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The first two volumes of author Masao Yajima & illustrator Boichi’s five-volume manga series Raqiya are brooding, enigmatic suspense with interludes of horror and intense violence, all steeped deeply in ancient Christian dogma. The third volume begins to accelerate the pace while subtly introducing new concepts to the narrative.

The middle volume of Raqiya: The New Book of Revelation provides a turning point for multiple characters and concepts. Luna Hazuki, who has been largely propelled by events thus far, finally begins to plant her feet and make hard decisions for herself. Still uncertain of her true nature, whether good or evil, she decides to isolate herself for the protection of the friends and loved ones she has that are still alive. However, other forces outside of her knowledge have no intention of allowing her to vanish quietly. Luna’s best friends, Isa and Toshiya, are thus forced to likewise stake out their own grounds and confirm their own convictions. While Isa re-commits himself to his devotion to Luna, Toshiya is conflicted by his position and beliefs, knowing that his decision will likely result in the death of either Luna or his own father and possibly even himself. The previous book depicted Toshiya leaping into ballistic action on behalf of the Vatican’s militant sect. Volume 3 doubles-down exponentially on the appearance and action of the Pneumatu Stomatus.

Comics from America (Warrior Nun Areala, Battle Pope), France (Spin Angels), and Japan (Hellsing, Chrno Crusade), among others, have exploited the giddy fascination with Vatican-sponsored heavily-armed assassins and mercenaries. The concept is now cliché and has always been a bit difficult to take seriously. But the introduction of a stone-faced team of ruthless killer priests in Raqiya volume 3 feels natural and threatening because the team is presented so seriously, and moreover because it’s been amply prefaced by the first two volumes, so the appearance is a natural and inevitable turn of the narrative instead of a sudden kitschy gag. The introduction, and rapid decimation, of the Pneumatu Stomatus soldiers keeps volume 3 tense and its pace brisk. The expansion of the story to involve Area 51 brings a more prominent physical esoterica to the storyline, further compounding the feeling that the story is picking up speed and momentum. The first two volumes were peppered with instances of momentary face-fault humor. The third volume is far more morose. So in place of visual gags, the third volume drops at least three prominent panty shots to momentarily distract attention from the grim tone. Whether using risqué exploitation as a substitute for more conventional humor is ethical or effective is another discussion entirely, so I’ll only mention that I just don’t recall the presence of any panty shots in the first two books. The shots in the third book arguably have legitimate narrative purpose, and in any case they’re a new wrinkle in the visual storytelling.

Otherwise Boichi’s graphic art remains as crisp as always. The art is highly detailed and very stylized yet designed to evoke a sense of realism. Volume 3 contains no sex or nudity, but like prior volumes does contain occasional scenes of grotesquely graphic violence.

Raqiya volume 3 proves that writer Masao Yajima has a conscious plan in mind for his characters and story. The cryptic first two volumes may leave readers wondering whether the story will ever shift into a higher gear. The third book is that distinct shift into a faster pace and greater intensity, promising a rip-roaring extended climax over the series’ final two volumes.