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Sugarholic, Vol. 2

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sugarholic2Sugarholic, Vol. 2 | By Gong GooGoo | Published by Yen Press – Thanks to the power of guilt and her desperate need for cash, Jae-Gyu finds herself being reeled in by Whie-Hwan’s proposal that she pose as his girlfriend for a month. Meanwhile, childhood “friend” turned pop idol Hee-Do is dreamy-eyed over a photo of himself with Jae-Gyu, snapped by a fan during their recent encounter (to the extreme dismay of his handlers). Unfortunately, things continue to be difficult for Jae-Gyu in this volume as she faces her new life in the big city. First, she is easily lured into a quasi-prostitution scenario by some unscrupulous coworkers of her friend Hyun-Ah. Later, her brother’s borrowed apartment falls through, leaving her on her own. With all circumstances leaving her more and more dependent on Whie-Hwan for her survival, Jae-Gyu begins to feel a bit attached, but is she in over her head?

Nothing earth-shattering or even truly unexpected happens in this volume, yet the story’s characters remain quirky, charming, and generally fun to read about, which is definitely its primary draw. Jae-Gyu’s childlike tactlessness and oddly random sense of responsibility make her a unique heroine even within a common manhwa mold, and Whie-Hwan’s frequent loss of cool keeps him from fully becoming a genre cliché. It is Hee-Do, however, who provides true mystery in this series with a personality that, at least at this point in time, is just too weird to unravel. This is not a liability by any means. Though his single-minded devotion to Jae-Gyu (who is apparently still anticipating some kind of revenge) is undoubtedly a tad creepy, it is also inexplicably sweet. Lingering over the cell phone photo of himself with Jae-Gyu running away from him he muses over how little the photo does her justice, thinking, “You’re the kind of person who sparkles most when you’re moving.” He’s a character who lives so completely in his head it’s astounding that he’s able to function in the world at all, let alone as a public figure, which may be the secret to what makes him so fascinating.

Further insight into Whie-Hwan’s past is still too vague to be quite compelling in this volume, though it certainly promises future intrigue. The same could be said for the brief sidestep into the story of Jae-Gyu’s brother, which fades into the background all too quickly. Yet, even without major plot development, the volume maintains momentum, thanks to its messy, likable characters.

Though so far lacking the heavily addictive quality of Goong or One Thousand and One Nights or even the fantastic strangeness of 13th Boy, Sugarholic remains a fresh, fun addition to Yen Press’ lively lineup of girls’ manhwa titles.

Review copy provided by the publisher.

Time and Again, Volume 1

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TimeAgainv1 Time and Again, Volume 1 | By JiUn Yun | Published by Yen Press – Baek-On Ju is lazy, selfish, frequently drunk, and generally rude. He’s also a gifted exorcist, who makes a living hiring out both his talents and those of his companion, Ho-Yeon, a martial artist who acts as his bodyguard. Though this episodic volume hints at tragic histories for both characters, it is mainly concerned with their involvement in the tragedies of others. Some of their clients (such as a mother and son plagued by by the ghost of the son’s wronged wife) are suffering tragedy caused by themselves, while others (such as a couple horrified to hear that their newborn son is destined to die in his teens) face tragedy that has been dealt to them by fate. Included, too, are a couple of seemingly unrelated stories (one gruesome, one sad) which match the others in tone, if not in particulars.

Though this volume’s storytelling is somewhat uneven, especially in terms of character development, there is more than enough to chew on for readers interested in ghost stories, or even eighth-century Chinese culture. The author includes a little bit of Tang Dynasty history in the volume’s end notes, and though she deliberately states that this comic is a fantasy and not meant to be faithful to history, her interest in the period is evident throughout. The stories are steeped in a solemn stew of religion and folklore, finding their inspiration in Chinese poems (like Li Bai’s “Writing in a Strange Place”), Japanese fables (“The Tongue-Cut Sparrow”), and other sources of varying East Asian origin. Even its original title is borrowed from a Goryeo Dynasty-era Korean poet. Though the result of all this inspiration is not nearly as profound or thoughtful as one might expect, the book is intriguing and emotionally affecting all the same.

Though Baek-On is sought out mainly to rid people of their woes, quite frequently there is actually very little he can do for them, as most have created (or had created for them) circumstances from which there is no easy escape, a truth that few of them are able to receive gracefully. The parents of the infant fated to die young, for instance, are unable to accept the fact that there is nothing that can be done to change their child’s future, and even go so far as to camp outside Baek-On’s home until he will give them some kind of hope. That the “hope” he is able to offer them will cause future misery for their son is obvious, though the parents’ insistence on pursuing it anyway is both painfully understandable and inexpressibly sad. The laws of fate and karma held as truth in the story’s universe are unyielding and indifferent to pain or compassion, just its people are stubborn and undeniably human, unable to compromise present happiness to avoid long-term tragedy. What makes this manhwa work best, however, is Baek-On’s bad humor and irreverence juxtaposed over so much grave suffering, providing a wry perspective on the failures of humanity (including his own).

The characters of Baek-On and Ho-Yeon are yet undeveloped, though there is a lot of potential in these early stories. The characterization is very much like the story’s art at this point–surprisingly sparse in places and occasionally difficult to follow–like a work not quite finished, yet still well-formed enough to have a recognizable shape. The story’s paneling in particular is confusing at times, without a clear path for the eye to follow, yet just as with its characters, the story is intriguing enough to inspire some extra effort.

Though Time and Again gets off to a somewhat rocky start, its ominous tone, historical setting, and idiosyncratic characters are certainly encouraging, and suggest strong potential for its future as a supernatural series–a refreshing addition to Yen Press’ manhwa catalogue. I definitely look forward to future volumes.

Review copy provided by the publisher.

U Don’t Know Me

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U Don’t Know Me | By Rakun | Published by NETCOMICS – “I realized that the reason the two of us couldn’t stand forever in the same place wasn’t just because I couldn’t keep up with his height–a height, by the way, which began outgrowing my own little by little.” – Prologue, U Don’t Know Me

Seyun and Yoojin have been close since childhood, raised like brothers by their parents who were best friends–so much so that when Seyun’s father made the decision to take on the debt left by his own father, Yoojin’s parents offered to take Seyun in as their own child to ease his burden. Though Seyun’s father refused the offer and moved his family to a cheaper neighborhood to tough it out, Seyun and Yoojin remained friends, despite the distance and their ever-shifting lives. …

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Manhwa Monday: Scanlation wars reach manhwa?

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Welcome to another Manhwa Monday! This week, a fannish battle that has been raging in the manga blogosphere for ages may be ready to brew amongst manhwa fans, thanks to fan frustration and some unpleasant statistics.

First, from the fannish side, manhwa summarizer Comic Seoul has had enough of readers requesting links to scanlations. It’s a worthy rant, pointing out that even the detailed summaries posted there violate copyright law.

And from the industry side, later in the week, JoongAng Daily (the English-language version of Korean newspaper JoongAng Ilbo) published this article by Sung So-young, naming illegal downloads as a major culprit in the decline of manhwa sales in South Korea while film and television based on manhwa properties thrive. …

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Full House, Volume 1

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FullHouse1Full House, Vol. 1 | By Sooyeon Won | Published by NETCOMICS – Ellie is a young, independently-minded, Oxford educated screenwriter living in London, far from her native Korea, on an estate called Full House, left for her by her recently deceased father. Having given up on romance with her childhood friend Felix, who became frustrated with her lack of interest in a physical relationship, Ellie is content to live the life of a single career woman in the house she so loves. Her happy existence is disrupted, however, when she is evicted from the house by its new owner, scandal-ridden matinee idol, Ryder Baye. Following her eviction, Ellie lingers on a street corner, pondering her future and vowing to complete the screenplay she holds in her hands. A gust of wind blows the pages into the street, and as Ellie struggles to gather them up, her foot is run over by a passing car, the driver of which turns out to be none other than Ryder Baye.

With Ryder already embroiled in scandal, he and his handlers pamper Ellie in the hospital, hoping to keep the accident out of the news. In a burst of anger and desperation, Ellie suggests that Ryder marry her so that she can recover ownership of her home, an idea which–much to her surprise–is pounced upon eagerly by Ryder’s manager, Miranda, who is anxious to prove that Ryder is not gay. Finally agreeing to a false engagement with a guarantee she can return to Full House (which she will share with Ryder, whom she hates), Ellie begins her new life in the public eye, for better or worse.

Though the setup is classic and so far predictable, Full House has a number of things working strongly in its favor. First of all, Sooyeon Won is delightfully wordy, crafting pages of pithy banter between determined enemies Ellie and Ryder as well as long pieces of narration that read more like a novel than a comic. Though this is the same style responsible for the deliciously overwrought melodrama of her well-known boys’ love series, Let Dai, here it reads as stylish romance with a vintage theatrical feel. Ellie’s quick wit and sharp tongue make her an unconventionally appealing heroine, more interested in her career than her appearance or any other traditionally feminine concerns. Ryder is thoroughly enjoyable as her foil, whose only goals are to do his work and carry on his affairs without hassle. That he is especially drawn to the house that Ellie would do anything to keep gives them one piece of common ground, though this romantic comedy is guaranteed to be volatile for a good long time before either of them recognize it.

Another point in this series’ favor is NETCOMICS’ English adaptation, which reads surprisingly well, even capturing a genuinely British feel in the dialogue, something that is helped along significantly by the decorous third-person narration that accompanies much of the volume. Not having read any of the volumes of this series released by its former licensee, Central Park Media, I can’t compare the two, but considering NETCOMICS’ poor early track record with translation, it seems important to mention how nicely they’ve done with this series so far.

Sooyeon Woo’s art, though not as detailed or beautiful to look at as her work on Let Dai, has a light, sketchy feel that complements the breezy tone of the series, aided further by her playful paneling which keeps the pace brisk despite the abundance of dialogue. Both art and dialogue look clean and crisp in NETCOMICS’ online reader, even at its lower-resolution setting, and even the smallest text is readable against the series’ backgrounds, something that can’t be said for Let Dai.

Despite its questionably believable plot and obvious setup, this series has enough spark and energy behind it to easily propel readers into its second volume. Its fast-paced banter and classic romantic comedy feel make Full House an appealing new addition to NETCOMICS’ manhwa catalogue.

Volume one of Full House is available from NETCOMICS online.

Manhwa Monday: Anticipating 12 Creators

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Welcome to another Manhwa Monday! A bit of recent news comes from the Toronto Comic Arts Festival, where British publisher Fanfare/Potent Mon debuted Korea As Viewed By 12 Creators, their long-awaited follow-up to 2006’s Japan As Viewed By 17 Creators. The book’s official PR describes it as, “Twelve insightful short graphic stories into the ‘Hermit Kingdom’, six by European and six by indigenous creators, including award winning Park Heung-yong and ‘Best Manga 2006’ artist Vanyda.”

Originally listed as a winter release in Fanfare’s 2007 catalogue (and again in 2009‘s), this has been a highly-anticipated title for quite some time. A quick check-in with About.com‘s Deb Aoki confirms that the book did indeed appear on the convention floor!

Due for full release in July, word on the cyber-street suggests that this collection of Korean and French stories is a must-buy for fans of Korean comics. I look forward to seeing it for myself!

In other news, Comic Seoul returns (“sort of”) after a lengthy hiatus with summaries of new chapters of Goong and Habaek.

Last week offered just a handful of reviews from the blogosphere. First, Kate Dacey looks at volume two of One Fine Day (Yen Press) at The Manga Critic.

If Sirial’s approach to the material remains unchanged from volume one, his artwork is cleaner and more assured in volume two; the linework is firmer, giving the characters a more solid appearance, and the panel flow is smoother.

At the Graphic Novel Reporter, Danica Davidson reads the first four volumes of Click (NETCOMICS).

Click gets props for creativity and interesting weirdness.

Manga Life’s Charles Webb takes a first-timer’s look at the final volume of Croquis Pop (Yen Press).

While you could swing a stick and find a few dozen other setups with the same blueprint, Croquis Pop sells it with an infectious dose of enthusiasm … I felt like I’d read something that deserved notice because it was trying so hard (and succeeding on its own terms).

And at Kuriousity, Lissa Pattillo reviews volume three of Sarasah (Yen Press).

Volume three of Sarasah continues on the second volume’s trend of well appreciated new content and plot elements that help raise the series up from its superficial beginnings … The series still needs a bit more kick but a building cast of interesting characters and a potentially deadly political mess brewing in the background looks promising.

That’s all for this week!

Is there something I’ve missed? Leave your manhwa-related links in comments!

13th Boy, Vol. 1

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13th Boy, Vol. 1 | By SangEun Lee | Published by Yen Press – High school girl Hee-Soo is so certain that classmate Won-Jun is her “fated love” that she confesses her love for him on television in front of nine million people. Won-Jun initially accepts her feelings and agrees to go out with her, but then dumps her without explanation after just a month. Unable to accept the break-up and determined to discover its true cause, Hee-Soo resorts to unsavory measures such as going through Won-Jun’s wallet and stalking him both in and outside of school, during which she has several run-ins with Won-Jun’s friend Whie-Young, who always seems to be lurking just at the right moment. As it turns out, Whie-Young has feelings for Hee-Soo which he’s carried since they met as children, an acquaintance Hee-Soo seems not to remember. Meanwhile, Hee-Soo has a talking cactus, Whie-Young has unexplained magical powers, and both Whie-Young and Won-Jun have some kind of inexplicable bond with a female classmate named Sae-Bom, potentially supernatural in origin.

13th Boy is lively, idiosyncratic, thought-provoking, and just a wee bit confusing, at least in its first volume. The title refers to Hee-Soo’s thirteenth boyfriend (Won-Jun, incidentally, is number twelve), “…the fated 13th boy who would be my first love–and my last,” so reads the narration just a few pages in. Though I went in initially believing that the “13th boy” must refer to Whie-Young, by the end I wasn’t sure of anything anymore, least of all this. Almost nothing that is introduced in this volume is explained in a satisfactory way, yet the story’s characters and quirky sensibility are so oddly charming, I can’t help but wish for more.

Hee-Soo is a deceptively timid character–sweet and shy on the surface, she becomes downright forceful (even strident) in her aggressive pursuit of Won-Jun but her belief in their common destiny is so sincere, what might otherwise be irritating just reads as kind of cute with an undertone of pathos. If nothing else, her strong sense of purpose on the subject is at least several hundred times more palatable than the weepy clinginess she thankfully leaves behind early in the volume. Won-Jun at first appears cold and even quite cruel, but there’s a sense of longing hidden under his thick layer of resigned indifference that leaves me wanting to know more.

The character who has captured my deepest interest at this point, however, is Whie-Young–a tangled mess of mystery and contradiction with unexpected kindness on the side. At the end of the volume, when it looks like Won-Jun might actually be Hee-Soo’s fated love after all, my heart was quite broken for poor Whie-Young despite the fact that there is obviously a whole lot of story yet to be told.

Where this volume falls short is that it poses many more questions than it answers, and while mystery is obviously a great way to keep readers hooked into a story, there are just too many random elements introduced to keep things even remotely cohesive. Whie-Young’s powers, the unexplained bonds, the obsession with “destiny,” the talking cactus–each of these things is genuinely fascinating and nicely whimsical, but with not even one of them explained by the end of the volume there is a sense that the story is wandering towards nowhere. Hopefully this is not actually the case.

SangEun Lee’s art is a definite highlight, especially for those of us fond of the particular charms of manhwa. The character designs are as quirky as the characters themselves, with seriously enormous eyes that make the boys especially look rather like aliens. The cactus (Beatrice) looks like an invader from a gag comic against the flowery shojo-style backgrounds. While this might seem jarring in another comic, here it simply matches the story’s playful, otherworldly quality.

Though 13th Boy‘s first volume is scattered and undeniably uneven, its appealing characters and sense of fun provide ample incentive to lure readers into the next volume. I can definitely be counted as one of them!

Volume one of 13th Boy will be available on June 9, 2009. Review copy provided by Yen Press

I.N.V.U., Vol. 5

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I.N.V.U., Vol. 5 | By Kim Kang Won | Published by TOKYOPOP | Rated T (13+) – After the unfortunate ramen incident involving Rea’s “borrowed” designer dress, things come to a head for her at home when Youngjun unknowingly outs her as an aspiring model to her family. Rejected by her father for her ambitions, she loses her home but unexpectedly gains an opportunity in the fashion business. Meanwhile, Sey is finally warming up to Siho (though not quickly enough to satisfy him) and Jae Eun’s crush on pastry chef Simon may not be a lost cause after all! This volume’s heavy drama, however, comes when a well-meaning neighbor shares one of Hali’s magazine spreads with Hali’s mother, forcing her to temporarily face the reality of her son’s death. This reality check sends her into a fit of violence against Hali, sending Hali straight into the arms of her teacher and reluctant suitor, Hajun.

I.N.V.U. is unapologetically soapy and certainly over-the-top, but this volume strikes an unusually nice balance between soap opera drama and real inspiration by putting Rea in the spotlight and giving her a genuinely realistic job in the fashion business—something that could easily lead her towards a satisfying career. Though the drama with Hali and Hajun is given more page time, it is Rea’s fortune that drives this volume, lending it some real (and unexpected) sparkle. It helps, too, that even the endless Hali/Hajun angst is forced to actually move forward, thanks to some serious manipulation on the part of Hajun’s conniving fiancée. That Hajun reacts to these manipulative moves with more maturity than he’s shown in the previous four volumes combined is a real bonus as well. Fans of boys’ love will appreciate Jae Eun’s subplot in this volume, too, as Simon makes a special request for future versions of his donginji boyfriend.

Five volumes in (and after a second multi-year break) I.N.V.U. seems to finally be hitting its stride. Here’s hoping the pace will pick up for publication as well!