“Just as Seere is starting to get used to his new role as Sakura's mama, an old demon friend, Gaap, shows up at the Masuda house! He wants to know why Seere hasn't completed his contract and returned, but Seere has a bigger problem on his mind—he's starting to worry that no matter how good he gets at doing chores, he may never be able to fill the hole left by Sakura's real mother…” (Yen Press)
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A year after the release of the first volume, “Mama Akuma” has finally returned to carry on the story of an almighty demon tasked with playing mother to a young girl. The first volume showed a lot of potential with a simple premise setting up uproarious and absurd situations for the demon Seere, as well as Kuzushiro's art being perfectly apt for the comedy genre (In fact, at the time of the release of volume one, I had mentioned the title as a potential new hit/standout in the genre). However, a year out is a long time removed to come back to a series, and the likelihood of work staying relevant with such long lapses is a concern.
“Mama Akuma” is still an exercise in perfect comedic timing both narratively and visually, carrying the energy that the previous volume had. The spirit of the book, that wonderful fish-out-of-water awkwardness that works well in the format is still intact and wonderfully executed. Furthermore, the artistic direction of Kuzushiro is aptly charming for the comedy genre with expressive characters that fluctuate between moe and sinister. Ultimately, the work stays consistent and continues to build on the humorous scenario by adding more characters with their own unique quirks that further feed into the story.
However, the limited longevity of the series becomes apparent within the long absence. The comedy hits the mark and any fondness for the first issue will be reignited, but it did take a degree of struggle to recall all the characters as well as the events that had happened previously–it would be recommended to revisit the first volume before checking out the recent release. This reflects that certain attributes of the series are forgettable, whereas cherished series will often have readers recalling details years later. As such, “Mama Akuma” maintains its identity as an idyllic piece of humorous escapism, yet shows is without long-term redeeming qualities that define the best the genre has to offer.
It is apparent that the 14-month break between releases has, to a degree, hurt the overall appeal of the series. Perhaps if given a few consistent releases “Mama Akuma” can make more of an impression among comedy fans, yet with no announcement for the next volume another long absence is possible. Despite its strengths, another year-plus gap could easily make Mama Akuma a completely forgotten series.
