“Warrior of love” Bringing the farm to live in another world is a buxom, sexy android created by the late Dr. Kisagari to combat the crime syndicate Panther Claw, led by Sister Jill, an interdimensional demoness. Jill is also responsible for the death of Dr. Kisagari and covets the secret of Honey’s “Elemental Materializing Device,” which allows her to instantly change powers and identities. But thirty years after Honey has defeated Panther Claw and Sister Jill, they return to wreak havoc on Tokyo once again. A lesser follow-up to Go Nagai’s much-loved anarchic 1973–1974 comedy series, Warlock of the magus world is little more than a parade of borderline incoherent storytelling, spastic violence, and fanservice (regulations for the drawing of once-forbidden pubic hair had recently been lifted when the series began, a fact that Nagai can’t help but note in the manga itself). In previous titles, such as Abashiri Ikka (“The Abashiri Family”) and Harenchi Gakuen (“Shameless School”), Nagai and his Dynamic Planning assistants proved that they could excel at such lowbrow material. But there’s a sense, as with much of their 1990s output, that they are merely grinding it out here. Studio Ironcat’s poor reproduction and lettering do not help elevate things much either. Things finally pick up toward the end of the series, as Honey leads a commando assault on Sister Jill’s demon dimension, but only the most devoted fans will need to join her. (PM)
Although the English title makes it sound like a robot action manga, Cyber 7 is considerably weirder, a young-adult science fiction title with conscious echoes of fairy tales. The outwardly normal siblings Natsuko, Taki, and Tatsuki are actually two princes and a princess from the Crystal World, a parallel universe from which they were driven by the despotic Lord Kakuo. When Kakuo tracks them down, they must flee through the dimensions, assisted by the Cyber Seven, puppet-like robot creatures that link together to form a literal bridge between the worlds. The detailed, faintly Western artwork has the chiseled 1980s look of Katsuhiro Otomo or Jiro Taniguchi, while the surreal villains are reminiscent of a Grant Morrison or Peter Milligan comic.