I think I’m going to have to reserve judgement on Shioko Mizuki’s Crossroad (Go! Comi). There are lots of nice moments in the first volume, but as a whole, it’s all over the place.

The death of 16-year-old Kajitsu’s grandmother leads to an extended family reunion. Kajitsu’s hopelessly irresponsible mother Rumiko shows up, as do Kajitsu’s two step-brothers, 20-year-old goofball Taro and 16-year-old Natsu. Kajitsu hasn’t seen any of them in years, and lots of old resentments crop up. Things get worse when Rumiko vanishes again, leaving another step-sibling (cute grade-schooler Satsuki) in their care.

Left with few other choices and not entirely happy about it, the kids decide to stick together, mostly for Satsuki’s sake. The process of reaching that decision is complicated, with Taro demonstrating a surprising nasty streak. Kajitsu is also shocked that chubby, sweet Natsu has turned sleek and cold (and smart and popular) during his absence. The beats that come out of all this are alternately funny, sad, angry, weird, and tense.

They aren’t entirely coherent, though. It seems like Mizuki is spending most of the first volume finding her tone, fishing around until she finds one that suits. There isn’t really a cumulative effect from beginning to end. Something similar happens with most of the characters as well, though Kajitsu is a solid, consistent presence.

She’s also interesting and sympathetic enough to make me curious to see what happens to her next. She’s understandably angry and withdrawn, still dealing with abandonment and other losses, but she’s also very cautiously open to life’s possibilities. Kajitsu is the one element of Crossroad that really holds together, and I’m invested enough in her to want to see what happens next.

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I liked the nasty edge of the first volume of Takako Shigematsu’s Tenshi Ja Nai!! (Go! Comi). Things are a little smoother and sweeter in the second, but it’s still an entertaining read.

Closed-off Hikaru is helping schoolmate and pop idol Izumi keep a secret: he’s a boy pretending to be a girl to hold on to a lucrative career as a model and actress. Izumi and bodyguard Yasukuni initially had to blackmail Hikaru into helping, but the scheming duo has grown on Hikaru as she learns more about their motives and backgrounds.

Now, she’s a willing part of the conspiracy, though she isn’t particularly thrilled about the unwanted attention that comes with her role. She’s also got another distraction in the form of a handsome, romance-novel-ready music teacher named Ayase. Hikaru has to balance life as Izumi’s assistant and accessory, a budding and forbidden crush, and a steady stream of jealous and curious outside parties.

It’s fun stuff, a nice mix of mistaken identity comedy, complicated romance, and coming-of-age drama. Shigematsu gives more depth to her three protagonists and does an equally nice job introducing orbital characters like Ayase, mean girl Shiori, and self-proclaimed ladies’ man Kurobe, a co-star with romantic designs on Izumi.

Tenshi Ja Nai!! bustles along, throwing new twists at its characters with every chapter while deepening their relationships. I like it a lot.

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Speaking of Go! Comi, they’ve announced two new titles, Night of the Beasts and After School Nightmare. (I love the title of the latter.) David Taylor mentioned this development a couple of days ago, then Franklin Harris linked to the official confirmation.

There’s no denying that shôjo manga can be formulaic. Scenarios and themes tend to recur, and many manga-ka adopt a common, easily recognizable visual aesthetic. But what’s constantly surprising to me is the ability of individual manga-ka to invest the formula with distinct energy and a sense of fun.

That’s the case with Takako Shigematsu’s Tenshi Ja Nai!! (I’m No Angel!!) (Go! Comi). A lot of familiar elements are in place, but Shigematsu brings spark and charm to them, even if she doesn’t turn the genre upside-down.

Hikaru, the protagonist of Tenshi Ja Nai!!, is faced with a choice. She can move to France with her mother and stepfather, or she can enroll in an elite boarding school. Since she doesn’t care for her mother’s husband, she chooses the latter, hoping for an uneventful, low-profile experience.

As a child, Hikaru worked briefly as a model and was teased relentlessly by classmates. Anonymity is important to her. She doesn’t want to fit in with her classmates so much as blend into the background, avoiding attention and, by association, bullying.

Unfortunately, her room-mate is budding pop idol Izumi Kido. Hikaru’s classmates are dying to get close to Izumi and see Hikaru as their point of entry. When Hikaru balks at this role, she becomes the object of intense curiosity and animosity, just what she’d hoped to avoid.

Things get worse, as Hikaru learns that Izumi’s sweet, camera-friendly exterior masks sly ruthlessness, and that Izumi’s handsome and devoted assistant, Yasukuni, carries a sword. Oh, and Izumi’s actually a boy pretending to be a girl to achieve pop stardom and wealth.

Hikaru gets drawn further and further into Izumi’s deception and associated emotional craziness. It’s the last thing she wanted, and she resents these insane people screwing up her wallflower ambitions. But she’s just passive enough to go along with their demands, seeing defiance as a quick route to even more attention and turmoil. At the same time, she learns a bit more about Izumi’s motivations, and she softens towards the cross-dressing shark.

It’s a bit heavier on plot than I’m used to from shôjo. Twists come regularly and often, and things move along at a brisk pace. Shigematsu structures her story nicely, balancing scheming comic developments with gentle emotional observations. The premise is rather absurd, but it has just enough internal logic to hold together.

It’s also populated well. Hikaru may be a victim, but she’s no dummy. As the volume bustles along, she gets plenty of opportunities to stand up for herself and come out of her shell inch by inch. Izumi is selfish schemer, but he’s a compelling one, and the things that drive him generate real sympathy. Yasukuni may be a bit of a walking shôjo type – handsome, loyal, and mysterious – but he’s essential to the dynamic in his own way. He’s a nice bridge for Hikaru’s introversion and Izumi’s narcissism. Shigematsu is careful in developing their interrelationships, and the care yields a lot of nice moments.

While the art is shôjo-standard pretty, there’s the odd hint of subversion, too. Since many of the emotional moments are staged to meet Izumi’s personal and professional ends, the swoony shôjo sheen can seem like a bit of a wink.

Tenshi Ja Nai!! doesn’t overturn the shôjo apple cart in any meaningful way. It has familiar romantic-comedy ambitions and easily recognizable elements. But Shigematsu’s craft and energetic storytelling make it an engaging read all the same.