Manga Bookshelf

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Unshelved

Upcoming 3/9/2011

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Pick of the Week: done! ComicList rundown: go!

Viz sent out a dedicated press release on the debut of Izumi Tsubaki’s Oresama Teacher, and I’m never quite sure how they pick which titles get this treatment. There isn’t a readily evident pattern, as near as I can tell. I’m not sure how Tsubaki’s other Viz title, The Magic Touch, sold, because I couldn’t be bothered to read any of it beyond the first volume.

I’m happy to report that I liked Oresama Teacher more than The Magic Touch. That wouldn’t have in difficult, but Tsubaki seems to have improved measurably over the course of her earlier title. Oresama is about a fight-prone girl who gets sent to a private school with a lenient admissions policy regarding problem kids. Mafuyu wants to change her ways, but circumstances keep intervening, and she doesn’t really know how to behave like her image of an average schoolgirl. When she sees someone being bullied or ganged up on, she has to intervene.

Unfortunately, her first blow for justice is struck on behalf of her creepy, conniving homeroom teacher, Saeki. Saeki seems to take an unseemly delight in messing with Mafuyu’s head, which isn’t any more difficult than me liking Oresama Teacher more than The Magic Touch. When she isn’t trying to evade her teacher’s random acts of weirdness, Mafuyu is trying to win the friendship of a classmate, Hayasaka. No stranger to combat, Hayasaka reads Mafuyu’s intensity as aggression, which results in some genuinely funny bits.

It’s not immediately evident where all this is going, but it doesn’t seem like Tsubaki is making it up as she goes along. Oresama Teacher is a much more assured bit of shôjo than I expected. It’s not exceptional by any means, but it seems like it could turn into something very good.

(Comments based on a review copy provided by the publisher.)

Of course, if your budget only allows you the purchase of one volume of Viz shôjo this week, I’d have to recommend you pick the second volume of Julietta Suzuki’s Kamisama Kiss. The relationship between inadvertent shrine priestess Nanami and grumpy demon boy Tomoe inches along in the face of adversity, and it’s clear that Suzuki likes to develop these things carefully. While she throws some fairly conventional obstacles in the pair’s path, the pacing is always interesting, and the protagonists’ responses are always interesting and specific. Basically, all the strengths of the first volume are in place, and some new supporting characters add spice and humor to the proceedings. It’s a charmer.

On the “I haven’t read these yet, but I certainly will” front is the sixth volume of Kou Yaginuma’s excellent coming-of-age tale of student astronauts, Twin Spica (Vertical), and the sixth volume of Yuki Yoshihara’s gleefully tasteless, shouldn’t-really-work-but-does Butterflies Flowers (Viz).

What looks good to you?

 

New TCJ: Where are the women?

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Everyone’s excited about the new Comics Journal online, and who can blame them? The Journal‘s old site was sparsely maintained and difficult to navigate. And though I’ll probably always miss Dirk Deppey’s fantastic link blog, Journalista, change here is definitely for the better, especially when that change involves bringing on Dan Nadel and Tim Hodler, the guys responsible for Eisner-nominated website Comics Comics, widely respected in the comics blogosphere.

Still, amidst all the excitement and praise, I can’t help but notice an element of… well, the same old, same old. Overwhelmingly, the new TCJ seems to be pretty much a bunch of… guys.

Now, before there’s an outcry, yes, I do see a few women listed among TCJ’s expected contributors. Hodler’s welcome message on the new site mentions future contributions from Nicole Rudick, Naomi Fry, Shaenon Garrity, and Hillary Chute. But the stuff these guys seem really excited about, all the new columns from Ken Parille, Ryan Holmberg, Sean T. Collins and the like, regular features like Frank Santoro’s “Riff Raff,” Jeet Heer’s “Comics Chronicles” and Joe McCulloch’s “This Week in Comics,” stuff that’s meant to make up the real meat of the site, are all written by men. This discrepancy is especially apparent in Nadel and Holder’s recent interview with Tom Spurgeon, where it was incredibly easy on my first read to completely miss the few tiny mentions of female writers, though they go on effusively about the many men involved in the project.

Look, I get that western comics culture is very much male-dominated, and I know that my perspective is probably skewed by the fact that I do the bulk of my comics-related online reading in the female-heavy manga blogosphere. But is it really so much to expect that a publication (online or otherwise) that considers itself to be an elite voice in the comics world might make a real effort to include female voices? And not just as occasional contributors, but as full-fledged columnists with the opportunity to develop a real audience and a distinctive voice?

I don’t mean to rain on Nadel and Hodler’s parade, I really don’t. I get that they’re pulling from a pool of writers they’ve admired for a long, long time, as well as from their already-established Comics Comics crew, which only had one woman in the bunch. This is what they’re comfortable with. These are the guys they know. I also get that they’ve been in charge of TCJ for something like a day, and jumping on them for anything at this point in time could reasonably be considered unfair.

And hey, my complaint is purely selfish. My sad little cry for more women at TCJ is a reflection of what I want to read, more than anything else. I want to read about comics from female creators. I want to read about comics about female characters. I want to know what other women think and feel about comics, because more often than not, that’s what really speaks to me as a reader. That’s what inspires me as a fan, and certainly as a blogger. There’s a reason why Manga Bookshelf is made up of a group of female bloggers and one man who reads a whole lot female-created manga. This is the discussion that most interests me. And though I certainly don’t expect TCJ to embody my personal tastes, as a pretty dedicated fan of comics, I’d like to see those tastes a bit better represented.

So in the end, I’ll wrap this up as a simple, friendly request for TCJ.com’s brand new overlords:

There are a lot of us out here. How about giving us something to read?

ETA Some related links:

A response from Tim Hodler
Additional commentary from Heidi MacDonald

Shojo Beat Quick Takes – Rasetsu and Butterflies Flowers

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Rasetsu Volume 8 by Chika Shiomi

I generally enjoy Chika Shiomi series. She has a predilection for creating male leads that are both attractive and somehow possessed by demons, which causes her heroines to be tormented by their love for these ultimate bad boys. I tried the first 4 volumes or so of Rasetsu and then stopped getting the series. While I enjoyed it, I wasn’t feeling as much of an emotional connection to the story as I did with Yurara, the series it was spun off from. But dipping back into it, I was pleasantly surprised by how much I enjoyed this volume. The more episodic monster-hunting plot elements are cast aside in favor of the ongoing dilemma of Rasetsu’s love life. If she doesn’t find true love by the age of eighteen, a demon is going to come to claim her. Rasetsu and Yako’s attraction has been growing, but she doesn’t want to use him to escape her curse. Kyuru has always been Shiomi’s prototypical bad boy, and the reader finally gets an explanation as to his true nature. The series finally seems to be heading towards a final confrontation between Rasetsu and the demon who cursed her, and I’m curious to see what happens next. I am team Yako all the way, if he doesn’t get the girl at the end of Rasetsu after his heartbreak at the end of Yurara I am going to be very disappointed.

Butterflies, Flowers Volume 6 by Yuki Yoshihara

After six volumes Butterflies, Flowers isn’t exactly heading into new territory as it details the odd relationship between “Lady” turned office worker Choko and servant turned boss Masayuki, but each volume of this series usually has at least one incident that really makes me laugh. The panel in this volume that I thought was hilarious was Masayuki’s crestfallen expression when he realizes that Choko has been stolen away from him and he realizes that he has neglected to place his customary tracking bug in her underwear.

There’s plenty of the usual office hijinks as the staff travel to a hot springs for a vacation and Masayuki tries to protect Choko from potentially lecherous coworkers. Choko shows her tougher side when she faces down a bunch of thieves to protect Otaki, a strict new boss who transfers in to her company. Unfortunately seeing Choko in action causes Otaki to develop a strong crush on her and Masayuki is faced with more trouble ahead when his ex-girlfriend returns to work with him again. I’m actually impressed that the evil ex hasn’t made an appearance in this series until the sixth volume. For all the machinations and problems that get thrown in Choko’s and Masayuki’s path, they still seem to have a strong foundation as a couple. I’m still enjoying this manga’s combination of heartfelt proclamations of love and bizarre sex comedy.

Previews review March 2011

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The March 2011 edition of the Previews catalog is packed with noteworthy items, so let’s get right down to it.

My pick of the month would be Kaoru (Emma, Shirley) Mori’s A Bride’s Story (Yen Press), page 355:

The newest series from the critically acclaimed creator of Emma, A Bride’s Story tells the tale of a beautiful young bride in nineteenth-century Asia. At the age of twenty, Amir is sent to a neighboring town to be wed. But her surprise at learning her new husband, Karluk, is eight years younger than her is quickly replaced by a deep affection for the boy and his family. Though she hails from just beyond the mountains, Amir’s clan had very different customs, foods, and clothes from what Karluk is used to. As the two of them learn more about each other through their day-to-day lives, the bond of respect and love grows stronger.

Yen Press is proudly publishing Kaori Mori’s beautifully-illustrated tale in a deluxe hardcover edition.

If you’re like me, you would have been sold at “Kaoru Mori.” The series is ongoing in Enterbrain’s fellows!

CLAMP fans will be pleased with the arrival of another handsome omnibus treatment of one of their series, Magic Knight Rayearth, from Dark Horse (page 56). It originally ran in Kodansha’s Nakayoshi and was originally published in English by Tokyopop. Dark Horse’s version will be done-in-one, collecting all three volumes.

DC’s Vertigo imprint offers a new paperback printing of Howard Cruse’s Stuck Rubber Baby, a semi-autobiographical tale of a young gay man coming of age in the turbulent American south of the 1960s (page 130). Monkey See’s Glen Weldon provided a lovely overview of the book.

A new release from Fanfare/Ponent Mon is always worth noting, even if you’ve never heard of the book before. This month, they solicit Farm 54, written by Galit Seliktar and illustrated by Gilad Sliktar:

Farm 54 is a collection of semi-autobiographical stories that address three important periods in the life of the protagonist, Naga, growing up in Israel’s rural periphery… While these Israeli childhood stories take place in the shadow of war an occupation, they also reflect universal feelings, passions, and experiences.

Kodansha Comics lists new volumes of several of the series it picked up from Del Rey (pages 296 and 297):

  • Fairy Tail vol. 13, written and illustrated by Hiro Mashima
  • Rave Master volumes 33-35, written and illustrated by Hiro Mashima
  • Shugo Charai vol. 10, written and illustrated by Peach-Pit
  • Arisa vol. 2, written and illustrated by Natsumi Ando
  • Negima! vol. 29, written and illustrated by Ken Akamatsu
  • Ninja Girls vol. 5, written and illustrated by Hosana Tanaka

Speaking of comebacks, if the recent Manga Moveable Feast piqued your interest in Keiji Nakazawa’s Barefoot Gen, Last Gasp rolls out new printings of the first two volumes (page 297).

If you’re interested in seeing people do amazing things with the form of comics (and don’t care much about story or character), Picturebox unleashes more work by Yuichi (Travel, New Engineering) Yokoyama in the form of Garden (page 308). Being of somewhat more conventional tastes, I think I’ll hold off on this one.

Update: Over at Robot 6, Sean T. Collins interviews Yokoyama and shares several preview pages of Garden.

I may not be able to show suck restraint with Gajo Sakamoto’s Tank Tankuro from Presspop, Inc. (page 308):

The roots of Astro Boy – Tank Tankuro pioneered robot manga during the pre-World War II period in Japan. First published in 1934, Tank Tankuro was one of the most famous manga characters of the era. Tankuro is said to be the first robot ever to appear in Japanese comics. He and his villain, Kuro Kabuto, famous among Japanese SF fans for his resemblance to Darth Vader, laid the foundations for such manga greats as Tezuka, Sugiura, and Fujiko.

Christopher (Comics212) Butcher is very excited about this, which is almost always a good sign.

And, because someone who is not me but clearly has every right for their dreams to come true demanded it, Viz releases a new edition of Oh!great’s Tenjo Tenge which, they promise, is “Finally UNCENSORED!” It’s about dorks who like to fight, with plenty of fan service to help keep your interest (page 333). I wish I could find a copy of the cover image, because it positively screams “Not for me.”

 

Platform review: Viz on the iPad

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People made fun of the iPad when it was first announced, from its seemingly limited functionality to its unfortunate name, but over the last year it has proven to be probably the most exciting new device to enter the (as Steve Jobs likes to call it) “post-PC” market.

Besides offering much of the same day-to-day functionality we require of our desktop computers (web browsing, e-mail, and so on), it’s also a terrific tablet reader and possibly the best personal gaming device I’ve ever seen. Now with Apple’s recent announcement of the upcoming iPad 2, complete with new video cameras and (frankly amazing) new versions of iMovie and Garageband written especially for the iPad, it’s definitely the device every forward-thinking company wants a piece of.

If this is beginning to sound like a paid iPad commercial, that’s only because I have to pretty much fight my husband to get just a couple minutes of time on his iPad, that’s how much use he gets out of the thing. It has become the centerpiece of our gadget-geek household (which is saying quite a bit), so not much could make me happier than to see my own personal geek obsession making inroads in the iPad market. Comics publishers, including a few manga publishers, have been putting out apps left and right, and we’ve got ’em all.

Viz’s iPad app has an immediate edge over its current competitors in the manga market, simply because Viz has actually managed to acquire digital rights for titles from Japan, something that companies like Yen Press and Dark Horse have had some pretty obvious difficulty with.

Most of the titles offered are popular ones too, like Bleach, Naruto, and Vampire Knight, with a few surprising treats like older series Rurouni Kenshin and some quirky shoujo picks like Natsume’s Book of Friends and Otomen. Shounen series dominate the app by far at this point, with no sign at all of older-aimed titles from Viz’s IKKI and Signature catalogues, and just the barest sprinkling of shoujo.

Navigation is simple and pretty intuitive. The app’s landing page features three simple tabs in the middle of the screen for checking out new arrivals, as well as “featured” volumes and a small selection of free previews.

A button on the top right provides access to a list of all available series, though there doesn’t seem to be any way to flip through all available volumes, the way one might in the bookstore aisle. Not that browsing between series is a hardship at all, as the “All Series” button remains on every page of the app.

Purchasing or previewing a volume is pretty easy (though full volume downloads can take some time), and everything is purchased in-app. But the app does require that you create a Viz account before you can make purchases using iTunes. And since signing into your account moves you away from the screen where your purchase was initiated, you have to manually navigate back to the original page in order to complete the purchase. Fortunately, once you’ve signed in, you’re not required to do so again during the same session.

Getting to the important stuff: Viz’s manga looks great on the iPad, especially when viewed as single pages, portrait-style. Images are crisp and clear, and text is easy to read.

In wide-screen, double-page mode, artists with heavy inking and contrast fare the best (like Bakuman and Death Note‘s Obata), while those with a lighter, sketchier style suffer somewhat with the smaller page size, though nothing is genuinely difficult to see.

Enlargement of a single panel is incredibly easy. Double-tap on any panel for a close up, and then double-tap to return. The iOS two-finger pinching works on all pages as well, both in single and double-page mode.

Overall, the iPad makes a great comics reader, and Viz’s app takes full advantage of its capabilities.

Purchases are downloaded directly to the iPad, so they can be saved in your library forever–a much nicer deal than most of the online “rental” models we’ve seen from manga publishers up to now–and first volumes of all series are currently offered for just $.99 apiece, which is a pretty unbeatable deal.

The $4.99 price tag on subsequent volumes is a bit too high to encourage buying in bulk, especially when brand new physical volumes of most of these series can be found for just a few dollars more on Amazon (and for at least a couple of dollars less used). While it’s easy to imagine buying volumes of newer, currently running series (like Bakuman or Toriko, both available now) for that price, the idea of trying to catch up with long-running series (like Bleach or One Piece) at $5 a pop is much less enticing. Lowering the price of later volumes by even just a dollar would make these longer, older series more attractive, especially as bulk buys.

Accessing all your downloaded manga is very easy–just a single click on the “My Manga” button found at the bottom of every screen, and preferences can be set for maximum storage size. Any overflow can be deleted from the device as needed, then re-downloaded whenever you’re ready to read. The app’s storage settings allow you to see or hide titles not currently stored on your device, whichever you prefer. You can also choose to be notified (or not) when new volumes of your downloaded series are available for purchase.

With such a relatively small percentage of Viz’s catalogue (just sixteen series at this time) currently available in their iPad store, it would be a stretch to describe it as a great source for manga, but it’s not difficult to imagine the possibilities.

Many have already pointed out its potential as a platform for long, out-of-print series, particularly the scads of fantastic 80s and 90s shoujo Viz put out on their now-defunct shôjo imprint. Packaged “omnibus” editions with several volumes for a reduced price could be very exciting as well, making it truly feasible for both old and new fans to catch up on longer series they might have missed during their original print runs. Whether Viz is willing or able to make any significant volume of its back catalogue available remains to be seen, as is whether or not any of their more sophisticated titles will ever hit these digital shelves.

Still, Viz is adding new manga to their store at a pretty brisk pace, as Kate recently reported in her coverage of their new “March Madness” campaign. Let’s hope we’ll see much more to come!

Blood, brains, or brawn

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The new Previews catalog is here, so it’s time once again for me to throw myself at the mercy of you, my readers, to help me pick from three questionable manga prospects. Let’s begin!

Moon and Blood vol. 1, written and illustrated by Nao Yazawa, Digital Manga Publishing, page 281:

When high schooler Sayaka awoke one morning, to her surprise, she found an unexpected guest at the family kitchen table – Kai. A cool, handsome and aloof character, a so-called family friend of Sayaka’s father, his temporary stay in her household and attendance to Sayaka’s school, is more than she’s bargained for. But what secrets does Kai hold and what are his true intentions for his sudden appearance into Sayaka’s life? Why does he excel so well in school but sleep through every class? Here does he disappear every night? Will Sayaka find her answers? Or will her curiosity get her into trouble? And what is up with that black cat?

This generic-sounding title from the creator of Wedding Peach (Viz) originally ran in some magazine from some publisher that I cannot unearth in any of the usual sources. It almost certainly involves vampires. I almost always hate vampires.

A Certain Scientific Railgun vol. 1, written by Kazuma Kamachi and illustrated by Motoi Fuyukawa, Seven Seas, page 314:

Welcome to a world where mysticism and science collide, and supernatural powers are derived from either science or religion. In Academy City, an advanced metropolis populated by scholars, the majority of students are enrolled in the city’s “Power Curriculum Program,” where they must learn to master their latent psychic powers. Out of several million students, only seven are deemed powerful enough to have Level 5 status. Mikoto Misaka, the third most powerful Level 5 esper in Academy City, delves deep into the dark heart of the scientific sprawl she calls home – and uncovers secrets she wishes she hadn’t!

Aside from an awkward title and (again) generic premise, this series came to be in Media Works’ Dengeki Daioh, which has produced some great manga but has an uncomfortable fixation on little girls. Also, use of the word “esper” bugs me.

Kampfer vol. 1, written and illustrated by Yu Tachibana, Tokyopop, page 318:

Senou Natsuru is an everyday school boy, who wakes up one day to discover that he’s been chosen to be a Kampfer (fighters) whose objective is to fight other Kampfer. There’s just one catch: In order to fight others, he must turn into a girl!

Seeing as Tokyopop couldn’t be bothered to spell the name properly in its catalog listing, I don’t know why I should be expected to feign enthusiasm. Kampfer originally ran in Media Factory’s Comic Alive, which foisted Maria Holic on the world.

Those are your choices for the month. I’ll take a much more optimistic look at catalog on Monday. For now, please vote in the comments!

 

Dragon Girl Volume 2

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Dragon Girl Volume 2 by Toru Fujieda

I think it was a good decision for Yen Press to go with the omnibus format for this five volume series. I enjoyed this series very much, but if I was reading it spaced out over five volumes my interest might have started to wane a little bit. Being able to sit down and devour huge hunks of shoujo goodness with this slightly quirky manga made me enjoy it even more. Even though many of the plot elements in Dragon Girl evoke typical shoujo cliches, I am still amused by the odd and humorous elements Fujieda inserts in her story. For example, the hottie on the cover that heroine Rinna is embracing isn’t a high school boy who has a crush on her – it is her long lost father Sakuya, the globe trotting former traditional cheerleader captain/anthropologist. I think Sakuya, with his long hair, creative accessorizing, and breezy attitude would easily take the title in a coolest manga Dad contest.

Rinna and her friends in the cheering group struggle with getting their club officially reinstated and dealing with their rival high school. Rinna confesses her crush on childhood love Subaru, but finds out that a romance with him is impossible. Yatome and Rinna grow even closer but it seems like cheering captain Hasekura might finally get up the nerve to tell Rinna how he feels. There’s nothing particularly earth-shattering about this title, but it is great comfort reading. I challenge anyone not to enjoy a manga where the heroine’s response to rumors being spread about her is to stand outside the school with a megaphone yelling her side of the story in order to set the record straight. Even thought the ending of Dragon Girl was predictable, I enjoyed seeing Hasekura’s reaction when he was finally able to meet Sakuya, his cheering idol. Also, when Hasekura finally changes his “manly” look, the response of the female students to actually being able to see his shaven face was hilarious. Even the evil scheming student council president doesn’t turn out to be so bad after all. Dragon Girl lets the reader momentarily escape into a world filled with camaraderie and costumed high school students yelling their hearts out. I finished this manga with a smile on my face.

Fanservice Friday: Intimacy porn

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I’ve had fanservice on the brain quite a bit lately, most recently thanks to this article by comics creator Michael Arthur at The Hooded Utilitarian. In it, Michael discussed his perspective on BL manga as a gay man and an artist, and though reception was mixed (for the record, I have pretty much equal appreciation for both his points and much of the criticism he received from female BL fans) what it really got me thinking about is fanservice for women, which inevitably led to thoughts about fanservice for me.

Pretty guys in shoujo and BL? Sure, I like ’em. I like them (maybe even more) in Korean manhwa as well, where “blond and willowy” also tends to equal “kick-ass,” at least in the stuff we’ve seen imported over here. It’s well established that girls frequently like their male idols to be pretty as, well, girls, and that taste doesn’t necessarily vanish with age, at least when it comes to fiction. The muscle-bound hunk has never done much for me, and while that may lend itself in “real life” to a preference for nerdy guys, I’m perfectly happy with the rail-thin pretty boys offered up to me in girls’ comics.

Pretty boys aren’t my real hook, though, not even if we’re talking porn–and when I use the term “porn” here, it’s in the broadest sense of the word, the sense that includes things like “food porn” and “shelf porn” or basically anything that feeds our inner obsessions with powerful visual stimuli. My real “porn,” what services me as a fan the way eye candy does for many, is emotional porn. Intimacy porn, if we’re going to get specific.

What’s great about intimacy porn, is that it is able to manifest itself in a number of different ways, none of which is exclusive to girls’ and women’s comics, though you’ll find it there in abundance. Some of it is clearly romantic in nature, like this scene from Ai Yazawa’s Paradise Kiss.

Read right-to-left. Click for larger image

The scene takes place in the first volume of the manga, when these characters, George and Yukari, are just barely beginning to explore their attraction. It’s the small bits of physical intimacy that really work for me here… George’s fingers circling Yukari’s, the soft kiss on the back of her hand, the tilt of his head as he leans in to kiss her–not the kiss itself (which doesn’t happen here, as you may know), but the anticipation of it, the electricity in the air between two bodies so clearly attracted to one another. The moment feels intensely intimate, though they’re standing outside where anyone could see them. That’s what I’m talking about here. That’s the way to service me as a fan.

With this in mind, I took another look at this scene from Jeon JinSeok and Han SeungHee’s One Thousand and One Nights. I’d mentioned in my discussion with Michelle that it was a ridiculously obvious image, and that its success in context was a testament to the artists’ skill with romance, but I think its success with me goes even further than that.

Read left-to-right. Click for larger image

Where indeed skill comes into play, is that the characters’ intimacy has been so well-established before this point, without the use of such blatantly erotic imagery, that when this stunning show of emotional and sexual intimacy is played out right in front of enemy Crusaders and the sultan’s court, it actually feels real. Sehera’s expression of devotion here is so honest, so utterly without embarrassment, its public intimacy feels not only appropriate, but genuinely romantic.

Intimacy porn doesn’t have to be romantic, though, and often the best of it isn’t. This scene from Kazuya Minekura’s Wild Adapter for instance:

Read right-to-left. Click for larger images

   

   

Though Wild Adapter is serialized in a BL magazine, the relationship between its two protagonists, Kubota and Tokito, is only subtly romantic. What the two really have is intimacy, and that’s what draws me so strongly to them and to their story. This scene has plenty of elements that might be typically used as fanservice–a shower, slouchy skinny guys, even nudity–but there’s no service here, not unless you count my kind, of which there’s service aplenty. This kind of intimacy–Tokito’s pain, unspoken, but acknowledged and understood between just the two of them–that’s my kind of porn, there.

To stray even further from romance, you can find this kind of intimacy porn far, far outside shoujo, josei, or BL. CLAMP’s xxxHolic, for example, was originally published in Young Magazine, a men’s publication, typically featuring bikini-clad women on its cover. Still, it’s filled with my kind of porn, including this scene:

Read right-to-left. Click for larger images



Here, Watanuki and Doumeki discuss the events of the day, while Doumeki makes his demands regarding the contents of rice balls. Their intimacy is apparent from the start… the verbal shorthand, the way the rice ball conversation weaves itself out of habit around the real issues at hand. At page 139 their surface banter comes to a halt, as Watanuki makes a rare, open statement revealing the true value of their relationship. It’s a gorgeously thick moment–you can just feel the weight of emotion in the air, all the unspoken trust and gratitude that Watanuki is usually unable to express–suspended just briefly in time, before Doumeki quickly swings things back into their comfort zone. The banter continues, no less intimately, but comfortable again for both of them. I probably read this scene ten times when I first picked up the volume. It’s exactly my kind of porn.

Intimacy porn doesn’t have to be between two characters, though. Sometimes an author is able to create this between a character and his/her readers. Going back to Yazawa for a moment, this time with NANA, note here how she’s used narrow close-ups of her characters’ eyes to open them up to the audience.

Read right-to-left. Click for larger image

Though the scene takes place between Reira and Shin, their circumstances make it difficult for them to connect with each other honestly. Instead, though they hide their feelings from each other, they’re sharing them with the reader, as openly and intimately as possible. This kind of intimacy has the effect of not breaking the fourth wall, but expanding it to include the reader, and can be even more powerful than something that’s established between characters. It’s difficult to do well, but Yazawa’s a master, and it most certainly contributes to my love of her work.

Is it fanservice? Maybe not, strictly speaking. But it services me better than a thousand pretty faces ever could on their own.

So, readers… what’s your porn?

More Ono due from Viz

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Viz just sent out a press release detailing its new titles due in the second half of 2011, and I’m sure someone will post it in its entirety, but I’m single-minded in my interest in one title above all others:

TESORO · Rated ‘T’ for Teens · MSRP: $12.99 US / $14.99 CAN ·

Available November 2011

This is an engrossing manga treasure trove containing 14 charming stories about family, friends, couples and unexpected bonds. Written by Natsume Ono over ten years, here is the long-awaited collection of her early work, including numerous illustrations and previously unpublished stories!

As a reminder, if you’re lucky enough to attend this year’s Toronto Comic Arts Festival, you can meet Ono in person. And, if you can’t wait until November for a new Ono title from Viz, there’s always La Quinta Camera, due in July.

 

 

Mid-week must-reads

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I’ve pretty much given up on manga industry analysis as a pastime. I found it had started to taint the hobby for me. But I always enjoy sinking my teeth into a great piece of writing from this category. Today’s comes from Brigid (MangaBlog) Alverson over at Robot 6, in which she reacts to the recent round of layoffs at Tokyopop:

It’s just sad to see people who took their work seriously being treated so badly by a company that seems to put more value on a direct-to-Hulu reality series than on their core product, a solid line of manga that really did change the graphic novel market and the reading habits of millions of readers—myself included.

I would only add that, in my admittedly limited experience talking to industry figures, I can think of few professionals who were better equipped and more willing to be passionate advocates for good manga than Lillian Diaz-Pryzybl and Asako Suzuki. Any publisher possessing any sense at all would hire them at their absolute earliest convenience.

(Okay, I would also add that, in addition to being a passionate advocate for manga, Brigid is also one of its must astute, clear-eyed observers.)

Moving to a much more benign subject, another astute advocate, Erica (Okazu) Friedman, succumbs to my pestering and writes about what describes as “the fifth genre” of manga magazines in her latest column for The Hooded Utilitarian:

The pressure to conform to the four basic categories is industry-wide. The Japanese Magazine Publishers Association puts out circulation data for top selling manga magazines every year. These ratings are listed by; For girls, For boys, For men and For women. And yet, there is some leaking around the edges, as more alternative magazines seek out both male and female artists,  and male and female readers. These magazines focus less on who is buying and more on telling stories to people who want to read them.

A synonym for “fifth genre” might be “magazines with which David is unhealthily obsessed.”

 

Butterfly Volume 1

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I’m probably much harder to please with monster-hunting manga than any other subgenre. There’s just so much of it, it usually has to be both outstanding and irresistible to really catch my attention. Butterfly doesn’t really fit into this category for me, but there are a few things about it that make it quirky and potentially interesting. First of all, this series is actually seinen manga written by a woman. I have great fondness for other seinen by female authors like Soryo’s ES (Eternal Sabbath), so those publication details did make me more intrigued about the title. While this is a seinen series, it is set in high school with a male main character who is not all that great at school. Ginji refuses to write any career goals as he heads into his final months of school. His life is changed when he meets Ageha, an elementary school kid with glasses and long hair who promises to pay his debts if Ginji will work them off by doing some ghost busting.

Ginji hates the idea of ghost, but he’s haunted by an event that happened to his older brother. When Ageha suddenly appears before him, asking if he wants to “Go and kill…all the ghosts in the world together,” Ginji is extremely skeptical. He tags along on one of Ageha’s missions and finds out that the exorcisms he’s going to be involved in are a little different than he expects. It turns out that Ageha has the ability to manifest images of the things that haunt people, and Ginji has the ability to destroy them. So Ageha is effectively exorcising people’s worries and fears by giving them a form that Ginji battles with. Ageha and Ginji have complementary powers, but the way they work isn’t fully explained in the first volume. Ageha is a bit of a mysterious being as well, because while people tend to assume she’s a girl, others maintain that she’s a cross-dressing boy.

Aikawa’s art is clear and easy to follow during the action scenes, but lacks a unique style. I was fond of Ageha’s mannerisms, just because after reading The Secret Notes of Lady Kanako, I’m happy to see yet another glasses-wearing protagonist with social issues. While Butterfly didn’t totally win me over with the first volume I was intrigued by the idea that Ageha is manifesting people’s internal demons, and Ginji’s destruction of those illusions brings the afflicted some peace. I’m curious to see if some of the mysteries behind Ageha’s origin and the nature of the duo’s complementary powers are explored more in the next volume. I think that Butterfly would probably appeal most to older high school students and adults who want a slightly different spin on monster hunting manga.


Review copy provided by the publisher

New NANA Project, Vols. 17-18

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This entry will be brief as I’m convalescing with the flu, but here’s a quick link to the latest installment of The NANA Project, in which Danielle Leigh, Michelle Smith, and I discuss volumes 17 and 18 of Ai Yazawa’s NANA.

From Danielle’s introduction, “This month, MJ, Michelle and I return to discuss volumes 17 and 18 of NANA. Michelle decides she likes Miu, Danielle has a Yasu-epiphany, and MJtakes on Takumi and Reira’s dysfunctional relationship.”

Between this month’s Let’s Get Visual and the Project, I’ve had NANA on the brain lately, and so should you!

Come join us in comments to dish about Misato’s past, Shin’s arrest, and volume 18’s Takumi side-story!

Inside the DMG: Week 5

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In an otherwise quiet period at the Digital Manga Guild, the past week’s highlight for participants was a set of teleconferences with Digital Manga President and CEO Hikaru Sasahara. Guild members were invited to submit one question each for either of the two scheduled teleconferences (Friday, 2/25 at 3pm PST or Saturday, 2/26 at 11am PST), with the understanding that not all could be selected to attend.

As the teleconference dates approached, participants experienced some of the same kinds of glitches we’ve become accustomed to during this process, and which have certainly been a factor in the overall sense that DMP does not have their act together regarding the Guild. Notifications came a day later than promised, at which point some members received duplicate or conflicting information (my e-mail, for example, invited me to attend on Friday the 26th) or, in some reported cases, no notification at all.

Despite these glitches, however, the teleconferences were, in my view, the best idea Digital Manga has had to date in terms of nurturing member interest in the project, thanks largely to the obvious passion and dedication of Mr. Sasahara.

I entered Saturday’s teleconference a few minutes late (thanks to some technical difficulties of my own), missing most introductions of other attending members as well as attending staff, but Digital Manga employees who spoke up during the conference included VP of Production Fred Lui and Lanny Liu (aka starlightmuse on the DMG boards). Though we’ve heard Mr. Sasahara talk before about his plans for the Guild in the video posted on the main DMG page, the teleconference offered him a unique opportunity to convey his deep feelings for the project directly to its participants–an opportunity he leapt at with vigor.

With introductions completed, Mr. Sasahara took the floor to tell us about himself, the dreams he inherited from his father, his journey to the US forty years ago, and “the biggest and most serious project” of his career–the Digital Manga Guild. Another participant has posted a rough transcript of Saturday’s conference, but words alone can’t do justice to the passion and seriousness of Mr. Sasahara’s tone, which I found personally inspiring. Whether the manga industry as a whole will benefit from Mr. Sasahara’s intent to revolutionize the system remains to be seen, but it’s difficult to imagine that anyone attending the teleconference could have remained unmoved by his sincerity. I suspect no small number of us might have marched into the streets with promotional pamphlets and DMG flags, had we been asked to do so at the time, his fervor was that stirring.

Powerful rhetoric aside, between Mr. Sasahara’s opening remarks and the questions asked later by participants, quite a bit of good information came out of the conference. Here are a few particularly enlightening points:

  • Digital Manga has 100 titles already offered up by one of their participating publishers, some of which may be available for groups to work on as early as the end of March.
  • Though distribution of profit among the three participating entities (Japanese publishers, DMP, & localizers) is yet to be finalized, Sasahara is pushing for something in the neighborhood of 12% for localizing groups.
  • Some initial goals in terms of timeline: contracts signed by end of March; production starting in April; first titles to launch by early summer.
  • Packages for groups will be mixed (yaoi, adult titles, classic titles, etc.) with a view towards giving them equal value in terms of potential sales. Distribution of packages will be determined by DMP.
  • Accounting will be completely transparent. Groups will receive regular statements listing how many times each of their titles has been read on each applicable platform (eManga, Kindle, etc.), and what the group’s percentage is from each sale.
  • Though there will be some general guidelines offered up by DMP, localizers will be able to make most decisions in terms of things like honorifics and translation notes based on their own experiences as manga fans, and at their own discretion.
  • Localizers will decide how they wish to be credited on each of the titles they work on.

Mr. Sasahara emphasized over and over throughout the teleconference that the localizers are an incredibly important part of the process, and that he wants us to make money.

DMP representatives have indicated that a recording and/or transcript of the teleconferences will be made available to all, and I recommend that everyone take advantage of that when the time comes. Meanwhile, check out this thread at the DMG boards for detailed notes from those who attended!

ETA: These recordings are now available!

Anyone else who attended have thoughts to share? Any questions I may not have answered completely? Let me know in comments!

Upcoming 3/2/2011

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This week’s ComicList isn’t as loaded as the Midtown Comics version, the source of my current Pick of the Week. Thankfully, Vertical finds a way to make the trip to the comic shop worthwhile.

Redemption comes in the form of the fifth volume of Konami Kanata’s excellent Chi’s Sweet Home (Vertical). In this volume, Chi discovers that she doesn’t need to leave the house to have an adventure. Along the way, she also grasps the importance of being able to feign innocence. Anyone who’s ever lived with a cat will nod in rueful recognition at this development.

Of course, Chi also manages to spend some time in the great, suburban outdoors, making a new friend and relying on some old ones when she wanders well beyond her familiar boundaries. Fun as Chi’s adventures are, and lovely as it is to think about a protective community keeping her safe, I’m very much a partisan of the indoor-only feline experience. It makes me reflexively uncomfortable to see a kitten given that much liberty, no matter how charming the fictional results. Of course, this is why I would be a terrible parent to a human child; they’d never know a moment’s unsupervised peace.

As is usual, Kanata sneaks in some extremely moving moments where hints of Chi’s past life intrude on the way she lives now. These interludes really balance out the sweet charm of the more antic, observational sequences, and they make the book work better than it might have without them. In slice-of-life storytelling like this, a variety of experiences and emotions are always welcome, even for a kitten.

(Remarks are based on a review copy provided by the publisher.)

What looks good to you?

 

Random weekend question: flicks

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It’s Oscar night! Can you feel the excitement? I can’t, but I’m kind of a bad gay in that respect. Still, I’ll take the occasion of the movie industry’s biggest night of self-adulation to ask the following: what comic would you like to see adapted into a film that could claim Oscar gold? Put aside your memories of Astro Boy and your fears about Akira and emphasize the positive, if you can.

I think Fumi Yoshinaga’s Ichigenme: The First Class Is Civil Law (DMP) could be made into one of those independent sleeper films that draw unexpected commercial and critical acclaim. And it has hot, smart gays getting it on and none of that maudlin, problem-movie nonsense of Brokeback Mountain. Of course, I can also imagine Makoto Yukimura’s Planetes (Tokyopop) getting turned into some overblown James Cameron thing that doesn’t really resemble the source material but still makes a ton of money.