Tokyopop

US Manga Market on the Rebound

July 21, 2015 by Katherine Dacey

Deb Aoki rounds up the major manga news from Anime Expo and San Diego Comic-Con, while Heidi MacDonald and Calvin Reid weigh in on the overall state of the comics industry. The good news: the manga market has rebounded from the late 2000s, when a glut of product and the collapse of Borders forced several publishers to shut down.

Over at Comic Book Resources, Brigid Alverson interviews Tokyopop founder Stu Levy about the company’s new business plan, which consists of three key components: “licensed Japanese manga, graphic novels based on brands, and new products based on Tokyopop’s existing global manga properties.”

Going to Otakon? Ed Chavez hinted that Vertical Comics may have three or four licensing announcements. In other Vertical news, all seventeen volumes of Black Jack are now available in ebook form.

Crunchyroll just launched five new manga series, including Scum’s Wish, The Morose Mononokean, and Princess Jellyfish.

DMP’s latest Kickstarter campaign successfully funded print editions of Osamu Tezuka’s Storm Fairy, Crime and Punishment, and Unico.

Tokyo Ghoul tops this week’s New York Times Manga Best Sellers, while Attack on Titan tops ICv2’s list of the Top 10 Manga Franchises of Spring 2015. Also making the ICv2 cut are long-time favorites Death Note and Naruto and relative newcomer Sword Art Online.

Are you a Dorohedoro fan? If so, keep your eyes peeled for the first issue of Marvel’s Ant-Man: The Last Days; Q Hayashida provided the cover art. (Issue ships on 8/15.)

Justin Stroman talks to several Digital Manga Guild localizers about their experiences–good and bad–working for DMP.

The folks at ALC Publishing have translated Rica Takashima’s article “Japan: Fertile Ground for the Cultivation of Yuri,” which originally appeared in the December 14th issue of Eureka.

News from Japan: Creator Masaya Hokazono (Inugami) just launched Osoroshi Ya (Dreadful Shop), a new website for manga horror enthusiasts. Natsuki Takaya is hard at work on a sequel to Fruits Basket. Beginning September 4th, a new chapter will be posted every week at the HanaLaLa website. The end is near–for Orange, Cross H, and Grendizer Giga, that is.

Reviews: At Kaleo, Henry Ma reviews the latest chapters of Bleach, and offers predictions for the next installment. Ash Brown posts short reviews of After I Win, Alice in the Country of Hearts: My Fanatic Rabbit, and Aquarion Evol.

Erica Friedman on vol. 2 of Akuma no Riddle (Okazu)
Chris Beveridge on vol. 1 of The Complete Chi’s Sweet Home (The Fandom Post)
Rebecca Silverman on vols. 1-3 of Demon From Afar (ANN)
Anna N. on vol. 2 of JoJo’s Bizarre Adventure, Part One: Phantom Blood (The Manga Report)
Helen on Kitchen Princess (Organization Anti-Social Geniuses)
Megan R. on Kujibiki Unbalance (The Manga Test Drive)
Matthew Warner on The Legend of Zelda: A Link to the Past (The Fandom Post)
Kristin on vol. 1 of Maid-Sama (Comic Attack)
Jon Parrish and Luke Thompson-Moritz on vol. 3 of Peepo Choo (Comic DNA)
Sean Gaffney on vols. 17-18 of Ranma 1/2 (A Case Suitable for Treatment)
Matthew Warner on vol. 11 of Sankarea: Undying Love (The Fandom Post)
Jeff Alford on Trash Market (Run Spot Run)
Rebecca Silverman on vol. 1 of Twin Star Exorcists (ANN)
Jocelyn Allen on Wagamama Chie-chan (Brain vs. Book)

Tokyopop + Disney = Manga Mickey?

July 12, 2015 by Katherine Dacey

Anyone hoping for a definitive statement of Tokyopop’s 2015-16 plans was probably disappointed by the company’s SDCC panel. The company reiterated its intention to do “original manga,” announced it was launching a phone game called Sushi Cross, and hinted that it was negotiating an agreement with Disney. Tokyopop also revealed it will publish a new boxed edition of M. Alice LeGrow’s Bizenghast, one of the company’s best-selling OEL manga titles.

UDON announced that it would be reissuing Moyocco Anno’s tween-friendly fantasy Sugar Sugar Rune (originally published by Del Rey Manga in the 2000s). Also on UDON’s calendar: the oddly punctuated Steins’; Gate, which debuts next month.

If you didn’t make it to SDCC 2015, never fear: Deb Aoki has posted a detailed recap of the Best and Worst Manga Panel of 2015. Although the group focused on new releases from 2015, all five panelists also discussed manga they’d liked to see licensed, from Ai Yazawa’s Neighborhood Story (Gokinjo Monogatori) to Gengoroh Tagame’s My Brother’s Husband (Otouto no Otto).

Dark Horse Reveals 2016 Publishing Plans

July 9, 2015 by Katherine Dacey

Dark Horse announced it will publish four new manga in 2016–Danganronpa: The Animation, I Am a Hero, Fate/Zero, and Giganto Maxia-–and reissue RG Veda, formerly a Tokyopop property. Dark Horse also revealed plans for spiffy omnibus editions of Astro Boy and Oh! My Goddess.*

At VIZ’s Shonen Jump panel, editors confirmed that Gakkyu Hotel: School Judgment will make the leap to print in February 2016, while Best Blue, a brand-new shonen sports manga, will appear simultaneously in the Japanese and American editions of Weekly Shonen Jump.

Jennifer de Guzman talks to creators Rikki Simmons, Tavisha Wolfgarth-Simons, and Sophie Campbell about their experiences publishing OEL manga with Tokyopop in the mid-2000s.

Do you love writing about shojo? Laura at Heart of Manga wants to hear from you; she’s currently looking for contributors.

News from Japan: After three years of sporadic updates, Kentaro Miura’s Beserk will resume regular serialization in Young Animal magazine on July 24th. The Attack on Titan: Lost Girls light novel is being adapted into a manga for Bessatsu Shonen Magazine; look for the first chapter in August. Fans of My Love Story!! should mark their calendars: the live-action film opens on October 31st.

Reviews: Michelle Smith, Anna N., and Sean Gaffney post short reviews of Assassination Classroom, Love at Fourteen, Say I Love You, and other recent releases. Over at The Comics Journal, Joe McCulloch tackles Junji Ito’s new anthology Fragments of Horror.

Joseph Luster on vol. 5 of Ajin: Demi-Human (Otaku USA)
Sean Gaffney on vol. 1 of Alice in Murderland (A Case Suitable for Treatment)
Carrie Hildebrand on vol. 64 of Bleach (Three If By Space)
Rebecca Silverman on vol. 1 of Chaika: The Coffin Princess (Anime News Network)
Joseph Luster on Dream Fossil: The Complete Stories of Satoshi Kon (Otaku USA)
Amanda Vail on Dream Fossil: The Complete Stories of Satoshi Kon (Women Write About Comics)
Alice Vernon on vol. 1 of Emma (Girls Like Comics)
Leroy Douresseaux on Fragments of Horror (Comic Book Bin)
Joseph Luster on Fragments of Horror (Otaku USA)
confused muse on Fruits Basket (Organization Anti-Social Geniuses)
Ash Brown on Gyo: The Death Stench Seeps (Experiments in Manga)
Matthew Warner on vol. 4 of High School DxD (The Fandom Post)
Lesley Aeschliman on vol. 5 of Kiss of the Rose Princess (WatchPlayRead)
Matthew Warner on vol. 5 of Little Battlers Experience (The Fandom Post)
Naru on vol. 1 of Love Stage!! (Organization Anti-Social Geniuses)
Joseph Luster on vol. 1 of My Hero Academia (Otaku USA)
Sakura Eries on vol. 8 of My Little Monster (The Fandom Post)
Sakura Eries on vol. 4 of My Love Story!! (The Fandom Post)
Lesley Aeschliman on vol. 10 of Nisekoi: False Love (WatchPlayRead)
Matthew Warner on Puella Magi Oriko Magica: Extra Story (The Fandom Post)

* Editorial note: As my colleague Brigid Alverson reported in May, Dark Horse originally announced many of these licenses at an unscheduled Anime Central panel. The title of the post has been updated to reflect the error.

Kodansha Licenses Princess Jellyfish; Tokyopop Returns

July 7, 2015 by Katherine Dacey

Just a quick programming note before I tackle the day’s news: The Manga Revue is on hiatus this week so that I can focus on breaking stories from San Diego Comic Con. The Revue will be back on Friday, July 17th with an in-depth look at Junji Ito’s Fragments of Horror. On to the links…

This year’s Anime Expo yielded several major licensing announcements, including the welcome news that Kodansha Comics will be publishing Princess Jellyfish in 2016. Vertical, Inc. also unveiled two recent acquisitions: Nichijou, a surreal gag manga, and FukuFuku: Kitten Tales, a josei title from the creator of Chi’s Sweet Home. For a complete list of all of the titles announced at AX 2015, check out Sean Gaffney’s comprehensive round-up.

The biggest news story of AX 2015 was the re-launch of Tokyopop. Not surprisingly, the Robofish reboot generated numerous essays from industry veterans and journalists, including Alex de Campi, Heidi MacDonald, Aja Romano, and Brigid Alverson. Pour yourself a cup of coffee and read up on Stu Levy’s second act.

Mobile Suit Gundham and Tokyo Ghoul top this week’s New York Times Manga Best Seller list, followed by the perennially popular Naruto and Attack on Titan.

Publisher’s Weekly reports that the North American comics market grew 7% last year, generating almost $1 billion in print and digital sales.

Erica Friedman compiles the latest yuri publication news.

Megan R., host of The Manga Test Drive, shows off her manga collection and discusses her reading habits.

Justin Stroman interviews the husband-and-wife team of Christine Schilling and James Dashiell, who are currently translating Akame ga Kill! and The Seven Deadly Sins. Fun fact: the two met at Tokyopop, where Schilling was an intern and Dashiell was a letterer.

What will you find on the New Arrival shelf this week? The Manga Bookshelf gang sift through the good, the meh, and the awful.

News from Japan: Move over, Daigo Asahina–Atsushi Okubo, creator of Soul Eater, has a new “sci-fi firefighting battle manga” in the works for Weekly Shonen Magazine. Over at Weekly Shonen Jump, creator Masahiro Hirakata will debut Best Blue, a manga about a champion swimmer. Saint Seiya‘s Masami Kuramada also has a new series launching this year: Ai no Jidai (Ichigoe Ichie), a “semi-autobiographical” story that will run in Weekly Shonen Champion.

Reviews: Over at Organization Anti-Social Geniuses, confusedmuse sings the praises of Kaori Yuki’s The Cain Saga. Johanna Draper Carlson had an exceptionally productive long weekend, posting reviews of Ani-Emo, So, I Can’t Play H, and Emma. Not to be outdone, Ash Brown posted brief reviews of The Ancient Magus’ Bride and Man of Many Faces.

Ken H. on vol. 5 of Ajin: Demi-Human (Sequential Ink)
Anna N. on vol. 1 of The Demon Prince of Momochi House (Manga Report)
Sheena McNeil on vol. 5 of Food Wars!! Shokugeki no Soma (Sequential Tart)
Johanna Draper Carlson on vols. 1-2 of Love at Fourteen (Comics Worth Reading)
Kristin on The Legend of Zelda: A Link to the Past (Comic Attack)
Nick Creamer on vols. 5-6 of Lucifer and the Biscuit Hammer (ANN)
Rebecca Silverman on vol. 6 of Monster Musume (ANN)
Lori Henderson on vol. 2 of Prophecy (Manga Xanadu)
Sheena McNeil on vol. 14 of Rosario + Vampire, Season II (Sequential Tart)
Leroy Douresseaux on vol. 1 of Twin Star Exorcists (Comic Book Bin)

The Manga Lover’s Guide to SDCC 2015

July 5, 2015 by Katherine Dacey

Are you headed to San Diego this week? If so, this column is for you! We’ve compiled a handy list of the major manga events, from VIZ’s Ultraman spectacular to Tokyopop’s Don’t-Call-It-a-Comeback panel. Our own Brigid Alverson will be joining an all-star line-up of bloggers for the Best and Worst Manga of 2015 panel, which will be held on Saturday, July 11th at 7:00 pm. We’ll also be updating the blog throughout the week with the latest licensing announcements.

A final note about the programs listed below: our list focuses on manga, but there are also a wealth of anime programs including cosplay panels, voice acting workshops, and screenings of Spirited Away. A comprehensive schedule of anime events is now live on the SDCC website, and available through the Comic-Con app (iOS and Android).

THURSDAY, JULY 9th

Shonen Jump: Past, Present, and Future
10:00 – 11:00 am, Room 5AB
From the program: “Hang out with the English language editors of the world’s most popular manga, plus special surprise guests! Come hear some exciting news about the latest new series, all-time fan favorites, and everything in between. Plus a chance to win amazing prizes by showing off your SJ trivia skills.”

What Do Women Want? Female Gaze in Manga
3:00 – 4:00 pm, Room 29AB
From the program: “From shojo manga to boys love manga to reverse harem ‘otome’ video games and anime filled with delectable guys, these media have been catering to the tastes of female fans in Japan. These stories are reaching readers and inspiring comics creators worldwide more than ever. See what manga publishing pros Leyla Aker (senior vice president, publishing, VIZ Media), JuYoun Lee (editor-in-chief, Yen Press), Lillian Diaz-Pryzbyl (head of comics, Sparkler Monthly), and manga creator Jamie Lynn Lano (The Princess of Tennis, Denkiki) have to say about ‘female gaze’ in manga, why it sells, and why it matters. They’ll also share their picks for your next must-read manga that’ll make you swoon. Moderated by Deb Aoki (Publishers Weekly, Manga Comics Manga).”

VIZ Media
4:00 – 5:00 pm, Room 7AB
From the program: “Come party with VIZ Media! And by party, they mean sit in a chair and listen to thrilling tales of upcoming releases and other Earth-shattering announcements from North America’s largest distributor of manga and anime… Hosted by Urian Brown, Charlene Ingram and VIZ Media staff, with special guests.”

Making a Living in Manga: Japan Creators, Editors Talk
5:00 – 6:00 pm, Room 29AB
From the program: “What’s it like to work as a comics creator in Japan? What does it take to sell your self- published manga at Tokyo’s Comic Market (Comiket), the world’s largest comics show? How do Japanese manga editors work with creators to craft addictive stories that keep readers coming back for more? Hear what it’s really like to work in the motherland of manga from Japan- and U.S.-based pros who have done all of this and more. Akihide Yanagi (writer, agent), Kamome Shirahama (manga artist, Eniale & Dewiel), Philip S. Y. Tan (Heaven, Uncanny X-Men), Makoto Nishi (manga editor), and Philip Knall (translator, salaryman) offer a rare look behind the scenes of Japan’s manga biz, followed a Q&A session moderated by Deb Aoki (Publishers Weekly, Manga Comics Manga).”

Dark Horse Manga
6:00 – 7:00 pm, Room 9
From the program: “Dark Horse’s history with Japanese comics can be traced back to the company’s earliest years… Dark Horse continues to publish some of the industry’s bestselling titles… Be on hand for a look at the past, present, and future of manga at Dark Horse.”

Manga: Lost In Translation
7:00 – 8:00 pm, Room 9
From the program: “It seems that manga is charging back from its late ’00s slump, and anime simulcasts have become the norm. So what is it like to work in the industry? Here’s your chance to ask some of the top professionals in the manga and anime industry about their jobs and the titles they’ve worked on. Join William Flanagan (Fairy Tail), Jonathan “Jake” Tarbox (Fist of the North Star), Mari Morimoto (Naruto), Stephen Paul (One Piece), Ed Chavez (director, Vertical Comics), and Lillian Diaz-Przybyl (head of comics, Chromatic Press Inc.) for this panel.”

FRIDAY, JULY 10th

Get Your Comic Published in Japan: Silent Manga Audition
1:30 – 2:30 pm, Room 5AB
From the program: “Jonathan Tarbox (CEO, Arashi Productions) explains how manga artists from any nation can submit their work to a contest run by a major Japanese publisher. Winners will have their submission published in Japan and be considered for the opportunity to work in the manga industry…”

VIZ Media: Ultraman
3:00 – 4:00 pm, Room 23ABC
From the program: “For their first international appearance, Eiichi Shimizu and Tomohiro Shimoguchi, creators of the new VIZ Media manga series Ultraman, inspired by the original Japanese TV show, are joined onstage by special guests from Legendary Comics to discuss Japan’s quintessential superhero and the influence of kaiju in today’s pop culture…”

Manga Publishing Industry Roundtable
5:00 – 6:00 pm, Room 4
From the program: “Manga publishing in North America has definitely seen its shares of highs and low, from the manga boom in the early 2000s to the crash ten years later, caused by a perfect storm of the U.S. recession, Borders bookstores closures, and the growth of online piracy. So how are things now? Get a taste of what’s hot, what’s not, and what’s next for manga in North America and Japan, from top publishing pros including Leyla Aker (senior VP, publishing, VIZ Media), Kurt Hassler (VP, publishing director, Yen Press), Michael Gombos (director of licensing Asia, Dark Horse Comics), Ben Applegate (associate director, publishing services, Penguin Random House), and Erik Ko (chief of operations, Udon Entertainment). Moderated by Deb Aoki (Publishers Weekly, Manga Comics Manga).”

Showcasing the Best in Korean Comics
7:30 – 8:30 pm, Room 26AB
From the program: “A team of Korea’s prolific artists and animation studios, represented by Jongmin Shin (CEO of EGA Studios), showcases the latest and greatest trends in Korean comics and animation. They will also showcase their recent and upcoming productions on some of today’s hottest comics. Join Jongmin and crew for this Q&A session moderated by Austin Osueke (publisher of eigoMANGA).”

SATURDAY, JULY 11th

Kodansha Comics
11:30 am – 12:30 pm, Room 8
From the program: “The publisher of the manga megahit Attack on Titan… reveals exciting upcoming titles. General manager Kana Koide and senior editor Ben Applegate will answer your questions about Kodansha’s books and the manga industry.”

Spotlight on Yu-Gi-Oh! and Creator Kazuki Takahasi
2:00 – 3:00 pm, Room 7AB
From the program: “Get a rare, behind-the-scenes look at the Yu-Gi-Oh! phenomenon and a sneak peek at the third Yu-Gi-Oh! feature film through the eyes of world-renowned manga artist and Yu-Gi-Oh! creator Kazuki Takahashi, and other distinguished panelists…”

Tokyopop: The Robofish Rises
6:00 – 7:00 pm, Room 28DE
From the program: “Big News, TOKYOPOP is coming back! Meet Stu Levy (founder, CEO), Clay Bohle, and the TOKYOPOP team to get the scoop firsthand. Giveaways for all attendees. If you’re an artist, bring your portfolio for review, and if you’re a fan, bring all your questions.” [Editor’s note: for more information about Tokyopop’s past and future, check out Brigid’s recent article at Comic Book Resources. If you’re planning to bring your portfolio, be sure to read Alex De Campi’s blog post about her complicated–and sometimes exploitative–relationship with Tokyopop.]

Best and Worst Manga of 2015
7:00 – 8:00 pm, Room 23ABC
From the program: “A panel of opinionated bloggers, retailers, librarians, manga mavens, and comics curmudgeons spotlight the best new manga that hit the shelves in the past year. See them rave about their favorite continuing series. Watch them rant about the excruciatingly mediocre manga that they were forced to read. Find out what Brigid Alverson (Robot 6, Good Comics for Kids), David Brothers (4thletter!), Christopher Butcher (The Beguiling, Toronto Comic Arts Festival), Eva Volin (Alameda Free Library, No Flying No Tights), and Deb Aoki (Manga Comics Manga, Publishers Weekly) loved and loathed to read in the past year. Hear about their picks for the most anticipated upcoming releases for fall 2015 and beyond, and discover their favorite underappreciated manga gems that are worth picking up.”

Adaptation Adventures: The Twelve Kingdoms

April 24, 2015 by Ash Brown

In 1992, The Twelve Kingdoms debuted as a series of fantasy novels written by Fuyumi Ono with illustrations by Akihiro Yamada. The series has inspired an anime adaptation as well as audio dramas and video games. Between 2007 and 2010, Tokyopop released English translations of the first four books in the series (which I have previously read and reviewed): Sea of Shadow, Sea of Wind, The Vast Spread of the Seas, and Skies of Dawn.

Although I had vaguely heard great things about The Twelve Kingdoms, I didn’t actually get around to reading the novels until they had technically gone out of print. I ended up loving them and they are well-worth tracking down. (The hardcover editions were apparently notorious for quality control issues, though, so it’s probably best to stick with the paperback releases when they can be found.) Soon after reading the first volume, Sea of Shadow, I immediately sought out the remaining books as well as the anime adaptation; I wanted all of The Twelve Kingdoms in English that I could get. Directed by Tsuneo Kobayashi, the anime is a forty-five-episode series which originally aired between 2002 and 2003. In North America the anime was licensed by Media Blasters. It, too, is well-worth tracking down.

The Twelve Kingdoms is a fantasy epic with an Asian flair, the worldbuilding drawing particular inspiration from Chinese myths and legends. It’s a story about the rise and fall of kingdoms as well as a person’s role in influencing the world around them, whether for good or for ill. There is action, adventure, magic, politics, combat, court intrigue, and more. The Twelve Kingdoms is broad in its scope, but it can also be very personal with the attention that is devoted to its characters and to their development as individuals. Both the narrative and the characters of The Twelve Kingdoms are layered and complex. The Twelve Kingdoms also stands out from many other fantasy works due to its excellent female characters. They often play a prominent role, whether as a hero or as a villain, and in many cases are the characters who are the focus of and really drive the story. They are every bit as nuanced as any of the other characters in the epic.

For the most part, The Twelve Kingdoms anime adapts the material covered in the first four books. So, anyone who has read the Tokyopop novels and is looking for more of the The Twelve Kingdoms story in English won’t find much new. However, there are some differences between these two versions of The Twelve Kingdoms. Some changes are inevitable due to the very nature of the new medium in which the story is being expressed—illustrated prose has been transformed into moving images with color and sound—while others are the result of deliberate choices made by the creative teams.

The anime remains faithful to the content and tone original, but it’s also not a strict retelling. Generally, the novels tend to stand on their own as separate books. They are closely related to one another, sharing the same world and even some of the same characters, but the individual stories don’t necessarily directly impact the others in the series. In the anime, the plot is treated as more of an overarching whole and is chronologically more cohesive. As a result, the anime is arguably more successful in making The Twelve Kingdoms feel more like a single, continuing story rather than a series of connected tales. There are still distinct story arcs in the anime, they’re just more closely intertwined and slightly reordered when compared to those of the novels.

One of the most notable differences between the novels and the anime is the introduction of two new characters (Ikuya Asano and Yuka Sugimoto) who play an important role in the first major story arc which largely adapts the first novel. The addition of these characters actually makes a good deal of sense. For the most part, Sea of Shadow follows Youko Nakajima, who becomes one of the most significant characters in The Twelve Kingdoms as a whole. In the first novel she is quite often alone, both literally and figuratively, and so much of the narrative as well as her personal character development are internal. This sort of inwardly-focused storytelling doesn’t always translate well in a more visual medium; the inclusion of the new characters allows the internal development of The Twelve Kingdoms to become more outwardly explicit in the anime.

In general, I find Yamada’s illustrations in the novels to be more refined and consistent than the anime’s visuals. (I have been sorely tempted to import Yamada’s The Twelve Kingdoms artbooks; they’re gorgeous.) There are scenes in the anime that are stunning, but there are also scenes where the animation and artwork are simply off. However, it is marvelous to see and be constantly aware of the visual details of the series’ setting and character designs in the anime, something that is more easily missed when reading the books. While the novels often allow a reader to better understand the worldbuilding and the more internalized aspects of The Twelve Kingdoms, overall the anime does provide a better visual context.

The anime also has a wonderful soundtrack, something that I particularly appreciate as a musician. Obviously, a soundtrack is one of the elements that the novels completely lack and is therefore unique to the anime. The music for the anime was composed by Kunihiko Ryo and is a mix of sweeping orchestral pieces and pieces more reminiscent of folk music. As previously mentioned, The Twelve Kingdoms as a whole is in large part inspired by Chinese culture, legends, and mythology. This influence can be heard in the soundtrack as well; Ryo incorporates many traditional Chinese instruments and stylings into the music of The Twelve Kingdoms.

I love The Twelve Kingdoms, both the original novels and the anime adaptation. The Twelve Kingdoms has an interesting setting and exceedingly detailed worldbuilding, well-developed characters with strengths and weaknesses, and a complex story that can be engaging as well as emotionally resonant. Anyone who enjoys a good fantasy tale would do well to experience the epic for themselves, in whichever medium it happens to be that appeals to them most. I wish that more of The Twelve Kingdoms was available in English, but what we do have is great.

Between the Sheets

September 12, 2014 by Ash Brown

Creator: Erica Sakurazawa
U.S. publisher: Tokyopop
ISBN: 9781591823230
Released: May 2003
Original release: 1996

Between 2003 and 2004, Tokyopop published six manga by Erica Sakurazawa, some of the very first josei manga to be released in English. More than a decade later josei has still yet to establish a firm foothold in North America, though things seem to be improving and publishers continue to make an effort. Most of the josei that I have read I have thoroughly enjoyed. I wish that there was more available in English, but in the meantime I make the point to support what is currently available and to track down those titles, like Sakurazawa’s, that have gone out of print. The first of Sakurazawa’s manga to be translated was Between the Sheets, which was originally published in Japan in 1996. The volume was not my introduction to her work but out of all of Sakurazawa’s manga that I have so far read, I feel that it is one of the strongest in terms of storytelling. Between the Sheets was initially brought to my attention due to the elements of same-sex desire that play a critical role in the manga’s story.

Minako and Saki are extraordinarily close friends. They frequently hang out together, enjoying the bars and party scene where Saki, despite having a boyfriend, is constantly on the lookout for men. But when Saki and Minako share a drunken kiss in order to convince an undesirable suitor that they’re a couple and to leave them alone, Minako finds her feelings for her best friend beginning to change. Minako had always admired and cared deeply for Saki, but now her love has turned obsessive. She wants to be with Saki. In some ways she wants to be Saki. Saki views Minako as an extremely important person in her life but nothing more than a friend while Minako wants to be everything for Saki: her lover, her protector, her one and only. Convinced she knows what’s best for Saki, Minako will do anything to get closer to her and to drive others away, including sleeping with Saki’s boyfriends.

Frankly, Between the Sheets is an exceptionally disturbing and even horrifying work. Minako’s obsession with Saki creates an ominous and foreboding atmosphere. Each turn of the page seems as though it could reveal some sort of horrible tragedy worse than what has already occurred. Minako’s feelings become self-destructive and her way of dealing with them hurt not only herself but Saki and the men in their lives as well. Often in fiction and romance one person’s utter devotion to another is held as an ideal. However, Between the Sheets takes a much more realistic approach to this sort of extreme, obsessive desire. Minako’s fixation on Saki becomes all-consuming. It’s not flattering and it’s not romantic. In fact, it can hardly even be called love anymore. Her friendship with Saki has evolved into something much darker and much more dangerous. The damage done may be irreparable.

Because of its subject matter Between the Sheets can be a tough and uncomfortable read; it is not at all a feel-good story and there is very little happiness to be found. The characters are entangled in a web of lies, cheating, and betrayal. Unpleasant emotions like hatred, anger, and jealously overshadow those of adoration, love, and affection. However, Sakurazawa handles the intensity of those feelings in a believable way. That realism is probably one of the reasons that Between the Sheets is so troubling. Minako appears to be normal and innocent, her twisted way of thinking hidden safely from view. Sakurazawa’s artwork reflects this–on the surface nothing seems amiss. If readers weren’t privy to Minako’s inner thoughts, they might never suspect the unhealthiness of her state of mind. But eventually her actions and their tragic consequences cannot be ignored and make it quite clear to everyone involved how unbalanced she has become.

The Twelve Kingdoms, Vol. 4: Skies of Dawn

August 8, 2014 by Ash Brown

Author: Fuyumi Ono
Illustrator: Akihiro Yamada
Translator: Alexander O. Smith
U.S. Publisher: Tokyopop
ISBN: 9781427802606
Released: November 2010
Original release: 1994

Skies of Dawn is the fourth and sadly final volume of Fuyumi Ono’s eight-volume fantasy novel series The Twelve Kingdoms, illustrated by Akihiro Yamada, to have been released in English. Published in Japan in two volumes in 1994, the novel was released in its entirety in 2010 by Tokyopop under its Pop Fiction imprint, first as a hardcover and then later in a paperback edition. As with the previous volumes of The Twelve Kingdoms, Skies of Dawn was translated by Alexander O. Smith. Interestingly enough, Elye J. Alexander, who frequently collaborates with Smith on translations and who worked with him on the first three volumes of The Twelve Kingdoms, does not appear to have been involved with Skies of Dawn. Though I discovered the series relatively late, I have been thoroughly enjoying The Twelve Kingdoms and Ono’s exceptionally well-developed world and characters. Skies of Dawn is easily the longest of the translated volumes, but that didn’t at all diminish my enthusiasm.

Yoko has become the king of Kei after being chosen by Keiki, the kingdom’s kirin. It’s still early in Yoko’s reign, but it hasn’t been easy for her. Many of the ministers of her court are corrupt and the others have very little trust in Yoko–Kei has had a bad history with lady-kings. Yoko lacks confidence in her rule as well. Having grown up in Japan before being suddenly swept away to the Twelve Kingdoms, her understanding of the world in which she now finds herself is limited and her knowledge of what it means to be king is even more so. Yoko isn’t the only young woman who is struggling with great changes in her life. Like Kei, the kingdom of Hou has also recently lost its ruler and those circumstances have forced its princess Shoukei into exile. Suzu, another girl who was originally from Japan, is unhappy with her lot in life in the Twelve Kingdoms. Though they don’t know each other, the destinies of these three young women will become closely intertwined, changing the direction and fate of Kei, a kingdom still struggling to restore itself after years of turmoil and calamity.

Although Skies of Dawn is technically the fourth volume in The Twelve Kingdoms, chronologically its story follows immediately after the events of the first volume, Sea of Shadow. The two intervening novels–Sea of Wind and The Vast Spread of the Seas–serve as prequels to the series, providing more context as well as back stories for The Twelve Kingdoms as a whole and for its major characters. As with the other volumes in The Twelve Kingdoms, Skies of Dawn actually stands very well on its own as a novel. Though they provide more background, it’s not absolutely necessary to have read the previous volumes in the series to understand what’s happening in Skies of Dawn. Actually, Skies of Dawn is almost like reading three novels contained in one, especially towards its beginning. It takes quite some time for Yoko, Shoukei, and Suzu’s individual stories to come together into a single narrative, but it is very satisfying when they do, especially because it happens in a way that is somewhat unexpected.

Worldbuilding has always been a major component of The Twelve Kingdoms and that hasn’t changed with Skies of Dawn. I do appreciate all of the thought and detail that Ono has put into every aspect of the series. Granted, while it is all very interesting, the worldbuilding does slow down the pacing of the plot a great deal. Much of the first half of Skies of Dawn is devoted to things like rules of governance, taxes, and marriage laws as Yoko learns more about her kingdom and the kingdoms surrounding it. It’s not until the second half of Skies of Dawn when Yoko, Shoukei, and Suzu’s stories begin to converge that events start to quickly escalate as the people of Kei come closer and closer to rebellion. The Twelve Kingdoms is an epic tale of fantasy in which the characters are required to grow and evolve, taking responsibility for themselves and for the changes in the world in which they live. Although it is unlikely that the rest of the series will be translated, Skies of Dawn and the previous volumes are still well worth seeking out.

Sweat & Honey

June 13, 2014 by Ash Brown

Creator: Mari Okazaki
U.S. publisher: Tokyopop
ISBN: 9781591827979
Released: February 2005
Original release: 2002

Back in 2005 Tokyopop launched a short-lived line of josei manga called Passion Fruit, describing it as a collection of innovative and edgy works. Only two volumes were ever released before Passion Fruit faded out of existence: Mari Okazaki’s Sweat & Honey and Junko Kawakami’s Galaxy Girl, Panda Boy. I learned about all of this long after the fact and only discovered the Passion Fruit line while searching for more translated manga by Okazaki after rereading her series Suppli (which was sadly left incomplete in English after Tokyopop’s decline.) Currently, Sweat & Honey is her only other work available, which is a shame. Sweat & Honey was originally published in Japan in 2002 before being released in English in 2005. I didn’t realize it when I first picked up a copy–initially I was interested in the fact that it was by Okazaki more than anything else–but Sweat & Honey incorporates sapphic elements and yuri undertones which made me even more curious to read it.

Sweat & Honey collects five short, unrelated manga, most of which focus on the close, personal, and intimate relationships between women, ranging from friendship to love and even more complicated bonds. The volume opens with “After Sex, A Boy’s Sweat Smells Like Honey,” from which the collection draws its name. In it, a young woman is staying with her cousin; her attitudes toward and dislike of men has her cousin reevaluating her own romantic relationships as the two women grow closer. In “About Kusako,” Moeko stumbles upon a girl literally growing out of the ground. It’s a curious story and the most fantastical one included in Sweat & Honey. “Sister” follows Chinami, a highschool girl, and Kayo, her 35-year-old neighbor who leads a much more fulfilling life than most realize. The longest story, “The Land Where Rain Falls,” is told in three parts. It delves into the intense and twisted connections between Kumi, her classmate Kaya, and Kaya’s older brother. The volume closes with “Iced Tea,” in which a young man looks back on one of his first crushes, his seventh-grade teacher.

Sweat & Honey, though occasionally lighthearted, is a manga that deals with very mature themes–death, coming of age, self-discovery, nostalgia–and can frankly be disturbing from time to time. Okazaki’s artwork aids tremendously in creating this atmosphere in the volume. Her illustrations are sensuous and provocative, with a languid heaviness to them. They are beautiful, but also somewhat disconcerting and ominous, too. The page layouts in Sweat & Honey are also interesting, often featuring a large background panel which sets the scene with smaller, overlapping panels that focus a reader’s attention on a particular detail of the people who inhabit it. The elegant line of a neck, hesitant glances or a sly smile, an exposed breast, shifting legs and feet, entwined fingers or tightly clasped hands, all are accentuated. Because of this, the young women in Sweat & Honey seem to exist both in their world and apart from it. Okazaki reveals their personal and private thoughts and feelings while at the same time exposing their physical selves.

Although the short manga collected in Sweat & Honey aren’t related by characters or by plot, they all share an emphasis on the inner and outer lives of women and their relationships with each other. Even “Iced Tea,” which is told from the perspective of a young man, is focused on his female teacher. Although the ties between the women in Sweat & Honey are the most crucial, their associations with men and how those associations impact their other relationships are also very important. The older cousin in “After Sex, A Boy’s Sweat Smell s Like Honey” has a boyfriend, but she isn’t able to connect with him in the same way that she does with her younger relative. Moeko drifts away from Kusako when a boy enters the picture. Kayo’s seeming lack of romantic involvement is one of the things that bothers Chinami the most. And in “The Land Where Rain Falls,” the nearly incestuous relationship instigated by Kaya is one of the key elements of the story. But in the end, while the men have their place in the manga, the true focus of Sweat & Honey is on its young women and their experiences.

Shrine of the Morning Mist, Vol. 1

January 19, 2014 by Jocilyn Wagner

I am very pleased to introduce Jocilyn Wagner to readers of Experiments in Manga. Jocilyn doesn’t currently have a platform of her own, but she was still interested in occasionally writing about manga. And so, I’m happy to offer up some space here and welcome her to Experiments in Manga as a guest.

Greetings and Salutations! Some of you might know me from my love of yuri and occasional manga and light novel translations, but that’s not what I’m doing this time. Instead… I thought I’d introduce you to some of the most forgotten and/or unappreciated (usually for good reason) manga I own, which have, in all likelihood, never before been reviewed on a Manga Bookshelf blog!

* * *

I’d like to begin with a title that was so under-sold and under-appreciated it literally debuted at number 92 in graphic novel sales. The year was 2006; it was the end of an era. I’d just wrapped up my undergrad and year-long stint as president of the Western Michigan Anime Addicts and my heart was still full of some of the incredible anime we’d enjoyed: Paradise Kiss, Madlax, Last Exile, Read or Die, the list goes on. In my youthful vigor and utter boredom I was working on one of the many anime subtitling teams (in the days before Crunchyroll a great many of these existed if you can believe it!) editing scripts for #Ishin, when I was asked to finish up work on a silly series no one was watching. It was bizarre, ugly and ridiculously cute, and the episodes were so short it would be a breeze. I’m speaking of course of Asagiri no Miko (朝霧の巫女). You may now groan and pinch your noses in despair and hopefully save yourself the trouble of reading the following review of TokyoPop’s 2006 edition of the series they called “Shrine of the Morning Mist.”

The name has always been something of a sticking point with me since a literal translation would be closer to “shrine maiden of the morning mist” but then, I suppose TokyoPop didn’t want to confuse people with the bull in a china shop, Kannazuki no Miko, for which they’d already used the term (never mind the fact that the miko in Asagiri no Miko actually resemble real miko and Himeko and Chikane are rather infamous, but not for their pious purity), but I digress.

Ugawa Hiroki’s story is usually seen as a seinen action comedy, but I always thought of it as a supernatural slice-of-life romance. In the fine tradition of early 2000s dating sims, the story revolves around a loner teenage dude (Amatsu Tadahiro, usually referred to as Hiro) who returns to the home of his childhood and some of the girls he left heartbroken in his wake. In this case, the brokenhearted is his cousin Yuzu who is painted to be a fiery but loveable tsundere, as well as his closest childhood friend. Yuzu is the middle child of three girls: Kurako, the eldest, is quiet, thoughtful and spiritually driven and has made it her goal to bring the two star-crossed lovers back together. She reminds me of a cross between Belldandy and Toudou Shimako. Yuzu’s younger sister Tama-chan is the fun rascal who dotes on “Hiro Onii-chan” but often speaks with a maturity beyond her years. Actually she very closely resembles Yukino’s sister Kana from Kare Kano, except she isn’t a manga geek. Their father, in his insane knee-jerk reactions to everything, sketchy behavior and extreme unpopularity could easily be mistaken for Shimura-sensei of Azamanga Daioh! fame. A chapter or two into the series, we’re introduced to the girls’ mother Miyuki. I’m not at all sure how to describe Miyuki since she isn’t given a lot of dialogue in this volume. She’s really rather unlike other manga moms: she arrives on the scene with a samurai-like speed, agility and appearance, wielding a bouken and saves Hiro from becoming breakfast to a giant cyclops. The reader’s told she’d been sent to Izumo, so one might infer she’s a gifted Shinto priestess, but it’s not at all clear at this point. Finally, we’re introduced to Koma-san, a mysterious short-tempered but otherwise solemn woman who claims to have known Hiro’s father, though he had died before Hiro was born and this woman looks to be in her mid-to-late 20s. The way Koma is drawn, I can’t help but be reminded of Yumura Kirika, except Koma is endowed with some rather annoying feline qualities. No doubt inspired by a little known game at the time, Tsukihime.

The plot is tragically somewhat thin. Hiro has been traveling, searching out his way in life and has finally come home to the quiet town of his childhood (Miyoshi, in Hiroshima Prefecture). His cousins, the Hieda sisters put him up for the night but are hesitant to let him go since it’s obvious Yuzu still has feelings for him. From the moment he arrives, Hiro is hellhounded by a mysterious sorcerer who wears a tengu mask and summons a host of cruel-intentioned spirits to eliminate Hiro and his spiritual potential before it upsets the balance of something or other. Tengu-san and Hiro have many annoying random encounters in which Tengu-san is always easily defeated by the sisters, and a thoroughly incompetent yet nevertheless unappreciative Hiro is saved from certain doom in the nick of time. One might compare Hiro to Morisato Keiichi, except Hiro’s not all that nice or mature. He’s also unmoved by Yuzu’s total red-faced embarrassment (which comes into play whenever he’s around), though he obviously remembers what transpired between them five years ago. Yuzu’s mom and sisters are constantly trying to push Hiro and Yuzu together. That’s basically the entire plot.

Tune in next time for another segment of The Manga That Time Forgot/Was Hoping To Forget. ~jocilyn

12 Days

December 13, 2013 by Ash Brown

Creator: June Kim
Publisher: Tokyopop
ISBN: 9781598166910
Released: November 2006

June Kim is a Korean-born comics artist and illustrator who currently lives and works in the United States. Although some of her short comics had previously been collected in various anthologies, 12 Days was her first and, as far as I know, only graphic novel to have been published. What I can say for certain is that 12 Days was my introduction to Kim and her work. 12 Days was released by Tokyopop in 2006. The book’s cover design is really quite lovely with silver foil line work and striking red accents. Tokyopop didn’t always take such care with the presentation of its releases, so this was nice to see. 12 Days is at least partially based on a true story–a sad tale that a stranger told to Kim about her ex-girlfriend. Kim herself originally developed the story of 12 Days while getting over a breakup in her sophomore year of college. However, it wasn’t until 12 Days was picked up by Tokyopop that she completed the graphic novel.

On the way back from her honeymoon, Noah was in a lethal car accident. That was a month ago. Noah’s death hits her ex-girlfriend Jackie hard. Already a wreck from their breakup, Jackie is faced with the reality that she has now completely lost the love of her life. And so she devises a way to forget and finally let go. Over the course of twelve days she will drink Noah’s ashes as part of a personal ritual. Somehow Jackie convinces Nick, Noah’s half-brother, to steal some of his sister’s ashes for her from the urn on his parents’ mantle. It’s under these strange circumstances that the two most important people in Noah’s life meet. Nick and Jackie are each struggling to accept and cope with Noah’s death in their own ways. Their shared experience becomes a source of comfort as much as it is a source of pain. They both loved Noah dearly and it will take far more than twelve days to ever change that.

Kim’s style in 12 Days is influenced by both manga and manhwa as well as by independent comics. A prominent theme in both the artwork and narrative of 12 Days is reflection. This can be seen in Kim’s use of mirrors in the graphic novel, but also in the page layouts and panel composition. Jackie and Nick’s actions and how they are captured in the artwork often parallel or echo each other, providing yet another tenuous connection between the two of them. The narrative itself isn’t linear. Much of the story is told through the flashbacks, dreams, and memories that intrude upon Nick and Jackie’s lives. It’s as if a mirror containing all of their thoughts of Noah has been shattered and they are left picking up the pieces–a fitting metaphor for the grieving process. Some of the transitions can be a little difficult to follow at first, but overall it as a remarkably effective approach.

As a whole 12 Days is a very reflective and introspective work. There is intensity and drama but it’s not overblown; the graphic novel tends to be rather intimate and quiet. Despite the realistic portrayal of the complexities of grief, family, love, and loss, 12 Days is not overwhelmingly bleak or depressing. The graphic novel can certainly be heartbreaking considering Noah’s death, the circumstances surrounding her and Jackie’s breakups, and some of society’s prevailing attitudes towards same-sex love, but there is also a fair amount of humor in 12 Days that keeps things from getting too heavy or dark. Even while dealing with the tragedies in their lives, Jackie and Nick, who are both endearingly eccentric, are still able to joke around and tease each other. Sometimes that humor can be a bittersweet reminder of what they have lost, though. 12 Days is a work that holds extraordinarily up well to multiple readings. In fact, I think I enjoyed and appreciated its subtleties even more after reading it several times.

The Best Manga You’re Not Reading: Suki

July 26, 2012 by Katherine Dacey

The brilliant sociopath, the hooker with the heart of gold, and the naïf are my three least favorite character types, the first two for their tiresome ubiquity in popular culture, and the third for being tiresome: when was the last time you read a story about a sweet, innocent person that didn’t make you feel horribly manipulated or horribly jaded? Imagine my surprise, then, at discovering CLAMP’s delightfully odd series Suki: A Like Story, which revolves around a brilliant but impossibly naive teenager who trusts everyone, reads picture books, and talks to teddy bears. I thought I’d be tearing my breast in agony by the end of the first chapter; instead, I quickly succumbed to Suki‘s charms and even suppressed a sniffle or two in the final pages.

Suki succeeds, in large part, because the supporting cast has the same reaction to sixteen-year-old Hinata Asashi as the reader. Hina’s boundless enthusiasm endears her to best friends, Touko and Emi, though both roll their eyes at her inability to read social cues or grasp ulterior motives. Touko, in particular, is keen to protect her pal; as we learn in the second volume of the series, Hina has been kidnapped nine — count ’em — times over the course of her short life. (Hina’s dad is rich and willing to pay ransom for the safe return of his daughter.) Though an ordinary person might be deeply scarred by such experiences — or least more suspicious of strangers — Hina remains cheerful and oblivious to signs that a tenth abduction might be in the works.

Those signs include a string of odd coincidences: the long-vacant house next to Hina’s is suddenly occupied by a handsome young man who just happens to be Hina’s new homeroom teacher, Shiro Asou. Shiro just happens to be around whenever Hina is in need of an escort, or rescuing. And Shiro just happens to conduct clandestine meetings when the class goes on field trips. The ever-vigilant Touko quickly suspects the worst, but Hina interprets Shiro’s gruff yet solicitous behavior as concern, and develops a chaste crush on her sensei.

Watching Hina come to terms with her feelings is a painful but believable process. At first, she revels in any opportunity to spend time with Shiro, whether they’re raking leaves or walking home from school. Later, she begins to see parallels between their relationship and the relationship between two characters in a favorite picture-book series. (More on the series-within-a-series gambit in a minute.) In the final chapters of the book, Hina develops a more realistic idea of who Shiro is, eventually telling him how her feelings have evolved from youthful naivete to adult maturity. “At first, I fell in love with you because you did so many things I loved,” she confesses. “But from now on, Asou-san… whatever you do for yourself… I’ll love you for that.”

That Hina’s epiphany is facilitated, in part, by reading a children’s book may strike some readers as hopelessly twee. Suki — the name of the story-within-a-story — isn’t subtle; using bears as surrogates for Hina and Shiro, Suki charts the budding friendship between a small, chatty bear and her large, bespectacled neighbor. The parallels between the main plot and the story-within-the-story are obvious, but they serve an important purpose, reminding us that Hina is struggling to reconcile new, adult feelings with her decidedly child-like worldview.

Art-wise, Suki: A Like Story is one of CLAMP’s simplest — one might even say plainest — series. Tsubaki Nekoi’s style is much less Baroque than her cohorts’; she favors ordinary street clothes over epaulets and garter belts, and more realistic physiques over exaggerated shoulders and sharp chins. By shedding the fanciful trappings, Nekoi focuses the reader’s attention on faces, allowing us to fully register how each character is feeling. Nowhere is that more evident in the way Nekoi draws Touko. Touko is by far the most mature girl at Hina’s school, and the one most attuned to signs of adult malfeasance. Though Touko voices her concerns, the sadness in her face reveals a level of understanding that might be rooted in her own experiences, not just Hina’s:

Though Hina has a much more innocent personality than Touko, Nekoi resists the temptation to draw Hina as a child; Hina is clearly meant to be a teenager, given her size and athleticism. Hina’s transparent facial expressions, wide-eyed enthusiasm, and sudden, darting movements, however, hint at the discrepancy between her chronological and emotional ages; she bounces and skips and claps her way through the story, reacting with intense glee at even the briefest exchange with Shiro:

The art isn’t perfect by any means. Shiro’s proportions, for example, often look wrong: he has a tiny head and an enormous frame, and is so much taller than the other characters that he’d be NBA draft material in real life. Suki, the book-within-a-book, is also problematic. It’s quite possibly the dullest picture book I’ve read, a series of simple drawings accompanied by large, undifferentiated blocks of text. I certainly wasn’t expecting Sylvester and the Magic Pebble (or A Kiss for Little Bear), but the flat, unimaginative illustrations make it harder for the reader to imagine why someone Hina’s age would find the story so compelling:

Perhaps the most interesting thing about Suki is that Hina’s realistic coming-of-age story is embedded within a thriller. The suspenseful elements of Suki are handled with skill and restraint, even if they are a wee bit ridiculous. (OK, a lot ridiculous: who allows their frequently kidnapped sixteen-year-old daughter to live alone with her teddy bears?!) The few action scenes are brief but crisply executed, adding some much-needed variety in tone and pacing to the story. If the ending is a little too tidy, CLAMP avoids the trap of pandering to the reader’s expectations of what should happen; there’s a note of melancholy in that final scene, joyous though Hina may be.

Readers curious about Suki: A Like Story won’t have too much difficulty tracking down used copies on eBay or Amazon; the complete series will set you back about $20-30.

SUKI: A LIKE STORY, VOLS. 1-3 • BY CLAMP • TOKYOPOP • RATING: TEEN (13+)

The Best Manga You’re Not Reading: Suki

July 26, 2012 by Katherine Dacey 8 Comments

Readers curious about Suki: A Like Story won’t have too much difficulty tracking down used copies on eBay or Amazon; the complete series will set you back about $20-30.

SUKI: A LIKE STORY, VOLS. 1-3 • BY CLAMP • TOKYOPOP • RATING: TEEN (13+)

My 5 Favorite CLAMP Manga

July 24, 2012 by Katherine Dacey 19 Comments

I’ve read almost every CLAMP title available in English, from X (or X/1999, as we called it in back in the day) to Gate 7, and while I can’t claim to love them all, there is a core group of manga that I’ve read, re-read, and recommended to other fans. I make no special claims of excellence for these series, though I will say that these manga impressed me with their technical brilliance, genre-bending narratives, and beautiful artwork, if not their stellar endings.

MAGIC KNIGHT RAYEARTH (Dark Horse; 2 volumes)

It’s easy to forget that Magic Knight Rayearth ran in the pages of Nakayoshi, as it adheres so closely to the friendship-effort-victory template that it almost passes for a Shonen Jump title. A careful reading of MKR, however, reveals it to be a unique fusion of shojo and shonen storytelling practices. On a moment to moment basis, MKR reads like shojo: the heroines denigrate their academic prowess, swoon over the only cute boy to cross their path, and extol the value of “heart” in defeating their enemies. The intense and protracted battle scenes, however, scream Naruto — or maybe Gundam — as the girls are pushed to their physical and emotional limits while casting spells, swinging swords, and piloting giant robots. That CLAMP reconciles such tonally different genres into a coherent whole is an impressive narrative feat; no matter how many times the heroines utter dippy or painfully sincere sentiments, their tenacity in combat makes them every bit as bad-ass as Naruto, InuYasha, or Ichigo Kurasaki. -Reviewed at The Manga Critic on July 22, 2011.

LEGAL DRUG (Tokyopop; 3 volumes)

I hesitate to use the word “intertextual” to describe Legal Drug, as that term is so heavily freighted with academic associations. But intertextual it is, as Legal Drug takes place in a universe that’s been carefully mapped out in prior works such as Angelic Layer, Cardcaptor Sakura, and Suki. Major and minor characters from Chobits and Suki wander in and out of the story, providing comic relief and commentary on the budding relationship between Rikuo and Kazahaya, two handsome young errand boys for the Green Drugstore. As in xxxHolic — a series in which Rikuo and Kazahaya make guest appearances — the supernatural frequently intrudes on mundane existence, giving rise to scenes of sublime comedy and surreal grace. An odd mixture of melancholy and whimsy, with a soupçon of shonen-ai.

CLOVER (Dark Horse; 1 volume)

Clover is a gorgeous train wreck, an unholy marriage of shojo, steampunk, and science fiction that almost — almost — gels into a coherent story. The plot revolves around a class of psychically gifted individuals known as Clovers, who have been rounded up, tested, and sorted into categories based on their abilities. The most powerful — Three- and Four-Leaf Clovers — have been imprisoned, as they pose a threat to humanity.

In the small fragment of story that CLAMP completed, the Clovers’ abilities are hastily sketched; the few demonstrations of their powers are less-than-awe-inspiring, and the government’s reasons for fearing them poorly explained. But oh, the atmosphere! Anyone who remembers what it felt like to be fourteen will recognize the Clovers’ magnificent isolation, as they struggle with feelings of loneliness, rejection, and desire; that they’ve been singled out for being different (and special!) only heightens the emotional intensity of their dilemma. The artwork, too, is a feast for the eyes, with inventive layouts and sensual character designs that rank among CLAMP’s finest. Even CLAMP’s use of soggy, overwrought song lyrics as a narrative device contributes to the story’s moody beauty, if not the pantheon of great love songs.

SHIRAHIME-SYO: SNOW GODDESS TALES (Tokyopop; 1 volume)

Shirahime-Syo: Snow Goddess Tales is testament to CLAMP’s Borg-like ability assimilate any genre or artistic style and make it into their own. The three stories that comprise this slim volume are folkloric in tone and subject-matter, but expressed in a visual language that’s a beautiful synthesis of shojo manga and ukiyo print-making; the characters — with their pointy chins and artfully tousled hair — inhabit stark landscapes reminiscent of the Kishi and Shijo schools. If the overall mood is more subdued than xxxHolic or Tokyo Babylon, the stories are nonetheless moving in their directness and simplicity. The first, “On Wolf Mountain,” is the strongest of the three, exploring how one girl’s quest for revenge is transformed by the discovery that her enemy is, in fact, more courageous and generous than she ever imagined. The other stories — “The Ice Flower” and “Hiyoku no Tori” — read more like entries in Lafcadio Hearn’s Kwaidan and Other Strange Stories, but are nonetheless effective parables about sacrifice. An out-of-print gem.

X (VIZ; 6 volumes)

On many levels, X is a bad manga: the characters are underwritten, the storytelling is lazy, and the dialogue is comically awful. (Don’t believe me? Check out Party Like It’s 1999, a Tumblr blog dedicated to exploring X on a page-by-page basis.) If you can look past the 90s hair and the tin-eared dialogue, however, what you’ll discover is a fierce apocalyptic drama that boasts some of the best end-of-the-world imagery in any manga not written by Katsuhiro Otomo. Oh, and blood. Buckets of blood.

The battle scenes are kinetic and violent, executed with a gory zest that’s difficult to resist. The dream sequences, too, are suitably shocking: characters are dismembered, crucified, impaled, and engulfed in flames, often right before their loved ones’ eyes. I hesitate to suggest that X‘s body count is a victory for women, but it is a sharp and welcome rebuke to the idea that female readers strongly prefer conversation and character development to butt-kicking and carnage. – Reviewed at The Manga Critic on 10/16/11.

So, readers, I turn the floor over to you: what are your favorite CLAMP titles? Which manga do you recommend to friends and new fans? Inquiring minds want to know!

Do you know the way to San Diego?

July 11, 2012 by Brigid Alverson

If you’re headed to San Diego Comic-Con this week, make MTV Geek your first stop. I’ve compiled a list of all the major manga events, as well as a list of the manga publishers that will be exhibiting on the show floor. Planning to attend on Saturday? Be sure to check out The Best and Worst Manga of 2012 session, in which an all-star panel of manga pundits will discuss the year’s most memorable titles.

Tokyopop has been asking fans, via Twitter, if they would like to see more OEL manga. Sean Kleefeld has some thoughts on that, and on what might have been.

David Brothers looks at a particularly good example of Kiyohiko Azuma’s use of body language in Yotsuba&!.

At 2Chan, Shii translates a discussion of changes to an end-note from Osamu Tezuka’s early manga Magic House.

Reviews: Ash Brown takes us through a week of manga at Experiments in Manga.

Dave Ferraro on 5 Centimeters Per Second (Comics-and-More)
Kristin on 5 Centimeters Per Second (Comic Attack)
Leroy Douresseaux on vol. 5 of Bleach (The Comic Book Bin)
Kate Dacey on vol. 2 of The Flowers of Evil (The Manga Critic)
Rob McMonigal on issue 5 of GEN (Panel Patter)
Johanna Draper Carlson on The Manga Guide to Linear Algebra (Comics Worth Reading)
Michael Buntag on vol. 2 of Sailor Moon (NonSensical Words)
Erica Friedman on vol. 18 of Tsubomi (Okazu)