Manga Critic

AX, Vol. 1: A Collection of Alternative Manga

May 21, 2010 by Katherine Dacey

ax cover The next time someone dismisses manga as a “style” characterized by youthful-looking, big-eyed characters with button noses, I’m going to hand them a copy of AX, a rude, gleeful, and sometimes disturbing rebuke to the homogenized artwork and storylines found in mainstream manga publications. No one will confuse AX for Young Jump or even Big Comic Spirits; the stories in AX run the gamut from the grotesquely detailed to the playfully abstract, often flaunting their ugliness with the cheerful insistence of a ten-year-old boy waving a dead animal at squeamish classmates. Nor will anyone confuse Yoshihiro Tatsumi or Einosuke’s outlook with the humanism of Osamu Tezuka or Keiji Nakazawa; the stories in AX revel in the darker side of human nature, the part of us that’s fascinated with pain, death, sex, and bodily functions.

Founded in 1997, AX was a direct descendant of Garo (1964-2002), Katsuichi Nagai’s seminal avant garde manga magazine. As historian Paul Gravett explains in his introduction to A Collection of Alternative Manga, both publications served an essential purpose, providing artists a place to break free of the influence of commercial manga publishing — its rigid house styles, tight deadlines, strong editorial presence, and reader polls — and find more idiosyncratic forms of expression. At the same time, Gravett argues, Garo and AX gave artists a platform for speaking out against the dominant culture, to loudly question the truth that everyone can and should be “doing one’s best” while trying hard to fit in.

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AX, Vol. 1: A Collection of Alternative Manga

May 21, 2010 by Katherine Dacey

The next time someone dismisses manga as a “style” characterized by youthful-looking, big-eyed characters with button noses, I’m going to hand them a copy of AX, a rude, gleeful, and sometimes disturbing rebuke to the homogenized artwork and storylines found in mainstream manga publications. No one will confuse AX for Young Jump or even Big Comic Spirits; the stories in AX run the gamut from the grotesquely detailed to the playfully abstract, often flaunting their ugliness with the cheerful insistence of a ten-year-old boy waving a dead animal at squeamish classmates. Nor will anyone confuse Yoshihiro Tatsumi or Einosuke’s outlook with the humanism of Osamu Tezuka or Keiji Nakazawa; the stories in AX revel in the darker side of human nature, the part of us that’s fascinated with pain, death, sex, and bodily functions.

The thirty-three stories in A Collection of Alternative Manga nicely illustrate Gravett’s thesis, encompassing a true diversity of styles and subject-matters. At one end of the spectrum are artists such as Yuka Goto, whose work reflects a heta-uma, or “bad-good” aesthetic, with crudely-drawn figures in absurd situations (her feuding neighbors resolve their differences with a judo match), while at the other are artists such as Takato Yamato, whose intricate, naturalistic style becomes a vehicle for juxtaposing pornographically beautiful human bodies with explicit images of decay and rot. Most of the work in AX falls somewhere in between: the magical realism of Akina Kondo (“Rainy Day Blouse and The Umbrella”); the primitivist abstraction of Otoya Mitsusashi (“Sacred Light”); the horror-comedy of Kazuichi Hanawa (“Six Paths of Wealth”); the kawaii-grotesque of Mimyo Tomozawa (“300 Years”). Then there are stories which are parodies in the truest sense, borrowing the visual language of shonen manga for dark farce: Namie Fujieda’s “The Brilliant Ones,” in which an earnest group of students tries to help the class loser find a way to shine — even after his body has exploded into a thousand small parasites — and Tomohiro Koizumi’s “Stand By Me,” a story about a pair of peeping teens caught in the act.

For me, the biggest obstacle to enjoying the collection — as opposed to appreciating it — is that for every story like Ayuke Akiyama’s lovely, folkloric “In the Gourd” or Toranasuke Shimada’s historical phantasmagoria “Enrique Kobayashi’s El Dorado,” there are two that read like stunts, deliberate attempts to provoke, and maybe even disgust, the audience by rubbing its nose in taboo subjects and uncomfortable truths. Such confrontational art can be thought-provoking, to be sure, making us reconsider socially determined categories such as “parent,” “teacher,” and “child”: Yusaku Hanakuma’s “Puppy Love” is one such example, a bizarre, funny, upsetting story in which a woman gives birth to a litter of puppies and resolves to raise them as normal children. The struggles she and her “sons” face remind us of how difficult it is for anyone to raise a child whose behavior or appearance makes others uncomfortable; it’s With the Light, minus the easy sentiment (and with a dollop of David Cronenberg’s perverse sense of humor).

The need to elicit a strong, visceral response from the reader can also inspire puerile excess. Shigiheru Okada (“Me”), Saito Yunosuke (“Arizona Sizzler”), Kataoko Toyo (“The Ballad of Non-Stop Farting”), and Takashi Nemoto’s (“Black Sushi Party Piece”) repeated depictions of body parts and bodily fluids reminded me of sixth graders testing out every permutation of a new swearword to see which ones had the greatest shock value. Other stories, such as Yoshihiro Tatsumi’s “Lover’s Bride,” inspire an immediate ewwwww, and maybe a chuckle, but not much else: what deeper truths could possibly be gleaned from a sad-sack character’s decision to woo a primate instead of a human?

My other stumbling block to fully embracing AX is the way in which female characters are depicted in stories such as Yuichi Kiriyama’s “A Well-Dressed Corpse,” Hiroji Tani’s “Alraune Fatale,” and Osamu Kanna’s “The Watcher.” The female characters often seem more like receptacles for male anger, sexual aggression, or disappointment than they do actual human beings. I suppose one could argue that these artists are simply exaggerating a tendency found in manga across the spectrum, making explicit what’s normally implicit in a lot of material directed at male audiences. Yet none of these artists seem to be critiquing the male gaze in any meaningful way; they cast a pitiless, often lascivious eye on their female subjects, reducing them to a monstrous assortment of breasts and mouths and legs. It’s to editor Sean Michael Wilson’s great credit that he includes so many distinctive female voices in the anthology as well, preventing AX from becoming too dourly macho or grossly juvenile.

Yet for all my discomfort and distance from the material, I can’t look away. As a historian, AX excites me, providing a meticulously curated introduction to Japan’s underground comics scene. As a reader, AX challenges me to move beyond my notion of what constitutes manga, helping me understand what artists like Yoshihiro Tatsumi and Yoshiharu Tsuge were trying to do in the 1950s and 1960s with their “manga that isn’t manga”: to push the medium outside its comfort zone, to show us ugly truths, to make us laugh with recognition and discomfort, and to encourage artistic expression that, in Gravett’s words, is “as personalized as handwriting or a signature.” Recommended.

Review copy provided by Top Shelf. AX, Vol. 1: A Collection of Alternative Manga will be released on July 15, 2010.

AX, VOL. 1: A COLLECTION OF ALTERNATIVE MANGA • EDITED BY SEAN MICHAEL WILSON, WITH AN INTRODUCTION BY PAUL GRAVETT • TOP SHELF • NO RATING • 400 pp.

The Times of Botchan, Vols. 1-4

May 19, 2010 by Katherine Dacey

botchan_cover Reading The Times of Botchan reminded me of watching Alexander Sakurov’s cryptic 2002 film Russian Ark. Both employ a similar gambit: a literary figure from the country’s past wanders through a landscape populated by real people who played pivotal roles in its modernization. In Russian Ark, the author/protagonist role is filled by the Marquis de Custine, a French aristocrat who published Empire of the Czar: Journey Through Eternal Russia in 1839, while in The Times of Botchan the role is fulfilled by Soseki Natsume (1867-1916), the defining novelist of the Meiji Restoration. Neither Ark nor Botchan employs a clear, linear narrative; both works are episodic — even, at times, picaresque — in nature as their principle characters rub shoulders with poets, composers, czars, and politicians.

When we first meet Natsume, he is writing a novel called Botchan, a short, satirical work about a energetic young man who suffers from a Holden Caufield-esque desire to expose phoniness wherever he goes. Nastume hopes Botchan will help him achieve catharsis from a vague but nagging sense of anxiety brought on by the period’s social, political, and economic upheavals, from the Freedom and People’s Rights Movement to the first murmurs of suffragism.¹ Though we occasionally see Natsume in his study drafting chapters, or admiring the inky paw prints left behind by his cat, much of the manga is devoted to Natsume’s travels through Tokyo, which brings him into contact with historical figures from An Jung-Geun, an activist who assassinated the Korean governor in 1909, to Hiruko Haratsuka, a feminist active in the Seito suffrage movement of the 1910s, to Lafcadio Hearn, a Western journalist whose fascination with old Japan inspired him to write Kwaidan: Stories and Studies of Strange Things.

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The Times of Botchan, Vols. 1-4

May 19, 2010 by Katherine Dacey

Reading The Times of Botchan reminded me of watching Alexander Sakurov’s cryptic 2002 film Russian Ark. Both employ a similar gambit: a literary figure from the country’s past wanders through a landscape populated by real people who played pivotal roles in its modernization. In Russian Ark, the author/protagonist role is filled by the Marquis de Custine, a French aristocrat who published Empire of the Czar: Journey Through Eternal Russia in 1839, while in The Times of Botchan the role is fulfilled by Soseki Natsume (1867-1916), the defining novelist of the Meiji Restoration. Neither Ark nor Botchan employs a clear, linear narrative; both works are episodic — even, at times, picaresque — in nature as their principle characters rub shoulders with poets, composers, czars, and politicians.

Some of these encounters are the jumping off point for vignettes about Westerners living in Japan, or the state of Japanese literature, while others are mere coincidence and treated in just one or two panels. The resulting manga feels like a tableau, or the Japanese equivalent of a guided tour through Colonial Williamsburg, as our unseen narrator identifies the sprawling cast of characters and mentions key events in Meiji-era history.

Despite its historical ambitions, The Times of Botchan is best read for its quieter moments. Jiro Taniguchi creates intimate scenes that require little or no dialogue to convey their nuance: two acquaintances walking silently through a snowing streetscape, Natsume working in his study. Small details capture the transitional nature of the period, and speak volumes about the characters’ ambivalent relationship with the West, with some embracing European dress, others flatly rejecting it, and most, like Natsume, striking a compromise, combining a yukata with a button-down shirt and bowler hat.

Sekikawa’s script, however, is less artful than Taniguchi’s visuals, as the omniscient narrator often supplies the reader with information that can be readily inferred from the pictures. In one scene, for example, the writer Rintaro “Ogai” Mori² returns to his family after a prolonged stay in Europe. He intends to tell his parents that he loves — and plans to marry — a young German dancer named Elise Weigert, but cannot bring himself to do so now that he is back on Japanese soil. Taniguchi’s illustrations instill in us a powerful sense of Mori’s estrangement from his roots, using his characters’ body language and placement within the picture plane to convey the emotional distance between Mori and his parents, but Sekikawa’s narrator intrudes on the scene:

At that moment, Ogai felt, for the first time, that he was back in Japan. In this country, individualism was not regarded as a personal virtue, the ‘family’ had to be considered. Ogai was unable to speak the words he had prepared and became mute as a fish.

Such heavy-handed interjections suggest that Sekikawa doesn’t trust us to decode moments of mystery, poetry, or ambiguity on our own; at least the Marquis de Custine never bothered to explain why Nicholas II and victims of the Kursk disaster haunted the same wing of the Hermitage.

The Times of Botchan‘s other great flaw is its deadly serious tone. The two novels that Natsume wrote during the period portrayed in the manga, I Am a Cat and Botchan, are both satirical, filled with wry observations about human nature and sharp critiques of pomposity, greed, toadyism, and empty-minded embrace of Western mores.³ Though the manga is filled with visual signifiers for both works — cats, in particular, are a recurring motif throughout the first two volumes — the manga lacks the delicate touch of either novel; one might reasonably conclude from Sekikawa’s narration that Botchan was a Zola-esque expose on the evils of Westernization, rather than a comedy about a young teacher coping with the inept faculty at a podunk boys’ boarding school.

From time to time, however, the narrative snaps out of its staid, vaguely pompous tone. In one genuinely funny scene, for example, Japan’s leading literary figures gather in the home of a prominent politician for a meeting of “The Perpetual and Immutable Literary Circle.” Two are asked to compose a poem on the spot. The first, intoned by the host, is greeted with respectful, if vague praise (“It reminds one of the tranquility and beauty of Turner’s paintings,” one opines):

The great canon is heard from afar
On the left diagonal of the hands that hold the horse’s reins.

The second stuns them into uncomfortable silence:

When the cowherd makes a poem
A new air rises in the world.

A lively debate follows, with some detecting a whiff of socialism in the cowherd’s profession, and others praising it for its direct simplicity; not until the group’s acknowledged expert interprets both poems does the group reach consensus on their quality. The punchline comes in the final panel, when one member acknowledges that the first poem made no sense. In that brief scene, Sekikawa and Taniguchi capture the spirit of Botchan without slavishly recreating a scene from it; one could almost imagine the savage nicknames that a younger, less pretentious member of the circle might lavish on his elders as they debated the merits of both poems.

In another rare moment of levity, Natsume witnesses a young suffragette making out with her paramour in a restaurant, noting the length — three and a half minutes — and intensity of their kiss. Taniguichi draws that kiss in almost pornographic detail, with panel after panel of the two lovers’ mouths drenched in saliva, in essence showing us how Natsume views their contact, with a mixture of prurient fascination and revulsion. Sesikawa and Taniguchi then takes things a step further, borrowing a page from Milos Foreman’s Amadeus to suggest how this brief, everyday experience found its way into the pages of Botchan, with the suffragette morphing neatly into the Madonna, a social-climbing temptress who switches romantic allegiances when it suits her interest.

Given the didactic tone and frequent allusions to unfamiliar historical figures, I’m hesitant to give The Times of Botchan an unequivocal endorsement. Some readers will find the book long-winded, confusing, and perhaps even a little boring. But for those already enamored of Taniguchi’s superb draftsmanship or well-versed in Japanese culture, The Times of Botchan offers readers a lovely reward: a window into one of the most fascinating periods in Japanese history, and the creative process of one its most important voices.

NOTES

1. The Freedom and People’s Rights Movement in Japan began in the 1870s. Building on the reforms established in the Charter Oath of 1868 (which abolished Japan’s rigid class structure, among other provisions), urban intellectuals lobbied for the drafting of a constitution and the creation of a parliament.

2. Ogai Mori is best known to Western audiences for his novels The Wild Geese and Sansho the Bailiff, the latter being the basis of Kenji Mizoguchi’s 1954 film.

3. As translator Joel Cohn notes, Botchan (the novel) occupies a similar place in the Japanese canon as Catcher in the Rye and Huckleberry Finn, and is a standard text in most high schools. See the introduction to Natsume Soseki, Botchan, Translated by J. Cohn (New York: Kodandsha International, 2005).

Review copy of volume four provided by the publisher. This is an expanded version of a review that appeared at PopCultureShock on 6/5/2007. The original review focused on volumes 1-3 of the series.

Saturn Apartments, Vol. 1

May 16, 2010 by Katherine Dacey

If I’ve learned anything from my long love affair with science fiction, it’s this: there’s no place like home. You can boldly go where no man has gone before, you can explore new worlds and new civilizations, and you can colonize the farthest reaches of space, but you risk losing your way if you can’t go back to Earth again.

In Saturn Apartments, the physical distance between us and our terrestrial home is small, but the emotional distance is great. The story takes place in a future where environmental devastation has prompted humans to decamp the Earth’s surface for its atmosphere, where they build an elaborate structure that encircles the planet. That floating city resembles Victorian London in its rigid class system and physical organization: the poorest people live in its bowels, in an artificially lit environment, while the richest live on the uppermost levels, enjoying natural light and unspoiled views of Earth.

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Saturn Apartments, Vol. 1

May 16, 2010 by Katherine Dacey

Our guide to this stratified world is fourteen-year-old Mitsu, a professional window washer who lives on the lowest level. By virtue of his job, Mitsu has access to the entire city. For a boy who’s joined the workforce at an early age, who lives in a cramped room with few possessions, and whose neighbors suffer the ill effects of chronic light deprivation, his clients, most of whom live on the top floors, seem ridiculous and exacting. At the same time, however, they intrigue Mitsu; not only do they give him a glimpse into a more affluent way of life, they also own things — animals, machines, plants — that connect them to the Earth’s abandoned surface.

As these organisms and objects suggest, all of Saturn‘s characters suffer a strong sense of terrestrial homesickness. Midway through volume one, for example, Mitsu meets an eccentric zoologist who maintains an enormous private aquarium in his apartment. The man’s aquarium and his bizarre request that Mitsu splash water on the windows — something that’s impossible to do at an altitude of 35,000 kilometers — initially seem like a wealthy man’s whims; that is, until Mitsu learns that the zoologist is trying to create a more congenial environment for the aquarium’s prized specimen, the last surviving whale from a failed effort to reintroduce mammals into Earth’s oceans.

In other chapters, the characters’ longing to go home is more palpable. When Mitsu tackles his first assignment, for example, he finds himself at the very site where his father Akitoshi, also a window-washer, plunged to his death. Mitsu sees evidence of his father’s presence — a frayed rope, handprints on the side of the building — and though he interprets the evidence as proof of Akitoshi’s desperate struggle for survival, Mitsu is briefly seized by the thought that his father wanted to die, that Akitoshi cut the safety line so that he might fall back to Earth. Mitsu himself struggles with that same impulse; caught off guard by a strong solar wind, he finds himself dangling precariously above the Earth, mesmerized by the sight of the African continent spreading below him:

saturn_earth

Only the intervention of Jin, an experienced co-worker, snaps Mitsu out of his dangerous reverie and spurs the boy to take corrective action. Once safely tethered to a lift, however, Mitsu peers over the side for another glimpse of the surface, resolving to one day “find the spot down there where Dad landed.”

Like Planetes, Saturn Apartments is less a tale of intergalactic derring-do than of ordinary people doing extraordinarily dangerous, tedious work in extreme environments. Most of what we learn about the characters comes from observing them on the job, as they banter with co-workers, perform routine tasks, and respond to crises. In Saturn Apartments, Akitoshi’s death — an event that took place five years before the story begins — casts a long shadow over the window washer’s guild. The mystery of what happened to Akitoshi plays an important role in advancing the plot, to be sure, but most of the story explores the way in which Mitsu comes to terms with his father’s death through learning Akitoshi’s profession and befriending Akitoshi’s colleagues.

The other thing that Saturn Apartments and Planetes have in common is beautiful, detailed artwork that conveys a strong sense of place. Hisae Iwaoka’s landscapes bustle with activity, showing us how the apartment dwellers go about their daily business. Each level has its own distinctive appearance, from the basement tenements — where Mitsu and Jin live — to the middle level — a tidy grid of schools and mid-rise buildings dotted with grassy parks — to the very top — a collection of spacious lofts with enormous windows. Iwaoka renders all of these environments in gently rounded, slightly imperfect lines that make the complex look warmly inviting, rather than sterile and prefabricated; even the very lowest levels of the complex are appealing, their close yet friendly quarters reminiscent of fin-de-siecle Delancey and Mulberry Streets.

Saturn Apartments is many things — a coming-of-age story, a set of character studies, a meditation on man’s place in the greater universe — but like all good space operas, its real purpose is to affirm the truth of T.S. Eliot’s words, “We shall not cease from exploration/And the end of all our exploring/Will be to arrive where we started/And know the place for the first time.” Highly recommended.

Review copy provided by VIZ Media, LLC. Volume one of Saturn Apartments will be released on May 18, 2010. To read the first eight chapters online, visit the SigIKKI website.

SATURN APARTMENTS, VOL. 1 • BY HISAE IWAOKA • VIZ • 192 pp. • TEEN (13+)

On Criticism: The 7 Deadly Sins of Reviewing

May 7, 2010 by Katherine Dacey

One of the sad truths about cranking out weekly reviews: sometimes your reviews suck. I’ve written my share of clunkers over the last three-and-a-half years, from reviews that consisted entirely of summary (“And then this happened… and then Yumiko did this…”) to reviews so overblown and self-important they’re almost funny. (Almost.) I say this not out of false modesty, but out of a desire to share what I’ve learned from those cringe-worthy reviews. Below are some of the most egregious mistakes I’ve made — and continue to make, I might add — as well as some suggestions for avoiding similar pitfalls in your own writing. Behold: the Seven Deadly Sins of Reviewing!

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On Criticism: The 7 Deadly Sins of Reviewing

May 7, 2010 by Katherine Dacey

1. WRITING A BOOK REPORT.

Remember book reports? Your third grade teacher asked you to describe the plot of Freckle Juice or Ramona the Pest, right up until the big denouement which, of course, you weren’t permitted to discuss. You were then expected to wrap things up with a few sentences praising the book — “I liked the part when Ramona bugged Beezus” — and maybe a statement urging curious readers to pick up their own copy. Alas, some reviewers don’t seem to have moved far beyond Miss Applebaum’s book-appraisal formula; they summarize books in exhaustive detail without really critiquing them. As a consumer, I find these kind of reviews maddening because they don’t tell me anything I couldn’t have gleaned from the back cover, though they do give away details and plot twists that I’d rather experience for myself.

Quick fix: I shy away from proscriptive formulas about the ratio of summary to analysis, but a good rule of thumb is that your summary shouldn’t be disproportionately longer or more detailed than your critique of the book’s strengths and weaknesses.

2. DAMNING A SERIES WITH GENERIC PRAISE.

How many times have you read a review in which the critic called a book “fantastic” or “original” without justifying those assessments? Stating, “The art is brilliant in Children of the Sea,” means nothing if you don’t provide context for your praise, whether it’s comparing the book to something that’s widely acknowledged to be good, describing your own aesthetic preferences, or explaining what, exactly, moved you about the artwork.

Quick fix: Be specific! You don’t need a fancy technical vocabulary to discuss artwork, narrative, or characterization, just a willingness to substantiate your opinions with evidence from the book, e.g. “The art in Children of the Sea is photorealistic in its beauty,” or “Daisuke Igarashi draws sharks and whales in precise detail, right down to the way the light reflects off their skin,” or “The underwater scenes in Children of the Sea look like something out of a Jacques Cousteau special.” Notice I didn’t say anything about perspective, screentone, or Photoshop filters; even a reader who knows nothing about manga or cartooning could guess why I think the art in Children of the Sea is fantastic.

3. DESCRIBING A GOOD SERIES AS AN “INSTANT CLASSIC.”

Do you know why I don’t rely on Jeffrey Lyons or Michael Medved’s movie reviews? Both have a bad habit of waxing hyperbolic, throwing around empty phrases like “instant classic” or “Oscar-worthy” whenever a movie rises above the merely good benchmark. Go to that well too many times, as Lyons and Medved have done, and those phrases lose their descriptive power; can AKIRA, Fruits Basket, Lucky Star, Miyuki-chan in Wonderland, Old Boy, Pluto and The Times of Botchan be equally “Eisner-worthy”?

Quick fix: If you’re tempted to call something an “instant classic,” scan your last ten positive reviews. If you haven’t declared anything “brilliant” or “timeless” within recent memory, fire away; if you’ve already deemed six books “the best manga of 2010,” look for another way to express your enthusiasm.

4. INSULTING READERS WHO DON’T AGREE WITH YOU.

Whoo, boy, here’s a commandment I’ve violated more times than I care to admit: namely, any time I’ve read a book that’s filled with needless panty shots or dippy, dithering heroines who can’t seem to get it together. The problem with statements like, “Only a horny teenage boy could possibly like this,” or “My inner feminist is appalled that any woman would enjoy Black Bird,” however, is that you needlessly antagonize readers whose taste differs from yours. (The same goes for positive assessments in the vein of “Only someone with a hole in their soul could hate this manga,” or “You’re not a real manga fan unless you like Neon Genesis Evangelion: Shinji Ikari Raising Project.” Says who?) Identifying a series’ potential audience is one thing; dissing that audience in the process of saying, “Hey, this book’s for you,” is another — unless, of course, you’re looking to manufacture controversy.

Quick fix: Steer clear of sweeping pronouncements about who will (or should) like a particular series.

5. WRITING LIKE A HIGH SCHOOL STUDENT.

Fail: a review that reads like a hastily composed freshman English paper. And no, I’m not talking a typo here or there, or the occasional, WTF-does-that-mean sentence; we’re all guilty of those, sometimes on a weekly basis. I’m talking about the kind of reviews that are so poorly written I instinctively reach for my stash of red pens because I want to fix them.

Quick fix: Learn the difference between it’s and its. Split run-ons into two or three shorter sentences. Ask a friend or partner to proofread your work. Visit sites like Copyblogger and Grammar Girl for the skinny on “bad” versus “badly.” And consider downloading After the Deadline, an open source application that offers more intelligent editorial suggestions than Word’s pre-installed Spell- and GrammarChecks. (Hat tip to Alex Woolfson for introducing me to After the Deadline.)

6. ADOPTING SOMEONE ELSE’S VOICE.

There’s a style of writing about comics — call it Fanboy Expert, for want of a better term — that’s all over the internet. Its best practitioners make it look seductively easy, as if all an aspiring reviewer need do is coin a few catchy phrases, drop references to Cool Stuff (read: indie bands that no one’s heard of, obscure comics from the 1960s, Derrida), and voila! a funny, insightful essay is born. By focusing so much on the performative aspects of reviewing, however, many Fanboy Experts neglect the equally important tasks of critiquing and contextualizing the comic at hand. The result: a review that sounds snarky and derivative and tells me more about the writer’s interest in Bang Bang Eche than his knowledge of the comics medium.

Long-term fix: If you can’t blow like Charlie Parker, develop your own sound; not every review needs to be a dazzling display of verbal virtuosity.

7. TAKING YOURSELF TOO SERIOUSLY.

In a recent think-piece on the state of movie criticism, Andrew O’Hehir offered this helpful analogy:

…reviewing movies is a lot more like performing stand-up comedy than like delivering a philosophy lecture. None of those grand ideas even begin to matter if you’re boring and you can’t write.

O’Hehir doesn’t knock the importance of knowing the medium’s history, or discussing movies in the greater context of politics, literature, and art, but he does challenge the idea that good criticism is inherently high-minded. And he has a point: it’s easy to get carried away with the idea of being a tastemaker, educator, or — God forbid — truth-teller at the expense of having something worthwhile to say. I’m all for a post-Marcusian analysis of desire in shojo manga, but only if said analysis really sheds light on a hidden aspect of the text; otherwise, I’d rather read a blisteringly funny takedown of Hot Gimmick! Why? Because that takedown might be more insightful and true to the source material than ten paragraphs of theoretical rumination.

Quick fix: Before invoking Adorno, Darwin, Durkheim, Foucault, Freud, Horkheimer, Jung, Levi-Strauss, Marx, Said, Saussure, or any of their proteges, ask yourself this: is my critique of Naruto enhanced by a reference to post-colonialist discourse, or would the text be better served with a straight-up review assessing the characters’ ninja prowess?

My Girlfriend’s a Geek, Vol. 1

May 5, 2010 by Katherine Dacey

GEEKMANGA_1 The frog who appears to be a prince is a staple character in romantic comedies: what Jane Austen novel didn’t feature a handsome, wealthy suitor who, in the final pages of the story, turned out to be ethically challenged, penniless, or engaged to someone else? My Girlfriend’s a Geek offers a more up-to-the-minute version of Mr. Willoughby, this time in the form of a nice young woman who looks like a dream and holds down a responsible job, but has some rather unsavory habits of mind.

The hapless protagonist of My Girlfriend’s a Geek is Taiga Motou, a perpetually broke, somewhat flaky college student who aspires to be a novelist. Taiga is on a quest to find the perfect job, one that “pays big” and is “close to college and easy to do and not too sweaty”; bonus points if the staff includes “a beautiful, hard-working big sis-type chick.” When he stumbles across a clothing company with a “Help Wanted” sign in the window and an attractive manager in the office, he jumps at the chance. Once employed, Taiga does his best to flirt with the beautiful Yuiko, though his opportunities are few and far between: a chance encounter in the lunch room, an after-hours search for missing inventory. Yuiko’s signals are hard to decode — she blows hot and cold, and ditches him to fiddle with her VCR — but she eventually agrees to go on a proper date with him.

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My Girlfriend’s a Geek, Vol. 1

May 5, 2010 by Katherine Dacey

The prince who turns out to be a toad is a staple figure in romantic comedies: what Jane Austen novel didn’t feature a handsome, wealthy suitor who, in the final pages of the story, turned out to be ethically challenged, penniless, or engaged to someone else? My Girlfriend’s a Geek offers a more up-to-the-minute version of Mr. Willoughby, this time in the form of a nice young woman who looks like a dream and holds down a responsible job, but has some rather unsavory habits of mind.

Taiga doesn’t have much opportunity to savor his conquest, however, as Yuiko makes a startling confession at the end of dinner: she’s a geek. But not a run-of-the-mill geek; she’s a self-proclaimed fujoshi with a butler fetish and a tendency the slash the hell out of every shonen manga she reads. Taiga tries to play along with her interests for a while, but quickly finds her exasperating, with only Yuiko’s cougarness to keep him invested in their relationship. (The author never states their age difference, though we’re clearly meant to see her as a few years Taiga’s senior.)

Yes, we’ve been to this well before with series like Fujoshi Rumi in which a “normal” person tries to make sense of an otaku’s ecstatic and excessive behavior, and indeed, some of Geek‘s jokes have a been-there, done-that quality to them: is it really news that fujoshi like butler cafes? Other gags, however, hit the mark. In one scene, for example, Yuiko manipulates Taiga into writing fanfic by appealing to his authorial ambition — “I was really hoping I could read a novel written by you,” she tells Taiga — while in another, an innocent conversation between Taiga and his studly pal Kouji leaves Yuiko trembling in anticipation, as she hears their exchange as a prelude to a steamy make-out session.

Though the source material for My Girlfriend’s a Geek is told from a male point of view — Pentabu, the original novel’s author, writes about his girlfriend with a mixture of awe, fear, and confusion — the manga has a decidedly more feminine tone. The artwork has a strong shojo flavor, with pretty male characters, close-ups of blushing faces, and flowery and starry backdrops galore. Artist Rize Shinba pulls off the neat trick of showing us events from both the regular-guy and fujoshi perspectives: when Taiga puts on his glasses, for example, Shinba represents him first as a college student in corrective lenses, then as a handsome seme superimposed on a bed of sparkles and roses. The humor, like the artwork, is a little gentler and cleaner than the original novel’s (to judge from the excerpt that appears at the end of volume one, at least), though it’s clear Yuiko harbors some disturbing fantasies; if you wondered what sort of person would squee over Ciel Phantomhive, Yuiko’s behavior provides an important clue.

From what I’ve been able to glean from web sources, it looks like My Girlfriend’s A Geek is a two-volume series, which seems just right for its fujoshi-say-the-darndest-things premise: long enough for us to develop an interest in the leads and chuckle at Taiga’s folly, but short enough to avoid repeating the same jokes with minor variations. I can’t say it’s the funniest or most original thing I’ve encountered, but it’s a quick, entertaining read, perfect for the beach or a plane trip.

Review copy provided by Yen Press. Volume one will be released on May 18, 2010.

MY GIRLFRIEND’S A GEEK, VOL. 1 • ART BY RIZE SHINBA, STORY BY PENTABU • YEN PRESS • 192 pp. • RATING: OLDER TEEN (16+)

Twin Spica, Vol. 1

May 3, 2010 by Katherine Dacey

Asumi Kamogawa is a small girl with a big dream: to be an astronaut on Japan’s first manned space flight. Though she passes the entrance exam for Tokyo Space School, she faces several additional hurdles to realizing her goal, from her child-like stature — she’s thirteen going on eight — to her family’s precarious financial position. Then, too, Asumi is haunted by memories of a terrible fire that consumed her hometown and killed her mother, a fire caused by a failed rocket launch. Yet for all the pain in her young life, Asumi proves resilient, a gentle girl who perseveres in difficult situations, offers friendship in lieu of judgment, and demonstrates a preternatural awareness of life’s fragility.

If Asumi sounds like a stereotypically optimistic manga character, a can-do kid who maintains a positive attitude through every set-back, the first volume of Twin Spica reveals her to be more complex and damaged than her firm resolve might suggest. Mr. Lion, her imaginary friend, is proof of the wounds she carries: she “met” him when she was six, never quite outgrowing the need for his counsel or company. When Asumi suffers a traumatic flashback to the Yuigahama disaster, for example, she calls out Mr. Lion’s name; when her father responds angrily to the news that she passed the space academy’s placement test, she asks Mr. Lion if she should enroll or abandon her dream of becoming “a driver on a rocket.”

Though Asumi’s story ran in Comic Flapper, a seinen magazine, Twin Spica works surprisingly well for both adults and teens. The storytelling is direct and simple without being didactic, filled with the kind of characters that younger readers will recognize and embrace as true to their own experiences. At the same time, however, Twin Spica‘s subtexts are rich enough to sustain an adult’s interest, as the supplemental stories “2015: Fireworks” and “Asumi” attest. Both explore Asumi’s response to her mother’s death, acknowledging and validating Asumi’s curiosity about her mother’s appearance (Mom suffered disfiguring burns) and about dying itself. (Six-year-old Asumi scandalizes funeral-goers by leaning over her mother’s casket to see what death “smells like.”) Without a trace of mawkishness, Yaginuma shows us how Asumi makes sense of what happened to her mother, recognizing his young heroine’s keen emotional intelligence in the way she chooses to honor her mother’s memory. Tween and teen readers may well find these passages moving, as they touch on one of childhood’s most primal fears, but adult readers will find them more unsettling, as they remind us of our inability to protect children from painful experiences, and of the moment when we first grasped death’s finality.

The artwork, like the narrative, has a direct, expressive quality that keeps the focus on the characters’ interactions, rather than the gizmos and laboratories where their training takes place. Yaginuma draws his tyro astronauts in a simple, stylized fashion that treats them as collection of distinctive geometric shapes: Fuchuya, one of Asumi’s classmates, sports a ‘do evocative of Eero Saarinen’s iconic TWA terminal, while Asumi resembles a kokeshi doll with her exaggerated round head and tiny body. The characters’ slightly awkward proportions register as a deliberate artistic choice — call it studied naivete or primitivism — though at times the art seems a little clumsy and flat; readers will be forgiven for thinking Yusinuma’s storytelling skills outstrip his draftsmanship.

Whatever conclusions the reader reaches about Yusinuma’s style, it’s impossible to deny the emotional power of Twin Spica as a coming-of-age story about one girl’s journey from childhood to adulthood, and one nation’s journey from terrestrial power to space race competitor. A beautiful, thought-provoking book for star gazers of all ages.

Review copy provided by Vertical, Inc. Volume one of Twin Spica will be released on May 4, 2010.

TWIN SPICA, VOL. 1 • BY KOU YAGINUMA • VERTICAL, INC. • 192 pp. • NO RATING

Twin Spica, Vol. 1

May 3, 2010 by Katherine Dacey

twinspica1 Asumi Kamogawa is a small girl with a big dream: to be an astronaut on Japan’s first manned space flight. Though she passes the entrance exam for Tokyo Space School, she faces several additional hurdles to realizing her goal, from her child-like stature — she’s thirteen going on eight — to her family’s precarious financial position. Then, too, Asumi is haunted by memories of a terrible fire that consumed her hometown and killed her mother, a fire caused by a failed rocket launch. Yet for all the pain in her young life, Asumi proves resilient, a gentle girl who perseveres in difficult situations, offers friendship in lieu of judgment, and demonstrates a preternatural awareness of life’s fragility.

…

Bokurano: Ours, Vol. 1

May 1, 2010 by Katherine Dacey

Among the most discussed scenes in the new Kick-Ass film is one that pits a tweenage assassin against a roomful of grown men. To the strains of The Banana Splits theme song, thirteen-year-old Hit Girl dispatches a dozen gangsters with a gory zest that has divided critics into two camps: those, like Richard Corliss, who found the scene shocking yet exhilarating, a purposeful, subversive commentary on superhero violence, and those, like Roger Ebert, who found it morally reprehensible, a kind of kiddie porn that exploits the character’s age for cheap thrills. What’s at issue here is not children’s capacity for violence; anyone who’s run the gauntlet of a junior high cafeteria or cranked out an essay on Lord of the Flies is painfully aware that kids can be beastly when the grown-ups aren’t looking. The real issue is that Hit Girl seems to be enjoying herself, raising the far more uncomfortable question of how children understand and wield power.

Mohiro Kitoh, creator of Shadow Star and Bokurano: Ours, likes to muck around in this uncomfortable space. In Shadow Star, for example, Kitoh pairs teens with powerful supernatural allies — in this case, “shadow dragons” — who become instruments not for fighting evil but for exacting revenge on their masters’ peers and asserting their masters’ primacy in the school pecking order. Shadow Star‘s graphic violence and sex scenes clearly made some folks uneasy, as a few of the later chapters were censored here in the US. (Dark Horse dropped the series before completing it.) Bokurano: Ours hasn’t crossed that line — at least not yet — but once again finds Kitoh subverting a familiar manga trope to suggest the darkness of the underage psyche. This time, he takes a stock shonen formula — kids piloting giant robots to save Earth from aliens — and gives it a nasty twist: the pilot of a successful sortie dies after completing his mission.

The first volume of Bokurano: Ours is neatly divided into three acts, the first explaining how Kokopelli, a mysterious computer programmer, dupes fifteen kids into “playing” this lethal game; the second profiling Waku, a brash jock who pilots the first mission; and third profiling Kodama, a ruthless loner who leads the second. In just a handful of pages, Kitoh establishes both boys’ personal histories and personalities with efficiency and nuance. Waku, for example, views his mission in the same light as a soccer match, as something to be won, while Kodama views his sortie with calculated detachment: by stomping flat an entire neighborhood, he hopes to create work for his father’s construction business. (He’s a youthful Donald Trump, minus the comb-over.)

As these first two sorties suggest, Kitoh seems intent on laying bare the unspoken truth about the giant-robot genre, that kids’ power fantasies are seldom as heroic and self-abnegating as we’d like to think; given the opportunity to control an enormous, destructive piece of machinery, many kids would just as soon turn it on others as save the day. His point is well-taken, but is driven home with such grim determination that it feels more punitive than insightful. The same could be said for his fight scenes, in which he meticulously documents the destructive effects of the children’s behavior. Kitoh’s robots look more like flesh-and-blood creatures than machines, making every body blow and puncture as viscerally real as a wound. The fights aren’t exciting; they’re exhausting, grim spectacles with terrible consequences for everyone caught in the crossfire.

Which brings me back to Kick-Ass: if a story’s tone is serious and dour, rather than cheeky and excessive, how are we to process the sight of young children committing terrible acts of violence? I wouldn’t go as far as Ebert and pronounce Bokurano: Ours morally reprehensible, as I think Kitoh recognizes that a child’s capacity for inflicting — and enjoying the sight of — pain comes from a different place than an adult’s, something that’s less self-evident in the Kick-Ass movie. At the same time, however, there’s something undeniably exploitative about Kitoh’s fondness for depicting children in peril; he seems to take pleasure in stomping all over the idea that children are more innocent and pure than adults, even though he’s devised an unfair scenario for testing that hypothesis. (As I note above, the kids are tricked into “playing” what they believe is a game, with no way to renege on their contract.) I’m not sure if his aim is to shock or simply tell unpleasant truths, but either way, his relentlessly pessimistic view of human nature wears thin fast.

BOKURANO: OURS, VOL. 1 • BY MOHIRO KITOH • VIZ • 200 pp. • RATING: OLDER TEEN

Bokurano: Ours, Vol. 1

May 1, 2010 by Katherine Dacey

BOKURANO: OURS, VOL. 1 • BY MOHIRO KITOH • VIZ • 200 pp. • RATING: OLDER TEEN

Kobato, Vol. 1

April 26, 2010 by Katherine Dacey

Kobato Hanato has a job to do: if she can fill a magic bottle with the pain and suffering of people whose lives she’s improved, she’ll have her dearest wish come true. There’s just one problem: Kobato is completely mystified by urban life, and has no idea how to identify folks in need of her help. Lucky for her, Ioryogi, a blue dog with a foul mouth and fierce temper, has been appointed her sensei and guardian angel, tasked with helping Kobato develop the the street smarts necessary for completing her mission.

It’s perfectly possible to read Kobato as a story about a sweet, clueless girl who teams up with a gruff but lovable animal to collect wounded hearts. That book is beautifully drawn, but isn’t terribly interesting; most of the stories follow the same template so, well, doggedly, that even the most committed fan of cute would find Kobato too repetitive to be much fun. A more productive way to understand Kobato is as a moe parody, a gleeful skewering of an entire genre in which the cute, underage heroine’s primary role is to endear herself to readers with her mixture of enthusiasm, naivete, and sensitivity.

Exhibit A in the case for moe parody: CLAMP has provided Kobato with a name and a mission, but no history that would explain her bizarre behavior. (Is she an amnesiac? An alien? A simpleton?) Nor does CLAMP reveal Kobato’s deeper motivation for collecting wounded souls. “There’s a place I want to go!” she cheerfully tells Ioryogi without elaborating on the why and where. Exhibit B: Kobato’s behavior seldom endears her to anyone. When Ioryogi instructs her to “do the things that are appropriate for Christmas,” for example, Kobato casually asks a stranger to spend the night with her in a hotel, to the consternation of his girlfriend, while an old man interprets her request to “heal his heart” as a solicitation for sex. Exhibit C: Ioryogi has a sadistic streak that far outstrips the basic demands of the plot. Though his comments are shockingly abrasive at first, it doesn’t take long for the reader to realize that Ioryogi’s assessment of Kobato is spot-on; in effect, he gives the audience permission to dislike Kobato, despite her sweet face and Holly Hobbie outfit.

CLAMP has performed this sleight of hand before with Chobits, another series that can be read as a straightforward genre exercise or a parody. In the case of Chobits, CLAMP starts from the basic nebbishy-guy-meets-magical-girl premise, adding some perverse ruffles and flourishes that call attention to the genre’s more unsavory aspects. (Chi, the magical girl/robot/love interest, behaves like a horny frat guy’s idea of the perfect girlfriend, eschewing underwear, hanging on her owner’s every word, and buying him porn magazines as a gift.) The complexity of the story and the size of the cast eventually overwhelm the satire, however, making it hard for the reader to know how, exactly, she’s supposed to react to Chi and Hideki’s relationship. In Kobato, on the other hand, CLAMP strips things down to the bare essentials, putting the focus squarely on the darkly comic hijinks.

Lest I make Kobato sound unbearably mean-spirited, the manga equivalent of kicking a puppy, let me assure you that it’s actually good fun. Ioryogi, the unquestionable star of the series, is a hoot; CLAMP wrings considerable laughs from the cognitive dissonance between his cute, doll-like appearance and his destructive rages, martial arts moves, and unsavory habits. (Like Mokona Modoki, Ioryogi is always jonesing after beer or sake.) Long-time CLAMP fans will enjoy the cameos sprinkled throughout the book, as characters from Chobits, Suki, and xxxHolic cross paths with Kobato in subtle, unexpected ways — think Where’s Waldo for the Card Captor Sakura crowd. (Bonus points if you can identify the characters without consulting the translation notes.) As one might expect, the artwork is clean and elegant, filled with beautiful costumes, lovely title pages, and crisply executed action sequences in the manner of Tsubasa: Reservoir Chronicles.

A quick glance at the Wikipedia entry suggests that future volumes of Kobato may cant more towards romance than satire. So long as Ioryogi is along for the ride, however, I’m confident that Kobato will remain edgy enough for readers, like me, who have a limited tolerance for insipid heroines. Recommended.

Review copy provided by Yen Press. Volumes one and two of Kobato will be released simultaneously on May 18, 2010.

KOBATO, VOL. 1 • CLAMP • YEN PRESS • 160 pp. • RATING: TEEN (13+)