to have wasted hours reading Donald Miller when there is something like Anansi Boys out there. Plus, it's just as spiritual.

At the dawn of the next world war, a plane crashes on an uncharted island, stranding a group of schoolboys. At first, with no adult supervision, their freedom is something to celebrate; this far from civilization the boys can do anything they want. Anything. They attempt to forge their own society, failing, however, in the face of terror, sin and evil. And as order collapses, as strange howls echo in the night, as terror begins its reign, the hope of adventure seems as far from reality as the hope of being rescued. Labeled a parable, an allegory, a myth, a morality tale, a parody, a political treatise, even a vision of the apocalypse, Lord of the Flies is perhaps our most memorable novel about “the end of innocence, the darkness of man’s heart.”

An unflinching, darkly funny, and deeply moving story of a boy, his seriously ill mother, and an unexpected monstrous visitor. At seven minutes past midnight, thirteen-year-old Conor wakes to find a monster outside his bedroom window. But it isn't the monster Conor's been expecting - he's been expecting the one from his nightmare, the nightmare he's had nearly every night since his mother started her treatments. The monster in his backyard is different. It's ancient. And wild. And it wants something from Conor. Something terrible and dangerous. It wants the truth.From the final idea of award-winning author Siobhan Dowd - whose premature death from cancer prevented her from writing it herself - Patrick Ness has spun a haunting and darkly funny novel of mischief, loss, and monsters both real and imagined.

After years, Elex decided to reprint this manga, and I decided to collect it.Cardcaptor Sakura is probably the manga that makes me adore CLAMP. I truly love the concepts of collecting magical cards. And I also love most of Sakura's outfits (made by Tomoyo, her bestie... it's hard to believe a little girl can make those complicated outfits!).Reading it again, I noticed several things I didn't really care the first time. Though the main characters are children (elementary school students), there are complex issues raised, such as shoujo-ai and shounen-ai, also romantic relationship between a student (4th grader) and her teacher. You can call me old school, but these things irritate my conscience.

A pair of twisted siblings - Yuuma, a young man obsessed with the devil, and Chizumi, the worst little sister in recorded history - cause all sorts of terrifying and tragic things to happen wherever they go...Chapters:1. Dissolving Classroom2. Meet Again3. Children of the Earth4. Worshipping Beauty (Dissolving Beauty)5. Dissolving Apartment6. Chizumi's Dissolving Love7. The Demon's Conference

The students in Class 3-E of Kunugigaoka Junior High have a new teacher: an alien octopus with bizarre powers and unlimited strength, who's just destroyed the moon and is threatening to destroy the earth - unless they can kill him first!Meet the would-be assassins of class 3-E: Sugino, who let his grades slip and got kicked off the baseball team. Karma, who's doing well in his classes but keeps getting suspended for fighting. And Okuda, who lacks both academic and social skills, yet excels at one subject: chemistry. Who has the best chance of winning that reward? Will the deed be accomplished through pity, brute force or poison...? And what chance does their teacher have of repairing his students' tattered self-esteem?

High school student Kei Nagai is struck dead in a grisly traffic accident, but immediately revives to learn that he may not be like every other human. Instead, he may be a mysterious, almost immortal being, granted not only the powers of rejuvenation, but the abilities to see supernatural beings. Scared, he runs away, and is aided in his escape from society by his friend. Unfortunately for Kei, the manhunt is on and he will soon be caught within a conflict between mankind and others like him as they prepare to fight a new war based on terror.

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