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Vampeerz – “My Peer Vampires,” Volumes 4 and 5

June 4th, 2025

It’s not mentioned in the review,
But Volume 4 does something new:
There were a few bugs
Who drank vampire blood,
Now there’s vampire ants in the school.

Before you start reading your latest volume of manga – and I’m talking physical copy, because you like that it came from trees and you still lie about how much you love the smell of ink or whatever – have you ever flipped through it first so you can get a glimpse at all the cool scenes and pictures and get all excited to read it? Conversely, has the opposite ever happened?

On my initial flip-through of Vampeerz, Volume 4 about a year ago, I saw the book open on some standing doggy-style alley-sex, saw a naked dude standing threateningly in front of a tied-up Khara a few pages later, and at the end of the book, beheld Aria asking Ichika to massage around her groin before a child knocked a fart out of her. At least the ink still smelled good.

I will admit, that all knocked the wind out of my sails (no pun intended). Vampeerz, Volume 5, however, had a much better flip-test.

Vampeerz, as you may remember, is a vampire Yuri manga by Akili, published by Denpa, and more than ably translated by Molly Rabbitt, about Aria (ageless vampire, can pass for 14) and Ichika (14-year-old human). A small entourage of vampires have joined the cast, giving the book a more ensemble feel. And as enjoyable as the book can get (amazing art, sweet Yuri moments, sometimes hilarious comedy), there’s usually a bit of skeeze. A little sketch. Maybe not enough to stand out if you’re just reading for fun, but if you’re taking the extra time to do a review, it becomes that much harder to ignore.

Plotwise, Volume 4 introduces Lord Arthur, a bisexual vampire who drops literary quotes in between doggy-styling it with the ladies in alleys and hot springs. He figures into the Vampire Intrigues, claiming to be on Aria’s side amongst a power struggle coming from rival vampire royalty – mostly for the sake of protecting his ex-boyfriend Jiro, who is part of Aria’s camp (and wants nothing more to do with ol’ Art, who he warns is “a licentious man!”). I will admit, the Intrigues are fairly hard to keep straight, and referring to them in flashbacks later on certainly doesn’t help in terms of clarity. Arthur is all but absent in Volume 5, though, as a school camping trip takes priority over politics.

This camping trip leads to a touching story involving Ichika’s childhood friend, as the pair find themselves drifting apart after gravitating towards their respective love interests. Akili’s ability to portray such tender emotions right after a chapter that should have been titled Boobapalooza still makes me dizzy.

And that’s the really confusing thing about this series: yes, Volume 5 opens with Ichika sitting on the toilet as she hears Aria and her vampire entourage coming home, but we also spend 76 pages at the end of the book in a single chapter detailing Aria’s touching history with Ichika’s grandmother, Chiro. There is honestly heartfelt writing in Vampeerz, but Akili can’t help but toss in that little bit of sketch like it’s a secret ingredient. Perhaps Volume 6 (currently due out in English in October) will finally flip my opinion on this book one way or the other.

Ratings:

Art – 9 Still my favourite thing about this book.
Story – 8 The fifth volume in particular really stepped things up.
Characters – 7 I’m still on the fence about Arthur, but so is everyone in the book.
Service – 7 I mentioned Boobapalooza, right?
Yuri – 8 The second half of Volume 5 makes for a brilliant stand-alone story.

Overall – 7

Girls Made Pudding

April 16th, 2025

By Christian LeBlanc, Staff Writer

Girls Made Pudding is an adventure game and visual novel from Kazuhide Oka and KAMITSUBAKI STUDIO, which just came out on April 10th for $9.99 US (but is currently 17% off until April 23rd). It is available on both Steam and on the Nintendo Switch Virtual Store; this review is of the Nintendo Switch version.

Joining the ranks of Japanese Yuri-adjacent media featuring girls riding around on bikes together (Super Cub) at the end of the world (Girls’ Last Tour), Girls Made Pudding is a soft, gentle game about the end of the world and the last few remaining humans in it. Also, it’s an exploration of intersubjectivity and shared realities. Also, it’s about pudding, made by girls.

Aside from briefly showing you how to use the camera and move the characters, the game tells you little about how the game works (aside from some tips on loading screens), so for the first little while, you’ll be figuring out the mechanics as you go (muscle power and brain power both deplete as you accomplish certain tasks, while your hunger meter constantly ticks down, and you also have a time meter that marks morning to night).

Cooking two-or-three-ingredient meals not only replenishes your meters, but is also the way to unlock certain conversation topics. Girls Made Pudding is a visual novel, you see, but instead of passively clicking a button to advance the story, you’re riding around on a motorbike exploring deserted towns, collecting recipes and ingredients, finding places to spend the night, and dealing with obstacles in the road (including groups of cats you can pet to restore your brainpower). Zooming forward is what advances the conversation, so you’re always on the move.

When I first started playing I was worried about getting lost and whether I should be making maps, but it turns out you’re always in one of several types of locale (forest, countryside, city, seascape, factory area) that repeat. Houses with items replenish their stock when you return to an area later, so it is impossible to get lost or miss something important.

You can change the difficulty so that your meters don’t deplete, but it’s so low-stakes you may as well leave them on, just to make the game feel a little more like a game. One time I used up all my brainpower and the girls just decided to finish their day early, which meant I had to re-start a conversation I’d been in the middle of. No game over screens. I did reach a game over scenario once from a conversation path I wasn’t supposed to go down, but I was able to continue from a better spot and not lose any progress. I didn’t even have to worry about branching storylines or alternate endings; again, low stakes.

To accompany these low stake adventures and conversations had while zooming through deserted neighbourhoods, there’s a beautiful guitar score (with the odd math rock flourish) by Daijiro Nakagawa that, along with the lovely art and character models by Zumochi, gives the entire game a pleasantly cozy feel.

Which brings us to our characters: Nikomi is a cat-girl in a maid outfit who drives the motorcycle, cooks, and goes with the flow, and she is riding with no-nonsense, white-haired Sumibi. Very early into the game, Nikomi expresses how she thought the two of them were dating to marry, which Sumibi immediately shuts down; an exploration of what these two mean to each other takes place concurrently with the exploration of deserted locales and what happened to humanity.

And just what has happened to humanity? You’ll have fun puzzling this out as you go along, but all you’re given up front is that people just started disappearing. You do meet a couple of other characters during your travels who both shed light on what happened, and while the science behind the fiction may not always feel right, I recommend just going with it so as to catch the right feels from the social commentary that’s being made.

So, is this a Yuri game, you rightly ask? Yes, and no. But also yes. The game gives details about Nikomi and Sumibi and how they interact with each other, and I don’t wish to spoil any of that. I will say that the game definitely wants you to consider these two as a potential couple, and that a lot of cliches are refreshingly avoided as we observe how two people can be important to each other.

Girls Made Pudding does have a few rough spots: it can feel a little exposition-heavy near the end, and while the game does a decent job of giving you the right ingredients at the right time, you’ll occasionally find yourself driving longer than you should looking for an egg so you can cook some buchimgae on the side of the road so you can ask someone about a photograph (a common theme in Jack Kerouac’s On the Road, probably…I still haven’t read it). I’ve included instructions in the comments on how to beat one particular mini-game, because it is not at all intuitive. The translation also gets a little rough in places, especially in one late-game sequence where it labels the wrong character as talking, but for $10 you’re getting six to seven hours of entertainment, a mystery, some science fiction, some deep thoughts, delightful music and scenery, and some cozy Yuri content. And, a liminally wonderful lack of crowds.

There’s also a very cute and funny post-game sequence; be sure to play some more after you’ve beaten the game and then check through your inventory for something that wasn’t there previously, and that will trigger a hilariously self-aware conversation.

Art – 8
Graphics – 7
Story – 8
Sound – 9
Control – 7
Characters – 7
Service – none, unless just seeing a maid outfit does it for you. And/or cat ears.
Yuri – 6

Overall – 7

Get on the same wavelength as Girls Made Pudding, and you will find a fun Yuri game that gets you thinking about relationships and shared realities long after all the pudding has been finished.

Momentary Lily Okazu Staff Review

January 15th, 2025

It appears that Okazu Staff huddle together when they encounter a trashfire in media, so once again, we are here to debrief and detox.

Today we are gathered together to memorialize our sanity, lost via Momentary Lily, streaming on Crunchyroll.

Christian LeBlanc

My first impression of the new GoHands joint was that it felt like being grabbed by the shoulders and shaken violently by someone vomiting glitter everywhere. And this is coming from someone who generally enjoys GoHands’ output, in defiance of people who point out the flaws in their animation.

Admittedly, I’m not particularly literate in cinema, and so online discussions will often illustrate to me why a scene in a movie works as well as it does. Likewise, people online can point out how GoHands is using an ambitious camera angle or perspective in the wrong place, but I may not always notice something’s off, and simply enjoy seeing the camerawork go absolutely ham for someone walking up a flight of stairs. And why not? Anime is generally exaggerated anyway, right?

Well, let me explain in terms of music. Momentary Lily is like a slow ballad where someone starts shredding on their axe like crazy halfway through the first verse. Yes, it’s an impressively face-melting, blisteringly-fast guitar solo, but what is it doing after a line and a half of lyrics? Some people will be open-minded enough to simply enjoy the guitar solo, and won’t be bothered by how out of place it is. Conversely, some listeners won’t understand why the gentle singing was interrupted by a piece of music from a seemingly different tune, and will be taken out of the song because it’s so jarring and distracting.

My colleagues will expand on how all the different elements of this show make it less than the sum of its parts, but let me pass the baton with this: one character’s death lacks gravitas because we haven’t gotten to know them well enough over two episodes, while another girl’s breasts defy gravitas even as she’s sobbing over her impending doom. Please learn to read the room, Erika Koudaji’s breasts.

Eleanor Walker

I watched this while nursing a tremendous hangover and I’m genuinely not sure if it improved the experience or not. The main thing going through my mind was “she breasted boobily” every time a certain character was on the screen. I still don’t know why these collection of walking stereotypes, sorry, characters are doing what they’re doing, what the “Wild Hunt” is and where they’re getting the ingredients for the random cooking segments. It’s like one staffer wanted to make a cute girls doing cute things cooking show and another wanted to make a monster fighting explosion show and the studio just shrugged and said “eh, whatever, we can only afford to animate one pair of breasts so work together”. The voices are particularly grating, I’m not generally one who notices particularly bad voice acting, especially in Japanese (I didn’t notice Hideaki Anno in The Wind Rises, for example, which was widely complained about online) but dearie me the voices in this one make me want to gouge my eardrums out with a melon baller.

Erica Friedman

This project is infamously animated by GoHands, a group that takes their work as animators VERY seriously, as everything in this anime moves, constantly. Even things that do not actually ever move.

In a post-apocalyptic world in which humans have been hunted by “The Wild Hunt” – over-animated kaijuu – a girl with a mysterious ability to call up a magical, science fiction-y, mega weapon finds a small group of other teenage girls with similar abilities. Whether you consider these girls to be special forces, or refugees or just plain child soldiers, don’t worry about the details…their misery and trauma will be mined for laughs and pathos and boob jiggles. And cooking lessons, so even at the end of the world, we can make a nice meal of rice and canned mackerel. We got to get our priorities straight.

As for the service – to quote the great Pamela Poovey, “Inappropes.”

Grab a Dramamine and watch Momentary Lily, with a cast of girls with verbal tics that stand in for a personality.

Frank Hecker

Fans of the anime Shirobako may recall a scene in which two animators are discussing a new technique for making reflections off eyeglasses look more realistic, followed by a shot of one person’s glasses illustrating that very technique. Watching Momentary Lily is like watching that scene on infinite repeat, but without the self-reflexive humor. After viewing the first couple of minutes of episode 1 in the conventional way, I turned the sound and subtitles off so I could appreciate Momentary Lily for what it really is, a SIGGRAPH demo with fighting girls. (I originally wrote “magical girls,” but they don’t have transformation sequences—more’s the pity.)

Watching the show this way helps make sense of some of the shot and plot choices. Why does one of the girls show off her moisturizing regimen in the first scene? So that we can see how well GoHands can model shiny skin (presumably using Phong shading or some more recent technique). Why do the girls take a break from fighting monsters to have a meal? So that the animators can take a break from animating kaijū and relax themselves, modeling various foods, plastic packages, tin cans, utensils, and so on. (They even show a cousin of the famous Utah teapot.) And most notably: why does the girls’ hair fly around so much? It’s simultaneously a plea to the production committee and a boast to the viewer: “If we had a bigger budget, we could animate every hair.”

I guess there’s a story here somewhere and presumably some attempts at characterization, but really the girls are to GoHands what the Madonna and child and other Biblical scenes were to Renaissance painters, a conventional set of stock images used to demonstrate mastery of their craft. (My using the word “craft” and not “art” is deliberate; there is little art here.) Watching Momentary Lily like I did highlights those demonstrations: the omnipresent lens flare that shifts position depending on which way the light is coming from, the focus pulling and bokeh, the way the clouds constantly moving across the sky are reflected in the windows of the buildings in the background. For me, the emotional climax of episode 2 was not the foreground scene of a girl in extremis, but rather the background shot of a tree with all its leaves rippling in the wind.

I especially loved the shots of buildings shown in dramatic perspective, whether during the day or at night, viewed clearly or enshrouded in fog. Which brings me to my recommendation to GoHands: forget plot, character, and dialogue. Ditch the monsters, include more scenes with buildings and benches, erase the girls from every shot, and create what the world has been waiting for: a true masterpiece of “yuri of absence.”

Luce

Well that sure was an eye workout. Ow.

Setting aside the camera for now, this is distinctly mediocre. Sci-fi and post-apocalypse isn’t my thing, but this wouldn’t sell me. The five characters we see initially are unmemorable, apart from ‘onee-chan’ with the big bouncing boobs that are totally unnecessary and look like they’re about to float her off to space. (One character says ‘too much jiggle’. Don’t call it out and flaunt it at the same time.) Renge, the ‘main’ character, is screechy, then apologising for the weirdest things, like ‘imposing’ on the group with a awkwardly cut cooking ‘segment’, as they refer to it. Wow, she’s amnesiac, has a cool weapon and can one shot the big robots. Great, sure sounds like a plot thread right there. Too bad I’m not interested.

Sadly, even if I was interested, watching this feels like an attack on the optic nerve. Aside from over-animated hair and one set of boobs, the animation is middling, but not awful. But it’s like someone heard ‘dynamic camera angles’ and decided this meant ‘camera must move every two seconds’. It’s at odd angles, or moving, but in really jarring ways that almost follow characters but not quite. There’s more lens flares than Star Trek. And what is with the split screens?!

If you have a tendency to migraines, or any visually triggered illnesses, avoid this. I promise it’s not worth it. I’m off to have a lie down.

Matt Marcus

When my friend and cohost Sibyl sent me the trailer for Momentary Lily, my first thought was “someone must really like RWBY.” As the announcement began circulating in my online spaces, I had only seen dismissive, but not illuminating, comments about the studio that made it. It wasn’t on my radar, but between my friend’s excitement and the reactions from the folks in the Discord after episode 1 dropped, I figured I would give it a shot.

Y’all, I was not prepared.

I could go on about the visually chaotic and cacophonous opening, but that’s just where it begins. From opening to ending, watching Momentary Lily is like reading one of those giant posts of text with three emojis after every sentence, but also the font is Wingdings.

The script feels like it was written by ChatGPT trained using the dialogue of every lady-led shonen show, but dumber. There’s the gamer girl who chugs energy drinks and calls them her “buffs” in every sentence she speaks. There’s the chipper leader with a verbal tic. There’s the serious dark-haired girl with glasses with a verbal tic. There’s the “big sister” archetype with absurd breast physics. There’s the gyaru girl. And, of course, we have the overpowered amnesiac lead who is so obscenely shy that half her dialogue is in pantomime. The characterization is so thin I’m surprised that their models are not literally transparent.

But we’re not here for deep ruminations on the human soul, are we? No, we’re here to see some overly-stylized teenagers do some high-flying ass-kicking! So that part must be good right? I got bad news for you: the action is messy, hard to follow, and extremely headache inducing. The characters don’t match the garish, hyper-saturated 3D backgrounds in both visual style and, worse, in framerate. Even in shots where the background isn’t moving as if the camera is being controlled by a drunk crane operator, the point of view zooms in and out and bounces around like a nap-skipping toddler on caffeine. It’s as if GoHands was afraid that if they didn’t jangle every key in front of our face for the entire scene, we’d lose interest mid-sword swing.

But beyond all that, the biggest sin is the pacing. Characters only have space to do schtick between the barest of exposition. Tone shifts rapidly from “badass” action to cutesy cooking segments where Amnesia Girl shows her new pals how to make otaku struggle meals. (Each episode is named for the dish said girl makes, so I guess this was The Thing GoHands decided the show should be About.) Scenes are smashed together with no sense of time passing. A character is killed in episode 2, and the previews of the next episode suggest that the show is going to tell us why we should’ve cared about this girl in the first place. It’s jarring and exhausting and boring at the same time.

And don’t get me started on the worldbuilding. Almost every human on earth has been vaporized yet social media still functions! Can’t wait for the plot to hinge on the crew posting their 7-Eleven survivalist stews on the ‘Gram. GOD this sucks.

The thing that strikes me the most about the show is that there is clearly effort and skill on display, and yet it is applied in the most artless way I have ever seen. It’s fascinating in that way: a show ostensibly about cooking that lacks taste. For all the “flavor” tossed in, this is very thin gruel.

Ratings:

Story – eh
Characters – verbal tics and trauma
Animation – LOL
Service – too much jiggle
Yuri – no thank you

Overall – canned fish

Kiss the Scars of the Girls, Volume 2

July 18th, 2024

by Christian Le Blanc, Staff Writer

Feet are not something to lance,
And the soft palate’s no place for hands.
Though we’ve been through school combat,
We should leave it at comrade;
You and me could write a stab romance.

As a quick refresher: Kiss the Scars of the Girls is a futuristic vampire Yuri manga from Aya Haruhana and Yen Press where vampires hardly have any powers or protections, and Class S dominates how vampire girls are educated at their vampire boarding schools which are located next to medieval-looking cities full of prey (and vampire hunters). Emille Florence is our bright, cheerful blonde, while Eve, with her long black hair and unapproachable manner, is her older ‘sister’ designated to show her the ropes and watch out for her.

When I reviewed Volume 1, I felt a bit let down by how dull everything felt, and lamented the absence of vampiral shenanigans, including violence. Reader, you can well imagine my surprise and delight when Kiss the Scars of the Girls, Volume 2 treated me to a flashback of a primary school knife fight where plucky and sunny-dispositioned Emille gets Stabbitha Christie’d by the awkward girl who likes her, Yucca Lotus.

I will admit, where this story features Class S prim and proper vampire ladies, I was rather surprised at how nonchalantly the narrator of the flashback says this all went down “on an otherwise unremarkable day” where they “were doing mock close-quarters combat training.”

What surprised me even more was how OMG WTF shocked her classmates are, and how their teacher is furious at Yucca for going all Stabbicus Finch on someone, but, really, when you arm schoolchildren with knives and tell them to fight each other, I don’t know how you can expect anything other than a Black Stabbath concert to break out.

As it turns out, vampires heal quickly and easily and Emille just waves it off and asks everyone to forgive her assailant, who then sticks with Emille from that point on to avoid getting bullied…I’d say the other students’ fear of ending up as a letter to Dear Stabby is really what keeps them from picking on her, but it’s hard to say with these vampire kids.

Yucca ends up having one of those friendships with Emille that you only read about in the occasional Yuri compilation of short stories, where that one short makes you feel all squicky because the creepy character loves seeing her girlfriend upset, so she keeps tormenting her in little ways. It’s off-putting, and Emille’s big sister Eve eventually has to step in and resolve things. Yucca leaves a letter saying she has to go now, her planet needs her, and a big part of me hopes that Eve herself wrote it to cover up any extracurricular “murdering Yucca” activities she felt she needed to do as Emille’s senpai.

Moving on, we start getting into the reason why the vampires in this book seem so human and normal, with the introduction of Colette, a clumsy human girl who Emille befriends in town. Can Emille and Colette forge a friendship, in spite of the fact that all vampires hate humans and all humans hate vampires? Lucce, Emille’s friend who works at the school library, seems to think so. When we learn that Lucce’s parents are a vampire and a human, and combine that with Lucce’s darker skin tones, we are definitely meant to realize that the vampires in this book are a metaphor for discussing prejudice and race, in much the same way that Yurikuma Arashi used bears as a metaphor for discussing prejudice and homophobia (just without any wild Ikuhara symbolism in Scars, unfortunately).

Ratings:

Characters – 5 (a slight bump up from last volume thanks to Lucce)
Story – 6 (no huge stakes, but I’m mildly curious to see what’s next)
Service – 1 (5 if you’re into seeing tonsils get fingered)
Yuri – 5

Overall – 6

When I read the first volume, I was puzzled over how similar humans and vampires seemed, and I now understand that this is being used to tackle racial prejudice (and for the shock humour value when we see things like combat training). This has made me enjoy this series a little more, and I’m curious as to whether Aya Haruhana will do anything more with the conceit, or if this is simply the current storyline before it gets abandoned for the inevitable return of Stabby McStabface.

Erica here: Volume 3, The Stabbening, is out at the end the month from Yen Press.

Vampeerz – “My Peer Vampires,” Volume 3

May 27th, 2024

by Christian LeBlanc, Staff Writer

I found the last book somewhat vile,
But this volume did make me smile.
Basketball, talking crow,
The return of Jiro,
And artwork made this all worthwhile.

If you’re a human (as opposed to a vampire) and you live to be a certain age, you may find your doctor warning you about your blood pressure, and you may then find yourself looking at ways to lower said blood pressure. Proper sleep. A little exercise. Consuming less salt.

Less salt, as it turns out, is a sub-optimal way of dining if you prefer eating food that is delicious. You can disguise the tastelessness, however, by adding other things to your meal: garlic, ginger, pepper, vinegar, lemon juice, etc. You may even find some recipes improved when you use these other seasonings.

So, too, has Vampeerz, Volume 3 (by Akili, published by Denpa) improved, by making better use of its extended cast. We still have the tastelessness I complained about in my review of Volume 2 (14-year-old human girl Ichika is horny for vampire girl Aria, who claims that she has no interest in romance because she looks and thinks like a child). The hustle and bustle of activity in Volume 3 shifts the focus away from this, however, in favor of vampire power intrigues (Aria turns out to be an important vampire figure, and there are allusions to other vampire factions wanting to do something about that) and, of course, school hijinx.

So, yes, we still get the odd panty shot or bath scene of self-described-as-child-like-Aria, but this is lessened by how she takes the initiative in her relationship with Ichika. And yes, while we may see someone popping a squat in the bathroom, we then also get hilarious moments like Khara in attack mode running full-tilt while wearing one of those whacky rubber horse masks.

Speaking of Khara (introduced last volume, along with her talking, size-changing crow, Jayanti) – Ichika initially (and hilariously) despises her as a rival for Aria’s affections, but soon friendlies up when they both realize that having someone to discuss Aria with is a lot more fun than staying hostile. Khara also joins the vampire intrigue with Jiro (Aria’s servant) and Sakuya (also Aria’s servant, whose cover is acting as school nurse, a position whose authority she abuses from go). It’s nice to see a larger cast interacting and bouncing off each other, and helps to make the book feel more ‘lived in.’

In addition to some vampire faction business, Ichika’s and Aria’s relationship is moved along when Aria accidentally gets a girlfriend while she’s washing her hands in the bathroom, causing some hurt and jealousy with Ichika. It might be a thin excuse for drama (or even satirizing how these misunderstandings occur in romance manga), but it’s good to see some progression between the two.

Regarding the art, this volume has one of my favourite layouts in any comic, a two-page spread that initially got me interested in this series when I saw it shared on Twitter some time ago: Aria sinks a 3-point shot while the arc of the basketball forms the gutters separating some panels, with a close-up of her lining up her shot in the foreground with thicker linework. It’s a gorgeous setup that can only be done in comics, and adds a great deal of visual depth and immersion.

Molly Rabbitt’s translation is mostly stellar, but could have used a second pass in a couple of places, as when a teacher refers to Paul McCartney’s song “Blackbird” as a poem that helped inspire the American civil rights movement, rather than having lyrics that were inspired by it. Clarity aside, the translation generally feels very fresh and authentic, particularly whenever the mood turns goofy.

Ratings:

Art – 9 I really enjoy Akili’s art style, and the kill-faces Ichika makes at Khara as she’s seized by jealousy made me laugh.
Story – 6 I feel like we’re still just setting up the pieces, but I’m enjoying seeing things get set up at least. There’s really not much plot to speak of, yet.
Characters – 7 I don’t feel super attached to anyone, but they’re fine to pass the time with.
Service – 7 I might not mind the service if the characters were all coded as older than fourteen, so as it is, it just feels off-putting.
Yuri – 8 Rivals for love! Bloody kisses!

Overall – 7 A much more enjoyable entry than last volume’s creepiness.

I’m hesitantly looking forward to Volume 4, which should already be out by the time you read this. I doubt that what I find unpleasant in this series is going away any time soon, but the artwork, humor and growing cast are the seasonings I need to keep me going.

But take that with a grain of salt, of course.

Archive for the Christian LeBlanc Category

Vampeerz – “My Peer Vampires,” Volumes 4 and 5

Girls Made Pudding