Manga Bookshelf

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Recommended Reading

5 Underrated Shojo Manga

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Earlier in the week, I sang the praises of Kaze Hikaru, my all-time favorite shojo manga (and one of my all-time favorite manga, period). Today I shine the spotlight on five great titles that haven’t garnered as much favorable notice as they deserve. Sadly, all but one are officially out of print or will be soon, owing to publisher closings, lapsed licenses, and so-so sales. If you can’t find them through retailers such as Amazon, Buy.com, or Right Stuf!, you might wish to cast your net wider to include sites like Robert’s Anime Corner Store (a good source for older titles) and eBay, or try your local library for copies.

phoenix125. PHOENIX, VOL. 12: EARLY WORKS

OSAMU TEZUKA • VIZ • 1 VOLUME (complete)

A better subtitle for volume twelve of Phoenix would be I Lost It At the Movies, as these four stories reveal just how passionately Osamu Tezuka loved American cinema. In a 1980 essay, Tezuka explained that “watching American big-screen spectacle movies such as Helen of Troy and Land of the Pharaohs made me want to create a similar sort of romantic epic for young girls’ comics.” Looking at this collection, the sword-and-sandal influence manifests itself in almost every aspect of Tezuka’s storytelling, from the costumes and settings to the dialogue, which the characters declaim as if it were of Biblical consequence. (Paging Charlton Heston!) What makes this Hollywood pomposity bearable — even charming — is the tempering influence of Walt Disney. The character designs owe an obvious debt to Snow White, while the supporting cast could easily belong to Cinderella or Sleeping Beauty’s entourage of chatty animal friends.

Anyone looking for the moral complexity of later Phoenix stories will be disappointed in volume twelve, as Tezuka’s villains are cartoonishly evil and his heroes (and heroine) chastely noble. If one approaches this collection in the spirit of, say, a musicologist flipping through Beethoven’s pre-Eroica manuscripts, however, the rewards are more palpable. In these early stories we see Tezuka developing his comedic chops with pop culture references and physical slapstick; we see him experimenting with layout, as he renders the battlefields of Troy and Rome in sweeping, full-page panels; and we see him creating his first cycle of interconnected stories, introducing some of the themes that would unify the entire Phoenix saga. In short, we see Tezuka’s first attempts to find his own voice as he pays tribute to the artists who influenced him, learning more about his exuberant, unique artistry in the process. (Originally reviewed at PopCultureShock on 3/19/08.)

xday14. X-DAY

SETONA MIZUSHIRO • TOKYOPOP • 2 VOLUMES (complete)

When star high jumper Rika injures her leg and loses her boyfriend to a teammate, she becomes profoundly depressed. She soon discovers an online community of similarly disaffected students, however, all of whom share her desire to “make the school disappear.” Their internet chats soon give way to in-person meetings, where Rika comes face-to-face with three very different people: “Polaris,” a shy teen who dresses like a Goth off campus, “Mr. Money,” a friendly underclassman, and “Janglarian,” a young biology teacher who wants to dynamite the school. Setona Mizushiro’s dark story could easily spiral into melodrama, but she does a fine job of showing us how the normal tribulations of being a teenager — fighting with parents, enduring harassment from peers, feeling overwhelmed by anxiety — have led these four fragile people to hatch such a radical plan for coping with their pain. The second volume lacks the dramatic urgency of the first, as the students’ plot begins to come unraveled, but X-Day remains persuasive until its final pages, thanks to Mizushiro’s vivid characterizations and nuanced artwork.

airevolution13. A.I. REVOLUTION

YUU ASAMI• GO! COMI • 5 VOLUMES (incomplete; 17 volumes in Japan)

A.I. Revolution starts from a premise familiar to legions of Isaac Asimov fans: a human builds a robot, only to discover his creation has a mind and feelings of its own. Sui, the story’s human protagonist, initially views robots as household appliances, not unlike toasters or vaccuum cleaners. When her father presents her with an android companion, however, Sui develops a strong bond with it, discovering that Vermillion has a capacity for emotion that far outstrips her expectations.

A.I. Revolution may sound like I, Robot Hottie, but Yuu Asami puts a thoughtful spin on the material, filtering familiar sci-fi themes through a shojo lens. Though she weaves evil scientists and corporate espionage into the narrative, the story is at its best when focusing on Vermillion’s interactions with his human family; Sui’s father, for example, has modeled Vermillion in the image of a colleague that he admired, leading to a few funny, awkward moments of human-robot flirtation, while Sui seesaws between sisterly protectiveness and romantic attachment to her handsome companion. (Really, is there any other kind of robot in shojo manga?) Asami’s art reminds me of Akimi Yoshida’s with its elongated character designs, delicate linework, and sparing use of screentone. It’s a little dated perhaps, but a welcome change of pace from the slicker, busier layouts characteristic of the titles licensed by Tokyopop and VIZ. Highly recommended for fans of old-school shojo. (Originally reviewed at PopCultureShock on 3/4/08.)

gals12. GALS!

MIHONA FUJI • CMX • 10 VOLUMES (complete)

This wacky comedy is one of the better shojo licenses in the CMX catalog, a rude, raunchy, and oddly moral tale about a feisty kogal named Ran Kotobuki. Though Ran and her pals are primarily interested in shopping for outrageous outfits, visiting the tanning salon, and stealing book bags from students at rival schools, Ran’s upbringing in a household full of police officers (dad, mom, and big brother are all cops) has taught her to adhere to a strict code of conduct: no sex for favors, and no tolerance for anyone who disrespects her friends.

Ran is a terrific, memorable character — impetuous, loud, funny, and tough, the kind of person who would literally smack sense into another girl if she thought it would work. Better still, she’s not easily swayed by boys; her relationship with the sweet but dim Tatsuki is surprisingly chaste, limited primarily to hand-holding and awkward discussions about feelings. (Ran won’t deign to say, “I love you,” as it compromises her tough-girl image.) As befits a manga that was serialized in Ribon, all of the characters have enormous, doll-like eyes in the Arina Tanemura style, and fabulous outfits that shame the Gossip Girls. The backgrounds are surprisingly detailed, conveying the look and feel of the Shibuya district with a specificity that’s all too rare in shojo manga. In sum, Gals! is the kind of good-natured gang comedy that I hoped My Darling! Miss Bancho would be: full of humor and heart, but with fewer capitulations to shojo convention.

lovesong1. LOVE SONG

KEIKO NISHI • VIZ • 1 VOLUME (complete)

Back in the 1990s, Matt Thorn labored hard to make Keiko Nishi a household name among American manga readers, translating six of her stories for VIZ; two appeared in Four Shojo Stories alongside work by Moto Hagio and Shio Sato, and four appeared in a stand-alone volume called Love Song. Though Nishi didn’t catch on with Western shojo fans, it’s easy to see why Thorn championed her work: she’s a terrific, versatile storyteller, equally capable of writing light-hearted fantasies and character studies of deeply damaged people.

Of the four stories that appear in Love Song, two are standouts: “Jewels of the Seaside,” a black comedy about three sisters who compete for the same man’s affection, with disastrous results, and “The Skin of Her Heart,” a quiet sci-fi tale about a young woman torn between what she wants and what her mother wants for her. (Readers who enjoyed A, A’ or Twin Spica are a natural audience for “Skin of Her Heart,” though it works equally well for folks who aren’t big sci-fi buffs.) Nishi’s artwork is an acquired taste, at times precise, elegant, and naturalistic, and at times loose and sketchy, with the white of the page playing an important role in underscoring the emotional distance between her characters. Her minimalist approach won’t be to every shojo fan’s liking, but she demonstrates that it’s perfectly possible to convey the interior lives of her characters without resorting to the kind of visual shorthands — flowers, sweatdrops, nosebleeds — that have been overused in contemporary shojo manga. Love Song is out of print, but unlike Four Shojo Stories and A, A’, is still relatively easy to obtain through online retailers like Amazon. Highly recommended.

HONORABLE MENTIONS

duckprince1DUCK PRINCE (Ai Morinaga • CMP • 3 volumes, suspended)
Morinaga’s battle-of-the-sexes comedy takes a standard shojo plot — homely gal gets makeover to win the guy of her dream — and turns it on its head, substituting a sweet, helmet-haired nerd for the customary plain Jane, and adding a novel twist: Reiichi appears to most girls as a smokin’ hottie, but in the presence of his beloved Yumiko, he reverts to his original form. As in all her work, Morinaga uses humor to make deeper points about gender roles and physical beauty, though Duck Prince is too rude and risque to be mistaken for an Afterschool Special. Central Park Media released three of the five volumes before suspending Duck Prince; of all the titles left homeless by CPM’s demise, it seems like one of the strongest candidates for a license rescue, though middling sales of Your & My Secret and My Heavenly Hockey Club may have scared American publishers away from Morinaga’s distinctive comedies.

shirahimesyoSHIRAHIME-SYO: SNOW GODDESS TALES (CLAMP • Tokyopop • 1 volume)
This lovely anthology is a radical departure for CLAMP. Gone are the super-detailed costumes and fussy character designs of their early, post-doujinshi work; in their place are spare, simply-drawn figures that seem consciously modeled on examples from eighteenth- and nineteenth-century scroll paintings. The stories themselves are told directly without embellishment, though CLAMP infuses each tale with genuine pathos, showing us how the characters’ anger and doubt lead to profound despair. As a result, the prevailing tone and spirit are reminiscent of Masaki Kobayashi’s 1964 film Kwaidan, both in the stories’ fidelity to the conventions of Japanese folklore and in their lyrical restraint. And if my description didn’t sell you on Shirahime-Syo, let this beautiful image, taken from the final story of the collection, persuade you to give this out-of-print gem a try:

snowgoddess2

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So what titles top your list of underrated shojo manga? Inquiring minds want to know!

My Favorite Shojo Manga: Kaze Hikaru

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In Manga: Sixty Years of Japanese Comics, author Paul Gravett argues that female mangaka from Riyoko Ikeda to CLAMP have often used “the fluidity of gender boundaries and forbidden love” to “address issues of deep importance to their readers.” Taeko Watanabe is no exception to the rule, employing cross-dressing and shonen-ai elements to tell a story depicting the “pressures and pleasures of individuals living life in their own way and, for better or worse, not always as society expects.”

Kaze Hikaru begins in 1863, a period of immense political and social upheaval in Japan, as the ruling class divided into factions loyal to the emperor (whose seat was in Kyoto), and factions loyal to the shogun (whose government was housed in Edo, or present-day Tokyo). Exacerbating the tension between these groups was the looming question of sakoku, or isolationism, a centuries-old policy that was crumbling in the face of military and economic pressure from the West, an unstable currency, and the dawning realization that certain Western technologies might have a role to play in the modernization of Japan. Taeko Watanabe draws on the events of the Bakumatsu (or late shogunate era, 1863 – 1867) for Kaze Hikaru, incorporating real historical figures into the story and dramatizing some of the major and minor conflicts of the period, from the Ikedaya Affair of 1864 to the Shinsengumi’s ambivalence about adopting rifles and canons into the samurai arsenal.

In the opening pages of Kaze Hikaru, Sei Tominaga, the heroine, lives a sheltered existence under the watchful eye of her father and older brother. Local rabble-rousers accuse the Tominagas of harboring spies at the medical clinic they operate and burn it to the ground, leaving Sei homeless and orphaned. Determined to avenge her family, Sei disguises herself as a boy, adopts the name Kamiya Seizaburo, and joins the Mibu-Roshi, a band of ronin who are fiercely loyal to the Tokugawa Shogunate. (The Mibu-Roshi would come to be known as the Shinsengumi, or “newly chosen corps.” At the height of their power, their ranks numbered around 300, and included a few members who were not born into the samurai caste.) Sei finds a mentor in the slightly older Okita Soji, an accomplished swordsman who acts as a den mother for new recruits. He accidentally discovers Sei’s identity, agreeing to keep her secret if she can demonstrate her worth as bushi, or an honorable warrior.

Watanabe’s art is clean and crisp, conveying enough period detail to firmly establish the setting without overwhelming the eye. A similar attention to facial features and body shapes also informs her nuanced and varied character designs, a godsend for a such a densely populated series. The action sequences are staged simply but effectively, conveying the skill and physical strength necessary to best an opponent in hand-to-hand combat, or suggesting the dangers of a night-time raid. But it’s in the everyday moments that Watanabe’s artistry really shines, as she has a talent for depicting the energy and activity of an urban marketplace, a soliders’ encampment, or a red-light district. We see the Shinsengumi recruits train, squabble, drink, gamble, and abuse their power with innkeepers and merchants, with careful attention paid to the objects they handle, the clothing they wear, and the posture they adopt as they interact with people of higher and lower social status.

Much of the drama — as well as the humor — in Kaze Hikaru stems from Sei’s attempts to fit in with her fellow soldiers by proving her worth as a man — no mean feat, given her small size, feminine appearance, and cultivated upbringing. (This is one of the few cross-dressing stories in which characters routinely ask the question on readers’ minds: “Aren’t you a little too pretty to be a guy?” Not surprisingly, some of the men desire Sei as an exceptionally handsome boy, further confusing our protagonist.) Sei’s greatest challenge, however, is concealing her deep love for Okita as both a mentor and a man. She wants Okita to respect her as a warrior, yet fears that her gender-bending transgression may prevent him from reciprocating her romantic feelings. It’s a classic shojo predicament — think of Lady Oscar and her manservant Andre — that simultaneously reveals Sei’s vulnerability and resolve. Her fierce commitment to the Shinsengumi, however, eventually prevails over her desire to reclaim her feminine identity, as she decides to honor Okita’s wish that she be Seizaburo and not Sei.

When contrasted with other Shojo Beat titles, Kaze Hikaru seems a little old-fashioned. Watanabe tends to favor neat grids and clearly-defined panels over the freer, more expressive layouts used in series like We Were There, Sand Chronicles, and Vampire Knight. The pace, too, is more stately, demanding a higher level of attention from the reader than most Shojo Beat titles; Watanabe’s characters discuss political matters, clan rivalries, and military strategy in considerable detail, giving some scenes the feeling of a Kurosawa movie. Even Sei and Okita’s friendship, rooted as it is in mutual warrior regard, seems out of step with the racier romances depicted in Absolute Boyfriend and B.O.D.Y.: would a school council president or magical girl swoon when she received a customized katana from the object of her affection, even if it was a sincere expression of his respect for her skill and courage?

Yet for all its squareness — or perhaps because of it — Kaze Hikaru remains my all-time favorite shojo manga. What makes Kaze Hikaru so compelling is the way in which Watanabe appropriates a very tired story — samurai seeks revenge in a time of social and political turbulence — and infuses it with a fresh, feminine sensibility. I might call it Satsuma Gishiden for Girls, but I think that downplays Watanabe’s achievement. She’s created an action-filled drama in the vein of The Rose of Versailles or They Were Eleven but transplanted the setting from the relatively safe, romanticized worlds of the French Revolution and outer space to a period in Japanese history in which the male-identified virtues of courage, discipline, and patriotism dominated public discourse. She may not have intended it as a bold political statement, but Watanabe has done something extraordinary: she’s given girls the freedom to project themselves into Japan’s past without gender constraints. American artists looking to connect with female readers would do well to read Kaze Hikaru for inspiration — there’s a great graphic novel to be written about a cross-dressing Minuteman or Union solider, and Sei would make a terrific prototype for its spunky heroine.

Review copies of volumes 17 and 18 provided by VIZ Media, LLC. This is an expanded version of a review that appeared at PopCultureShock on 5/17/07.

KAZE HIKARU, VOLS. 1-18 • BY TAEKO WATANABE • VIZ • RATING: OLDER TEEN (16+)

The Best Manga You’re Not Reading

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On Saturday, June 26th, Brigid Alverson, Robin Brenner, Martha Cornog, and I gave a presentation at the American Library Association’s annual conference called “The Best Manga You’re Not Reading.” The goal of our talk was to remind librarians about all the weird, wonderful, and diverse offerings for older teens and adults. Recommendations ran the gamut from Junko Mizuno’s Cinderalla (one of Martha’s picks) to ES: Eternal Sabbath (one of Brigid’s), with an emphasis placed on titles that are in-print and appealing to readers who self-identify as manga fans — and those who don’t. Below are my four picks, plus a “mulligan” (to borrow a term from Brigid).

fourimmigrantsThe Four Immigrants Manga
Henry Yoshitaka Kiyama • Stone Bridge Press • 1 volume
In 1904, aspiring artist Henry Kiyama sailed from Japan to the United States in search of economic opportunity. After living in San Francisco for nearly twenty years, Kiyama documented his experiences in the form of 52 short comics. His memoir — one of the very first examples of a graphic novel — examines the racism and economic hardships that he and his friends encountered on a daily basis. Kiyama also addresses major events of the day, critiquing several Congressional acts designed to curtail Asian immigration, and remembering what it was like to live through the Great Earthquake of 1906, attend the Panama Pacific International Exposition of 1915, and survive the flu pandemic of 1918.

What makes these autobiographical comics truly extraordinary, however, was that they were originally published in 1931 in a bilingual edition right here in America. As Frederik Schodt explains in his introductory essay, Kiyama’s work was aimed at other first-generation immigrants who, like him, were caught between two worlds, trying to make sense of their place in both. The visual style and subject matter may not strike contemporary readers as manga-esque (Schodt notes the influence of American cartoonist George McManus on Kiyama), but the intimate quality of the stories will leave as lasting an impression as graphic memoirs such as Marjane Satrapi’s Persepolis and Alison Bechdel’s Fun Home.

parasyte-v2Parasyte
Hitoshi Iwaaki • Del Rey • 8 volumes, complete
Imagine, if you can, a manga that combined elements of My Left Foot, Invasion of the Body Snatchers, and The Defiant Ones with the witty banter of a good buddy cop picture, and you have some idea of what Hitoshi Iwaaki’s Parasyte is all about. The story focuses on Shin, a high school student who wakes up one night to find a worm-like alien tunneling up his right arm towards his brain. In a moment of panic, Shin applies a tourniquet, arresting the creature’s progress but creating a brand-new problem in the process: the parasite takes up residence in his right hand, manifesting itself as a snail-like entity with googly eyes, a mouth, and the ability to transform itself into an astonishing array of shapes. Recognizing that their bodies are becoming interdependent, Shin and Migi (as he decides to call the parasite) agree to an uneasy truce. It isn’t long before other aliens are alert to Shin and Migi’s presence, forcing Shin and Migi to flee when it becomes apparent that the other parasites won’t tolerate their symbiotic existence. Shin and Migi can’t go to the human authorities, either, without risking imprisonment, quarantine, or worse.

Like a good B-movie, Parasyte uses elements of science fiction and horror to explore Big Questions about human nature while scaring the hell out of readers; the series is filled with nail-biting scenes of Shin and Migi trying to escape detection or fight other parasites. The violence is graphic but not sadistic; most of the action takes place between panels, with only the grisly aftermath represented in pictorial form. (Read: no torture scenes, no female characters being sexually assaulted before becoming an alien’s dinner.) The script is clever and funny, as Shin and Migi trade barbs with the antagonistic affection of Ernie and Bert, Oscar Madison and Felix Unger, or Detectives Mike Logan and Lenny Briscoe. Their relationship is one of Parasyte‘s greatest strengths, adding an element of novelty to a familiar story while deftly critiquing the idea that human beings’ intellect and emotional attachments place them squarely atop the food chain.

satsumaSatsuma Gishiden
Hiroshi Hirata • Dark Horse • 3 volumes, suspended
With its heady mix of social commentary, political intrigue, and battlefield action, Hiroshi Hirata’s Satsuma Gishiden reads like Kagemusha as told by Sam Peckinpah. Hirata dramatizes the plight of a powerful southern province that rebelled against the shogunate in the late eighteenth century (and would again, more famously, in the nineteenth). The story unfolds in a kaleidoscopic fashion, introducing us to the the sanpin and goshi, low-born samurai who eked out a living as farmers and laborers between military engagements; the daimyo, the leaders of Satsuma’s ruling Shimazu clan; and the administrators, spies, and chonin swept up in the violent conflict.

In the wrong hands, this material would be horribly dull; the initial showdown between Satsuma and shogunate stems from a public works project. (Makes you wonder: was Satsuma Gishiden the favorite manga of Robert Moses?) But Hirata successfully balances historical narrative and dramatic action. He explains the caste system and politics of the Edo period, the ritual of hiemontori, the concept of nise — even the type of water works found in eighteenth-century Japan — tossing in some jokey panels of winged ryo and money-grubbing donjon to illustrate the shogunate’s corruption. Some readers may find these passages didactic, but they provide an essential foundation for grasping nuances of plot and character. Lest the tone become too pedantic, Hirata liberally sprinkles the story with passages of bawdy humor and baroque violence. In one gruesomely funny scene, for example, a dying character uses his own broken rib to puncture an opponent’s skull. Top that, Mr. Peckinpah!

The chief attraction of Satsuma Gishiden, however, is its distinctive visuals. Hirata’s layouts evoke the films of mid-century masters such as Kurosawa, Kobayashi, and Ozu, blending cinematic realism with the rough-hewn aesthetic of woodblock prints. The characters, costumes, and horses are rendered in meticulous detail, yet the artwork is never static; through creative use of perspective, Hirata immerses the reader in vivid battle scenes, lively clan meetings, and ocean voyages. (Just a thought: Satsuma Gishiden would be awesome in 3-D. Maybe Dark Horse could repackage future editions with goggles to enhance the effect?) Recommended for samurai movie buffs, amateur Japanese historians, and readers who’ve exhausted the Kazuo Koike canon. (Originally reviewed at PopCultureShock on 2/16/07.)

town_coverTown of Evening Calm, Country of Cherry Blossoms
Fumiyo Kouno • Last Gasp • 1 volume
If Barefoot Gen shows readers what it was like to live through the Hiroshima bombing and its horrific aftermath, Town of Evening Calm, Country of Cherry Blossoms shows readers what it was like to live with the memories of that day ten, twenty, and forty years later. Fumiyo Kouno’s book is divided into two stories. The first, “Town of Evening Calm,” is set in 1955, and focuses on one young woman’s attempt to preserve the remnants of her family, while the second, “Country of Cherry Blossoms,” is set in the 1990s, and focuses on the strained relationship between a survivor and his adult daughter. Both stories are simply but beautifully illustrated, avoiding the kind of visual tropes (big eyes, tiny noses, super-cute deformations) that many Western readers find jarring when reading Serious Manga.

In the few panels alluding to the actual events of August 6, 1945, Kouno’s art becomes more primitive and stylized, suggesting the horrific effects of the blast by depicting the victims as stick figures with swollen faces. The child-like simplicity and directness of these images are startling yet effective, a powerful representation of the radiation’s devastating ability to rob its victims of their identities by destroying their hair, hands, and faces. These scenes are notable as well for the skillful way in which present and past co-exist within the same panels; we see the landscape as the survivors do, alive with vivid memories of the blast. None of these images are graphic, though they are an unsettling reminder of the characters’ deep emotional scars.

The book’s strong anti-war message is balanced by the story’s emphasis on quiet, everyday moments, preventing Town of Evening Calm, Country of Cherry Blossoms from succumbing to didacticism or sensationalism. Though Kouno did not grow up in Hiroshima, her meticulous research and careful reading of survivor memoirs lends her work a kind of emotional authenticity that a more dramatic story might have lacked. The result is a moving work that challenges readers to imagine how they might rebuild their lives in the aftermath of incomprehensible tragedy. (Reviewed at The Manga Critic on 1/4/10.)

phoenix7BONUS PICK: Phoenix: Civil War
Osamu Tezuka • VIZ • 2 volumes
A quick glance through Phoenix: Civil War might not suggest that this is the stuff of high art. The characters bear an uncanny resemblance to the denizens of Popeye and jokey anachronisms abound. (Although the story ostensibly takes place in twelfth-century Japan, one character receives a telephone call and chows down on a bucket of KFC.) But flip to the back pages, where VIZ has included a brief statement from the manga-ka explaining the origins and meaning of Phoenix, and you’ll learn that Tezuka claimed Igor Stravinsky’s ballet The Firebird as the inspiration for Phoenix. Tezuka saw parallels between Stravinsky’s firebird and a similar creature from Japanese legend, Hou-ou. The phoenix, Tezuka decided, was a powerful symbol of “man’s attachment to life and the complications that arise from greed.” Using the phoenix as a touchstone, Tezuka constructed an elaborate, twelve-volume series exploring Japan’s historic past and possible future. He planned a final volume set in present-day Japan (“where past and future converge”), but passed away without completing his epic.

One of the best things about Phoenix is that readers can enjoy it as a series or a collection of stand-alone stories. Though I love Sun (the series’ epic, two-volume conclusion) and Karma (the fourth volume of the English edition), I think the two-volume Civil War (the seventh and eight volumes of the English edition) make the best introduction to Tezuka’s masterpiece. Civil War is set in Heian-era Kyoto, where several powerful families vie for control of the city. We experience the conflict through myriad perspectives: a lowly woodcutter and his fiancee, a ragtag band of samurai, an apolitical sage, and two powerful clan leaders, both of whom seek the phoenix in an effort to consolidate their political victories and perpetuate their bloodlines. The story may remind readers of The Hidden Fortress as it moves between epic battles and domestic drama, romance, and earthy comedy. While Tezuka isn’t above a little flatulence humor, he never condescends to his characters, using such lowbrow moments to demonstrate the common humanity of his entire cast. The character designs may be too cartoonish for some tastes, but Tezuka’s artwork is never short of spectacular; his imaginative layouts and flair for caricature are as distinctive as Igor Stravinsky’s brilliant orchestrations, churning rhythms, and pungent octatonic harmonies. (Originally reviewed at PopCultureShock on 10/26/06.)

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Click here to read Brigid and Martha’s recommendations; click here to read Robin’s. Have a title you’d like to suggest? Let me know in the comments — we’re hoping to do this panel again at another convention, and would welcome your feedback.

My 10 Favorite CMX Titles

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CMX may not have had the biggest titles or the biggest sales, but its catalog had a pleasing eclecticism:  who else would license series as utterly different as Moon Child, Madara, and Go West? I didn’t always love what they published, but I appreciated their efforts to bring important artists and off-beat series to American audiences’ attention. I also appreciated the care and consistency with which they edited books; it’s a sad irony that many fans will remember them for the Tenjo Tenghe fiasco and not for the fine job they did with Emma and Shirley. Below are the ten CMX titles I plan to keep in my permanent collection. (Click here for a kid-friendly list of CMX manga.)

astral110. ASTRAL PROJECT

MARGINAL AND SUYUJI TAKEDA • 4 VOLUMES (complete)

Astral Project might have been an indigestible stew of pseudo-science and Deep Thoughts About Jazz, as it focuses on a young man discovers a connection between his sister’s disappearance and an Albert Ayler recording that helps facilitate out-of-body experiences. Marginal spins a ripping yarn, however, grounding the story’s more fantastic elements in the gritty realism of Tokyo’s red light district. He immerses us in the story to such a degree, in fact, that we learn things as Masahiko does; we’re never one step ahead of our protagonist, a common problem in thrillers. Syuji Takeya’s artwork won’t appeal to everyone, as it sometimes has a rough, sketchy quality that doesn’t mesh well with the dark, Photoshopped backgrounds, but Takeya creates a memorable assortment of faces and bodies that suggest the seediness of Masahiko’s world more readily than dialog could. Quite possibly Ornette Coleman’s favorite manga. (Originally reviewed at PopCultureShock on 10/27/08. )

chikyu19. CHIKYU MISAKI

YUJI IWAHARA • 3 VOLUMES (complete)

This fast-paced adventure plays like best live-action film Disney never made, mixing comedy, family drama, and fantasy elements to tell the story of fourteen-year-old Misaki, who discovers that the local lake is inhabited by a pint-sized Loch Ness Monster. The twist? Little Neo transforms into a cute little boy on land — a nifty trick when a band of kidnappers-cum-poachers get wind of his existence. Chikyu Misaki has a kind of fierce kid logic to it: who but a ten-year-old would dream up a story in which a dinosaur, a downed airplane, a lost suitcase filled with gold, and a potential stepmother all get a turn in the spotlight? Yuji Iwahara’s artwork is also a big plus: his character designs do a fine job of delineating each cast member’s personality and role in the drama, while his action scenes are crisp and fluid. Only a few odd, squicky moments of sexual humor prevent this from being a slam-dunk recommendation for the under-twelve crowd.

nameflower28. THE NAME OF THE FLOWER

KEN SAITO • 4 VOLUMES (complete)

Did Ken Saito have Charlotte Brontë on the brain when she dreamed up the plot for The Name of the Flower? I ask because Flower‘s storyline seems like pure Masterpiece Theater fodder: Chouko, a young orphan left mute and despondent by her parents’ death, is sent to live with a male guardian who  endured a similarly tragic past. Over time, the two form a deep attachment that neither dares admit, an attachment tested by Chouko’s decision to enroll in college and Kei’s general reclusiveness. If the set-up is ripe for melodrama, Saito manages to craft a story that’s rooted in everyday experience; her characters’ journey to self-awareness and romance is complicated by real-life obstacles, not mad wives in the attic. Lovely art cements the bittersweet mood of this borderline josei title. One of my nominees for Best New Manga of 2009.

Shirley_Cover7. SHIRLEY

KAORU MORI • 1 VOLUME (complete)

At first glance, Shirley looks like a practice run for Emma, a collection of pleasant, straightforward maid stories featuring prototype versions of Emma‘s main characters. A closer examination, however, reveals that Shirley is, in fact, a series of detailed character sketches exploring the relationships between three maids and their respective employers. While some of these sketches aren’t entirely successful — Kaoru Mori cheerfully describes one as “an extremely cheap story about a boy and an animal” and attributes the inspiration for another to The A-Team — the five chapters focusing on thirteen-year-old Shirley Madison and her independent, headstrong employer are as good as any passage in Emma. (Reviewed at The Manga Critic on 3/9/10.)

kiichi26. KIICHI AND THE MAGIC BOOKS

TAKA AMANO • 5 VOLUMES (complete)

This poignant coming-of-age story focuses on Kiichi, a young oni whose lonely existence is transformed by a chance encounter with a traveling librarian. Inspired by the information in one of Mototaro’s books, Kiichi decides to leave his village in search of others like himself. Kiichi’s journey brings him into contact with a variety of people, many of whom seek to harm him or profit from his unique abilities, or who simply fear his appearance. Though Taka Amano never shies away from the darker implications of her story, showing us just how unscrupulous, ignorant, and venal people of all ages can be, Kiichi and the Magic Books is never mawkish or didactic; the fantasy elements add considerable interest and charm, while Kiichi proves emotionally resilient in the face of prejudice and mistrust. Readers more accustomed to the look and feel of Naruto may not initially respond to Amano’s starkly beautiful pen-and-ink drawings. Encourage them to try Kiichi anyway, as this series offers the same degree of complexity, imagination, and emotional authenticity as an Ursula LeGuin or Phillip Pullman novel. CMX’s best title for readers under the age of twelve. (Originally reviewed at Good Comics for Kids on 1/23/09.)

presents15. PRESENTS

KANAKO INUKI • 3 VOLUMES (complete)

Any series that prompted John Jakala to coin a phrase as useful and catchy as “comeuppance theater” deserves a place on a top ten list of some kind; the fact that Kanako Inuki’s horror-comedy is fiendishly entertaining earns it a spot on this particular countdown. Presents reads a lot like Tales of the Crypt, with each story adhering to the same formula: creepy child-woman Karumi offers an enticing present to an unsuspecting person, a present that quickly reveals itself to be an instrument of punishment for the recipient’s bad behavior or poor character. (Hence Jakala’s term “comeuppance theater.”) Though she loves drawing bugs and hideously deformed faces, Inuki is less interested in scaring us than making us laugh and squirm with recognition at our own folly; Inuki’s creepiest stories are also her funniest, satirizing commercial culture and female vanity with aplomb. A must for fans of Kazuo Umezu and Hideshi Hino.

gon44. GON

MASASHI TANAKA • 7 VOLUMES (complete)

Billed as “the pint-sized terror from the Jurassic era,” Gon is a small orange dinosaur who runs amok in present-day forests, oceans, and arctic tundras, terrorizing predators, defending small animals, and doing whatever else suits his mood. Masashi Tanaka’s artwork is old school in the best sense, employing cross-hatching and delicate lines in lieu of screentone to create volume and depth. His panels are astonishingly detailed yet never fussy or poorly composed — if anything, Tanaka’s technique yields sharper images than the contemporary practice of mixing computer-generated fill with hand-drawn lines. Though Tanaka endows his creatures with unusually expressive faces, he resists the urge to fully anthropomorphize them; their behavior seems species-appropriate even if their expressions occasional verge on human. (Read: the elephants don’t wear spats or drive automobiles, the dogs don’t pretend to be World War I flying aces.) His restraint inoculates Gon against a terminal case of the cutes, resulting in a sometimes funny, sometimes violent, sometimes heartbreaking look at the natural world. (Originally reviewed at PopCultureShock on 2/20/08.)

eroica153. FROM EROICA WITH LOVE

YASUKO AOIKE • 15 VOLUMES (incomplete)

What begins as an unsatisfying story about a trio of telepathic teens quickly takes a turn for the awesome with the introduction of Dorian Red, an openly gay British earl who dresses like a rock star and crisscrosses the globe to steal priceless works of art. Eroica eventually settles into an entertaining cat-and-mouse game between Dorian and uptight NATO intelligence officer Klaus Heinz von dem Eberbach, a stoic homophobe who detests the winking, flirtatious Dorian. Though they travel separately, their paths frequently converge in hilarious and explosive ways: hijackings, kidnappings, car chases. The frosting on the cake is Yasuko Aoike’s vintage seventies character designs: Dorian is the spitting image of Robert Plant, right down to the ridiculously tight pants and flowing scarves, while Klaus wears a ‘do as severe and straight as he is. The result is a delirious, over-the-top action-adventure that brings rock-n-roll swagger to a James Bond premise.

swan32. SWAN

KYOKO ARIYOSHI • 15 VOLUMES (incomplete)

Swan captures a particular moment in ballet history when the best Russian troupes commanded large, enthusiastic audiences on both sides of the Iron Curtain; when every developed nation had a ballet company of its own (even if the form was imported from elsewhere); and when dancers like Nuryev and Fonteyn were bonafide international celebrities. Into this glamorous world comes sixteen-year-old Masumi, a Japanese girl from the sticks who has passion and raw talent, but lacks refinement. She wins a spot at a national academy for dance, and begins clawing her way up the ranks, learning the repertoire (cue the Tchaikovsky!), making friends and enemies, and eventually finding her way to New York for immersion in new styles and techniques. As compelling as the drama may be, the real star of Swan is the art: the dance choreography is beautifully rendered, capturing both the heroine’s graceful intensity and the music’s lyricism. A few aspects of Swan haven’t aged well — the heroine falls victim to bouts of hysterical deafness, for example — but the strong visuals, historically accurate details, and sports manga vibe keep this marvelous series buoyant throughout.

emma41. EMMA

KAORU MORI • 10 VOLUMES (complete)

If Emma‘s rich-boy-loves-poor-maid storyline suggests a lost volume of The Forsyte Saga, the expert way in which William and Emma’s courtship is told more than compensates for a few moments of narrative cliche. Kaoru Mori immerses us in the very different worlds of her lead characters, from the elaborate dinner parties and country outings of William’s circle to the scut work and boozy revelry of Emma’s fellow servants. Mori occasionally fumbles small details (pssst… Tosca didn’t debut until 1900!), but most of the time she convincingly recreates the period through her exquisite pen-and-ink drawings of intricate costumes, ornate furnishings, and fussy architecture. That keen sense of observation extends to her cast as well: Emma bursts at the seams with memorable supporting players, from Kelly Stowner, William’s crusty but kind-hearted former governess, to Hakim Atawari, an Eton-educated raj and friend of the Jones family. The main story concludes with volume seven; volumes eight, nine, and ten feature stories about some of the secondary characters, as well as a resolution for Emma and William’s long and tortured romance. (Originally reviewed at PopCultureShock on 9/19/07.)

* * * * *

Here’s a friendly challenge to everyone who’s still mourning the loss of a favorite CMX title: if I didn’t include your favorite on this list, add your suggestion(s) to the comments thread. I’ll compile everyone’s recommendations into a poll and let you choose one for me to review next month.

Sexy Voice and Robo and Harriet the Spy

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harriet2First published in 1964, Harriet the Spy featured a radically different kind of heroine than the sweet, obedient girls found in most mid-century juvenile lit; Harriet was bossy, self-centered, and confident, with a flair for self-dramatization and a foul mouth. She favored fake glasses, blue jeans, and a “spy tool” belt over angora sweaters or skirts, and she roamed the streets of Manhattan doing the kind of reckless, bold things that were supposed to be off-limits to girls: peering through skylights, hiding in alleys, concealing herself in dumbwaiters, filling her notebooks with scathing observations about classmates and neighbors. Perhaps the most original aspect of Louise Fitzhugh’s character was Harriet’s complete and utter commitment to the idea of being a writer; unlike Nancy Drew, Harriet wasn’t a goody-goody sleuth who wanted to help others, but a ruthless observer of human folly who viewed spying as necessary preparation for becoming an author.

Even now, nearly sixty years after Harriet the Spy first appeared in print, it still seems like a radical text. Fitzhugh helped usher in an era of young adult fiction featuring tough, psychologically complex heroines who weren’t always likable, characters like the plain, frizzy-haired Meg Murray of A Wrinkle in Time or the smart, prickly Galadriel Hopkins of The Great Gilly Hopkins. Yet Harriet remains in her own special class. Unlike Meg or Gilly, she isn’t the heroine of an inter-dimensional sci-fi epic or a gritty, realistic drama; she’s the heroine of her own story, a self-mythologizing character who inhabits a highly romanticized version of the adult world.

sexy_voiceNico Hayashi, code name “Sexy Voice,” is a bit older than Harriet — Nico is 14, Harriet is 11 — but she’s cut from the same bolt of cloth, as Sexy Voice and Robo amply demonstrates. Like Harriet, Nico entertains fanciful ambitions: “I want to be a spy when I grow up, or maybe a fortune teller,” she informs her soon-to-be-employer. “Either way, I’m in training. A pro has to hone her skills.” Nico, too, has a spy outfit — in her case, comprised of a wig and falsies — and an assortment of “spy tools” that include her cell phone and a stamp that allows her to forge her parents’ signature on notes excusing her from school. Like Harriet, Nico hungers for the kind of adventure that’s supposed to be off-limits to girls, skipping school to pursue leads, analyzing a kidnapper’s ransom call, luring bad guys into traps. Most importantly, both girls are students of adult behavior. Both Harriet the Spy and Sexy Voice and Robo include a scene in which the heroine constructs detailed character profiles from a few snippets of conversation. The similarities between these moments are striking. In Fitzhugh’s book, Harriet visits a neighborhood diner, nursing an egg cream while listening to other customers’ conversations:

Sometimes she would play a game and not look at the people until from listening to them she had decided what they looked like. Then she would turn around and see if she were right… Her egg cream finished, Harriet summed up her guesses. The boy with the rat father would be skinny, have black hair, and a lot of pimples. The lawyer who won all his cases would be short, puffy-looking, and be leaning forward. She got no picture of the shadeless girl, but decided she must be fat. She turned around.

In Sexy Voice and Robo, we first meet Nico in a restaurant. She’s stationed herself in a booth with a pair of binoculars, studying an assortment of men who have unwittingly arranged to meet her via the tele-club where Nico moonlights. When questioned about her behavior by another patron, Nico cheerfully explains:

See those men down there holding papers? I’m conducting research on them… observing… connecting their voices to the way they look and move.

Like Harriet, Nico is rather dismissive of her subjects, concluding that one man is “fixated on social status” and “needs to feel above the women he’s with” from his “clear but flat voice,” while declaring another is “just after sex” because “he’s got kind of a reedy voice and he mumbles a lot.” But while the accuracy of Nico’s observations go unchallenged, Harriet’s turn out to be a mixture of hits and misses:

At first she couldn’t tell. Then she saw the by with black hair and pimples. She felt a surge of triumph. She looked at what must be the lawyer, one of two men. Then she listened to see of he were the one. No, the other one was the lawyer. He wasn’t short and fat, he was long and thin with a handsome face. She consoled herself with a faint puffiness he had around the eyes.

Well, no wonder she won’t walk around in a slip, Harriet thought, looking at the girl with no shades; she’s the fattest thing I ever saw.

Manga-ka Iou Kuroda never contradicts Nico’s conclusions, though as the story unfolds, we realize the degree to which Nico sees what she wants to see, and not necessarily what’s there. Late in the volume, for example, Nico’s employer dispatches her to retrieve a key from a crafty old woman who, Nico discovers, was a professional spy. It’s a fascinating chapter on many levels; we’re never entirely sure if we’re watching a real event or something from Nico’s imagination, nor is it obvious whether Nico grasps that the old woman led a far less glamorous life than the kind of life Nico envisions for herself. “I did it because I was good with languages and wasn’t very pretty,” the old woman tells Nico. “Sometimes it’s your skills and not your will that sets you on your path.”

The other striking similarity between Harriet the Spy and Sexy Voice and Robo is the degree to which the city plays an essential role in the story, providing an exciting playground for Harriet and Nico to act out their spy fantasies, and shaping their impressions of adult behavior. In Harriet the Spy, Fitzhugh renders Harriet’s particular corner of the Upper East Side in vivid detail, describing its fancy apartment buildings and down-at-the-heels boarding houses, and contrasting the neat, tree-lined street where Harriet lives with the louder, dirtier, bustling streets of Yorktown, then a working class German-Italian enclave. We see the neighborhood through Harriet’s eyes, as a collection of hiding spaces and vantage points for studying adults up close: the plump divorcee who spends all day in bed talking on the telephone, the lonely craftsman who hides twenty-six cats from the health code inspector, the father (hers, to be exact) who retires to his study to nurse a martini or three.

In Sexy Voice and Robo, Kuroda shows us Tokyo through Nico’s eyes, as a vibrant collection of shopping districts lined with places perfect for clandestine activities: cafes, movie houses, love hotels, bookshops, subway stations. Kuroda doesn’t employ the usual shortcuts for establishing the Tokyo landscape — skyscrapers and towers — but offers a pedestrian-eye view of the city, populating each setting with colorful characters, filling shop windows with merchandise, and suggesting street noise with evocative sound effects. From time to time, Kuroda takes us into less familiar places; in chapter eleven, for example, Nico finds the retired spy living in a serene residential neighborhood, her house concealed by a screen of trees and shrubs, while in chapter three, Nico attends a soccer match at a crowded stadium. Though these locations stand in stark contrast to the more built-up urban environment in which most of the story takes place, we can see how both locales complement Nico’s romantic notions about where, what, and how a spy conducts her business; Nico’s adventures never take her anyplace grungy or prosaic, nor do they take her to customary teen haunts. In her mind, she’s more adult than the adults around her, and as a consequence imagines herself living in the grown-up world.

Which brings me back to my original observation about Nico: like Harriet, she’s a self-mythologizer, the star of her very own spy novel. Though we, the readers, can appreciate the degree to which Nico’s fantasies shape her perception of what’s happening, we still find her an appealing, true-to-life character whose pluck and insight set her apart from her peers. Nico, like Harriet, has big dreams that aren’t hemmed in by gender or age; she isn’t the least bit worried about appearances or impressing a boy or solving mysteries for the good of all, but in hustling a few bucks and training for an exciting career as a spy… or a fortune teller. I can’t imagine a more welcome role model for teenage girls.

This essay is one contribution to this week’s Moveable Manga Feast, a virtual book club in which bloggers share thoughts about a favorite series. For additional entries, please visit The Manga Curmudgeon, where host David Welsh has posted reviews, interviews, and links to essays exploring Sexy Voice and Robo from a variety of angles.

HARRIET THE SPY • WRITTEN AND ILLUSTRATED BY LOUISE FITZHUGH • RANDOM HOUSE • 300 pp. • AGES 10 AND UP

SEXY VOICE AND ROBO • BY IOU KURODA • VIZ • 394 pp. • RATING: OLDER TEEN (16+)

The Best Manga of 2009: The Manga Critic’s Picks

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I pity the poor critic who panned Up — it’s not fun to buck the tide of critical approbation, especially when it seems like everyone else is wholeheartedly embracing the film or book in question. I say this because my best-of-2009 list is missing two titles that I’ve seen on many others: Yoshihiro Tatsumi’s A Drifting Life and Fumi Yoshinaga’s Ooku: The Inner Chambers. The first, I’ll admit, is a beautifully crafted book, proof that manga can be a great medium for biography. Yet for all its artistry, I found A Drifting Life oddly uninvolving; too many chapters read more like historical pageants than personal drama. The second title I found more problematic. Yoshinaga starts from a humdinger of a premise, inverting the social order of Tokugawa Japan by placing women in charge of everything. Yoshinaga never fulfills the promise of her idea, however, saddling her narrative with long-winded conversations that are both tin-eared and dull, two adjectives I never thought I’d be applying to Yoshinaga’s work.

So what manga *did *I like this year? Read on for the full list.

oishinbo110. Oishinbo a la Carte
Story by Tetsu Kariya • Art by Akira Hanasaki • VIZ Media
Equal parts Iron Wok Jan, Mostly Martha, and The Manga Cookbook, this educational, entertaining series explores Japanese cuisine at its most refined — sake, seabream sashimi — and its most basic — rice, pub food. The stories fall into two categories: stories celebrating the important role of food in creating community, and stories celebrating the culinary expertise of its principal characters, newspaperman Yamaoka Shiro and his curmudgeonly father Kaibara Yuzan. (Fun fact: Yuzan is such a food snob that he drove Yamaoka’s mother to an early grave, causing an irreparable break between father and son.) Though the competition between Yamaoka and Yuzan yields some elegant, mouth-watering dishes, Oishinbo is at its best when it focuses on everyday food in everyday settings, shedding light on how the Japanese prepare everything from bean sprouts to ramen. Warning: never read on an empty stomach! (Click here for my review of Oishinbo A la Carte: Japanese Cuisine; click here for my review of Oishinbo A la Carte: Vegetables.)

dmc39. Detroit Metal City
By Kiminori Wakasugi • VIZ Media
Satirizing death metal is a bit like shooting fish in a barrel: how hard can it be to parody a style associated with bands named Cannibal Corpse or Necrophagia? Poking fun at death metal while respecting the sincerity of its followers, however, is a much more difficult trick to pull off. Yet Kiminori Wakasugi does just that in Detroit Metal City, ridiculing the music — the violent lyrics, the crudely sexual theatrics — while recognizing the depth of DMC fans’ commitment to the metal lifestyle. Though the musical parodies are hilarious, the series’ funniest moments arise from classic fish-out-of-water situations: Negishi driving a tractor on his parent’s farm while dressed as alter ego Lord Krauser (complete with make-up, fright wig, and platform boots), Negishi bringing a fruit basket to a hospitalized DMC fan while dressed as Krauser… you get the idea. Rude, raunchy, and quite possibly the funniest title VIZ has licensed since Even a Monkey Can Draw Manga. (Click here for my review of volume one; click here for my review of volumes two and three.)

itazura18. Itazura Na Kiss
By Kaoru Tada • Digital Manga Publishing
In the twenty years since Itazura Na Kiss first appeared in Margaret, Kaoru Tada’s breezy romantic comedy has been widely imitated, but seldom surpassed. The story is as basic as they come: an airhead falls in love with a genius, is rebuffed by him, and is eventually pursued by him when he realizes just how sincere and kind she is. Tada manufactures a ridiculous situation to bring her characters together under the same roof — earthquake ahoy! — yet the story never devolves into brainless sitcom territory, thanks to her large supporting cast of characters, brisk comic timing, and strategic use of humor to reveal the characters’ true natures. Pure shojo bliss. (Click here for my review of volume one.)

7. Gogo Monster (VIZ Media)
By Taiyō Matsumoto • VIZ Media
Every elementary school has a kid like Yuki, a smart, odd student who says things that unsettle classmates and teachers alike. In Yuki’s case, it’s the matter-of-fact way he reports seeing monsters that leads to his social isolation. Newcomer Makoto doesn’t share Yuki’s vision, but he admires Yuki’s nonchalant attitude, and struggles mightily to understand what makes his friend tick. It’s to Taiyo Matsumoto’s credit that we’re never entirely sure what aspects of the story are intended to be real, and which ones might be unfolding in the characters’ heads; Yuki’s monsters remain largely unseen, though their presence is felt throughout the story. Matsumoto’s stark, primitive style suits the material perfectly, inoculating Gogo Monster against the sentimentality that imaginary friends and childhood fears inspire in so many authors.

nameflower26. The Name of the Flower
By Ken Saito • CMX Manga
Had the Bronte sisters been born in twentieth-century Japan instead of nineteenth-century England, they might have penned something along the lines of The Name of the Flower, a tear-jerker about a young woman who falls in love with her guardian. Ken Saito employs many favorite Victorian tropes — muteness, garden imagery, orphans — in service of the plot, creating an atmosphere of palpable yearning that will be familiar to anyone who’s read Jane Eyre or Wuthering Heights. For all of its Victorian window-dressing, however, The Name of the Flower favors a slice-of-life approach over crazy-wives-in-the-attic melodrama. (Well, almost; the main love interest is a misanthropic — but hot! — novelist who favors yukatas over jeans, is prone to fits of anger, and writes dark, pessimistic fiction.) Saito’s elegant, understated art is the perfect complement to this delicate drama, making good use of floral imagery to underscore the heroine’s emotional state. For my money, the best new shojo manga of 2009.

distant_neighborhood25. A Distant Neighborhood
By Jiro Taniguchi • Fanfare/Ponent Mon
A Distant Neighborhood is a wry, wistful take on a tried-and-true premise: a salaryman is transported back in time to his high school days, and must decide whether to act on his knowledge of the past or let events unfold as they did before. We’ve seen this story many times at the multiplex — Back to the Future, Peggy Sue Got Married — but Taniguchi doesn’t play the set-up for laughs; rather, he uses Hiroshi’s predicament to underscore the challenges of family life and the awkwardness of adolescence. (Hiroshi is the same chronological age as his parents, giving him special insight into the vicissitudes of marriage, as well as the confidence to cope with teenage tribulations.) Easily one of the most emotional, most intimate stories Taniguchi’s ever told.

pluto4. Pluto: Urasawa x Tezuka
By Naoki Urasawa • VIZ Media
What amazes me the most about Naoki Urasawa is his ability to transform a tried-and-true genre like the whodunnit into a vehicle for exploring deeper questions about human nature, morality, and identity. As he did with the equally compelling Monster, Urasawa starts in familiar territory — in this case, a murder investigation — but quickly takes the story in unexpected directions, pausing to fill us in on the interior lives of both the principal and secondary characters — no mean feat, given that many cast members are, in fact, robots. Though Pluto takes its inspiration from “The Greatest Robot on Earth,” a short story within Osamu Tezuka’s long-running Astro Boy series, you don’t need to know anything about the original to appreciate the smart pacing, crisp artwork, or intelligent dialogue. In almost any other year, Pluto would have been my #1 pick; it’s a testament to the depth and breadth of 2009’s new releases that it isn’t.

pelu13. Little Fluffy Gigolo Pelu
By Junko Mizuno • Last Gasp
Poignant is a word I seldom use to describe Junko Mizuno’s work, given the frequency with which her characters pop pills, wield chainsaws, and whip each other. But Little Fluffy Gigolo Pelu is poignant, a perversely sweet and sad meditation on one small, sheep-like alien’s efforts to find his place in the universe. In richly detailed images — if one can use the phrase “richly detailed” to describe artwork that draws its inspiration from Hello Kitty, My Little Pony, and Faster, Pussycat! Kill! Kill! — Mizuno offers one of the most bizarre, most original variations on that chick-lit staple, the quest to find a mate before one’s biological clock runs out. It’s not entirely clear how Mizuno expects her audience to react to Little Fluffy Gigolo Pelu — as a social satire? a tragedy? a Sanrio promotion? — but the clarity and appeal of her vision is undeniable. (Click here for my review of volume one.)

redsnow2. Red Snow
By Susumu Katsumata • Drawn & Quarterly
Through a series of ten vignettes, Red Snow depicts life in pre-industrial Japan, when men depended on the sea, the forest, and the field for their survival. Kappa and kitsune mingle freely with humans in Susumu Katsumata’s world, their presence treated as a matter of fact, rather than something extraordinary — a reflection of man’s close relationship with the natural world. Though Katsumata employs a self-consciously primitive style, the stories are neither bleak nor condescending towards their subjects; if anything, Katsumata’s drawings of farmers, woodcutters, and drunken monks have a rude vigor that reflects the resilience of his characters.

1. Children of the Sea
By Daisuke Igarashi • VIZ Media
Children of the Sea defies easy categorization; it’s a high-seas adventure, an exploration of pan-Asian mythology, a cautionary tale about the environment, and a meditation on the ocean as a life-giving force. Though Children of the Sea could easily devolve into mystical hoo-ha — two of its characters were raised by dugongs, for Pete’s sake — Igarashi embeds a coming-of-age story within the main narrative that grounds Children of the Sea in everyday experience, even as the plot takes a turn for the fantastic. (See “raised by dugongs,” above.) Igarashi’s naturalistic art captures the beauty and strangeness of the ocean settings, as well as the sheer diversity of undersea life; you won’t soon forget the site of a sea turtle leaving a starry trail in its wake or the image of a young boy hitching a ride on a humpback whale. Eerie and poetic. (Click here for my review of volume one.)

HONORABLE MENTIONS
Done because there are too menny… great manga, that is, to confine myself to a traditional top ten list. With apologies to Thomas Hardy, here are some of the other manga that tickled my fancy in 2009:

Manga Artifacts: Domu: A Child’s Dream

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Revisiting AKIRA prompted me to re-read Domu: A Child’s Dream, an earlier work that helped cement Katsuhiro Otomo’s reputation as the leading manga-ka of his generation. Though both series include elements of horror and science fiction, the two are utterly different in approach: AKIRA is sweeping, grand, and allegorical, whereas Domu is compact, a taut psychological thriller that unfolds in a mere 230 pages.

Domu begins like a police procedural: an older detective and his hot-headed young partner arrive at a Tokyo apartment complex to investigate a series of deaths. Though the victims’ histories suggest foul play rather than suicide, the detectives are baffled by the crime scenes: all of the victims have jumped off rooftops or slashed their own throats, with no evidence of anyone watching or aiding them. A few tantalizing clues lead investigators to “Old Cho,” a seemingly benign, senile resident who spends most of his time sitting on a bench and muttering. Inspectors Yamagawa and Tamura can’t connect Cho to the crimes, but Etsuko, a stolid little girl who has just moved into the complex, knows how Cho killed them: telekinesis and hypnotic suggestion.

What follows is an intensely creepy cat-and-mouse game between Etsuko and Cho. Though Cho is nominally an adult, his mind is terrifyingly child-like; he kills his neighbors for their “treasures”: a baseball cap with wings, a fake ruby ring, an umbrella, a stuffed toy. Cho initially regards Etsuko as an impediment to his fun, but when he discovers that Etsuko can also move objects with her mind, he begins testing her strength and sense of morality. Their battle begins in the narrow hallways and dim elevator shafts of Etsuko’s building, but quickly consumes the entire complex as Cho attempts to annihilate Etsuko.

domu_page

Though I found the artwork for AKIRA a bit dated, a relic of a particular moment in sci-fi history, Domu seemed less mired in the 1980s. The characters are refreshingly realistic in their appearance; Cho actually looks like an eighty-year-old man, with a stooped frame, a deeply-etched face, and liver-spotted hands, while Etsuko’s plump cheeks and slightly awkward proportions seem appropriate for an eight-year-old. Otomo lavishes similar attention on his bit players, too, giving each apartment dweller a distinctive look that speaks volumes about his economic status, age, and fear of being swept up in Yamagawa and Tamura’s murder investigation. Even the apartment complex functions as a kind of character, a sterile collection of high-rise buildings whose imposing exteriors give way to dark, dingy interiors and cramped apartments. As Otomo guides us through its labyrinthine hallways and stairwells, we feel a palpable sense of dread; the complex is filled with the kind of dead ends and blind spots that feature prominently in our worst nightmares.

Domu would be a solid, if not remarkable, thriller on the strength of its artwork alone, but Etsuko’s predicament gives the story an added jolt of energy and terror. She’s the strongest, most adult character in the story, the only one with a clear sense of what’s happening, and the only one powerful enough to stop Cho. Making her plight more compelling is the fact that Etsuko behaves like an eight-year-old who just happens to have a deadly gift, rather than a god-like creature who just happens to be eight years old; she’s small and vulnerable, eager for the comfort of her mother’s arms, but she’s also fiercely moral and incredibly brave in the face of nightmarish events, a child whose natural desire to set things right is cruelly tested by a childish adult.

N.B. Domu has been out of print for several years, though copies are relatively easy to find through eBay and Amazon’s extended seller network. Dark Horse released Domu in several formats, including three slim TPBs and an omnibus edition.

DOMU: A CHILD’S DREAM • BY KATSUHIRO OTOMO • DARK HORSE • NO RATING (RECOMMENDED FOR OLDER TEENS)