Stepping on Roses, Vol. 1
By Rinko Ueda
Published by Viz Media
Rated T+ (Older Teen)

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Sumi Kitamura is in a bind. Her older brother (a happy-go-lucky male escort with a gambling problem) has a habit of bringing home orphaned children for her to take care of. Unfortunately, what he rarely brings home is money. With the landlady looming and loan sharks at her door, Sumi decides to sell herself in order to keep her family alive and together. The buyer is Soichiro Ashida, a wealthy, jaded young man who must marry immediately in order to inherit his grandfather’s business empire. Soichiro promises Sumi all the money she needs in exchange for her hand in (loveless) marriage. Desperate, Sumi agrees, but is she really prepared to give up everything she loves for a the life of a lonely society wife?

When it comes to frothy romance manga, there are allowances most readers are always prepared to make. Realism? Unnecessary. Depth? Optional. Cliché? Bring it on! In return, these readers ask for just one thing: Romance–heart-stopping, unrestrained, no holds barred romance. Unfortunately, though Stepping on Roses takes full advantage of its readers’ generosity, it fails to deliver on its end of the bargain.

Though Sumi and Soichiro are positioned perfectly for their roles as the plucky commoner and guarded aristocrat who unexpectedly find love while trapped in a marriage of convenience, neither is interesting enough for them to develop any real chemistry. Soichiro is cold and controlling like so many of his ilk, but without any real sense of mystery with which to attract readers, let alone Sumi. Meanwhile, Sumi is bland, dense, and surprisingly shallow–more distraught over having lost out on a chance with Soichiro’s charming best friend than she is about the family she left behind (or even the calculated erosion of her individuality). Gags involving Sumi’s lack of social refinement repeatedly fall flat. And without any context provided for the story’s Meiji Era setting, it’s hard to know what conclusion to draw when her ignorance of western manners and customs is characterized as near-barbarianism.

Rinko Ueda’s artwork, a highlight of her series Tail of the Moon, feels tired and lifeless here. The work is nicely detailed and generally attractive (especially its period settings and dress), but offers little character or passion, much like the story itself. Even opportunities to engage readers in the unique dynamics of the period, visually or otherwise, are passed by with little enthusiasm.

Though it’s tempting to hope that subsequent volumes may offer something more to grab onto, even dedicated fans of romance manga may find their optimism hanging by a string. With all its trappings carefully in place, Stepping on Roses simply lacks heart.

Review copy provided by the publisher.

As you all know, the manga blogosphere exploded yesterday with the news that Fantagraphics is launching a new manga line, edited and curated by Matt Thorn. Thorn is widely acknowledged as the west’s leading authority on shojo manga, particularly the works of The Year 24 Group/Magnificent ‘49ers, very little of which has ever been translated into English.

For shojo fans (and indeed serious manga fans as a whole) this announcement is beyond exciting, a fact plainly demonstrated by the massive outpouring of joy between manga bloggers and fans yesterday afternoon on Twitter. Many have expressed speechlessness over the news. At The Manga Curmudgeon, David Welsh is keeping a running list of blog reactions and official news.

In the wake of the initial announcement, both Fantagraphics and Matt Thorn have come forward with further details, including a list of stories
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A thousand giddy manga bloggers just raced to their keyboards in rapturous joy. Why? Because Dirk Deppey has announced officially in his blog that “Fantagraphics has signed an agreement with Shogakukan to launch a full manga line edited and curated by Matt Thorn.”

What does this mean? MOTO HAGIO, that is what it means. The first item being listed by Amazon is A Drunken Dream and Other Stories. I, for one, am counting the days until September when I can own this volume for myself. So little of Hagio’s work has been available in English up to this point, exactly none of which remains in print. This is truly a crime.

For more background and further understanding of why this is so significant for fans of shojo manga, take a look at this brilliant 2005 interview with Hagio
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Here’s a quick link to a review in today’s Manga Minis of Nimosaku Shimada’s BL one-shot, How To Seduce a Vampire from DMP’s June imprint.

Knowing only the premise, I expected this volume to fall into the ranks of so many forgettable BL one-shots, and I certainly never expected to be writing a positive review. Fortunately, my expectations were kicked to the curb less than a chapter in.

Utterly devoid of the overworked angst and longing of most modern vampire stories, How To Seduce a Vampire is genuinely funny, unexpectedly rich, and an undeniably entertaining read.

Check out my review for more!

One of this month’s most interesting releases is the first volume of Yuu Watase’s recent shonen series, Arata: The Legend. Arata has been serialized online at Viz’s Shonen Sunday website since July of last year. This is its first print release.

I have mixed feelings about Watase’s classic Fushigi Yugi, though much love for its current spinoff, Fushigi Yugi Genbu Kaiden. A quick glance at Arata proves that Watase’s art style lends itself well to shonen, which comes as no surprise at all. One of Genbu Kaiden’s strengths is its energetic but clear action sequences–a rare virtue in shonen manga.

There are few reviewer reactions to refer to at this point, though Connie at Slightly Biased Manga seems to have enjoyed the first volume. Fortunately, readers can preview the series for free themselves, now up to eight chapters at Shonen Sunday. Here’s the full press release from Viz:
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Time for some quick mid-week linkblogging!

First of all, Rob at Panel Patter has been reading/reviewing Yumi Tamura’s classic shojo series Basara, a favorite series of mine (and quite possibly Michelle Smith’s most-loved manga series of all time). Since Michelle is always right, I feel compelled to share Rob’s reviews with the world. He’s just finished volume two. Click here to check out what he has to say so far.

Over at The Manga Curmudgeon, David Welsh presses on with his Shojo-Sunjeong Alphabet, now on letter “T“. I went over to express support for CLAMP’s Tokyo Babylon (probably my second-favorite of all their work) and Moto Hagio’s They Were Eleven, both on which I’ve reviewed for my Tokidoki Daylight column at CBR’s Comics Should Be Good. These two series probably couldn’t be more different, but I love them both very much.
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Guest Review
Higurashi: When They Cry, Vols. 4-5
By Ryukishi 07, Yutori Houjyou, and Jiro Suzuki
Published by Yen Press

Review by Megan M.

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A newcomer to the small hamlet town of Hinamizawa, Keiichi Maebara makes friends quickly among the students at his new school. He also learns that the town has a history of grisly murders occurring on the night of the local Cotton Drifting. What’s more, some of his new friends seem to be intimately (and tragically) involved in the town’s gruesome history.

Based on a popular murder mystery game, Higurashi: When They Cry depicts multiple versions of a single story, drawn by various artists. Volume four wraps up the “Cotton Drifting” arc and volume five begins the “Curse Killing” arc. The difference in approach between these two volumes is most easily demonstrated by discussing their art styles. Yutori Houjyou’s art in “Cotton Drifting” is a fairly standard in terms of character design, but dark, creepy, and occasionally shocking. Her characters, even the more lighthearted ones, have a depressing air of gravity to them. Jiro Suzuki’s art in “Curse Killing,” on the other hand, is in broad slapstick, featuring plenty of visual humor and moe character designs (along with the usual fanservice). I found the adjustment jarring, and volume five’s borderline-inappropriate comedy kept me from being able to care about the tragedy surrounding the characters.

One interesting note: unlike similar stories, which tend toward gratuitous display of female corpses, Higurashi doesn’t play gender favorites when it comes to victims. Though it’s true there are more female corpses than there are male, there are also far more female characters overall.

I consider it to almost be a crime to watch Clue (a brilliant black comedy from the 1980s) without watching all the endings, so I’m intrigued by a canon that centers around different possibilities in a single story. Unfortunately, this one didn’t quite work for me. Though Higruashi: When They Cry is by no means bad manga, I don’t think it’s a series for me.

Review copies provided by the publisher.

Calling all fans (and future fans) of Akimi Yoshida’s shojo classic Banana Fish! Coming up later this month, I’ll begin hosting an ongoing Banana Fish roundtable, featuring a number of my favorite manga critics. As with The NANA Project at CSBG, we’ll be discussing two volumes at a time, every two months. Why am I telling you this now? So you have time to track down the books for yourselves!

If you’re not certain about Banana Fish, check out this post for (hopefully) persuasive discussion, including a short preview of the series. If I can’t convince you, maybe Shaenon Garrity can. If you were addicted to S.E. Hinton novels as a teen, you may love Banana Fish. If you’re into current manga series like Wild Adapter or manhwa epics like One Thousand and One Nights or Let Dai, you may love Banana Fish.
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I’m sure by now everyone has heard the news about Nick Simmons’ alleged (and meticulously documented) plagiarism in his fledgling comic, Incarnate. For those who haven’t, Deb Aoki has a collection of links and Twitter conversations here in her blog. As you’ll see from her post, discussion of plagiarism has segued into discussion of piracy. I was foolish enough to wade into the comments section yesterday evening, which turned out to be frustrating, exhausting, and really nothing else.

As I mentioned to someone later on Twitter, I was not nearly as anti-scanlation when I entered the conversation as I was when I left. In the end, the pro-scanlation crowd had turned me against them to the point where I not only could no longer see any merit in what they were saying, but was frankly disgusted by the idea of being part of the same fan community. I have some examples to share, but first, a confession:
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Today I’d like to point you to the latest installment of The NANA Project, in which Danielle Leigh, Michelle Smith, and I dig into NANA volumes 9 & 10! I can honestly say I have never had more much fun with this project than I did this time around, and that’s saying a lot. From Danielle’s introduction: “This time around we all discuss the harsh world of fame, Melinda and I then subject the character of Yasu to relentless psychoanalysis, while Michelle awes us all with her new “hair theory” of NANA!”

While participating in this month’s discussion, I was reminded more than ever just how emotionally resonant this series is and how true-to-life its characters are. I think the fact that the conversation gets a bit heated here in installment #5 is a real testament to that. Must performing artists choose between career and love? Is “want” an essential element of happiness? Check out NANA Project #5 for all this and more!
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