Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

Vertical Comics

Go With the Clouds: North by Northwest, Vols. 1-2

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I’ve never used the word “shambolic” in a review before, but that was the first adjective that came to mind as I read Go With the Clouds: North by Northwest, a handsomely illustrated series that can’t decide if it’s a murder mystery, a coming-of-age story, an Icelandic travel brochure, or a Knight Rider episode. Go With the Clouds’ abrupt tonal shifts and plot twists left me scratching my head, but I was never bored or disappointed by Aki Irie’s narrative choices; if anything, the messy weirdness of the first volume was ingratiating, a reminder that sometimes the most interesting storytellers aren’t particularly disciplined.

The first volume is a bumpy ride, lurching from one idea to the next without warning. In the first five chapters alone, we learn that seventeen-year-old protagonist Kei Miyama is a detective-for-hire; has a younger sibling named Michitaka who’s the chief suspect in a double homicide; and can hear his car’s thoughts. (As befits a story set in Iceland, Kei’s car is very moody.) Though volume one ends with a dramatic confrontation over Michitaka, volume two barely acknowledges the murder investigation, focusing instead on a visit from Kei’s childhood friend Kiyoshi. The two spend an agreeable week touring the Icelandic countryside by car, visiting geysers, gawking at cliffs and waterfalls, and taking pictures. Michitaka makes the briefest of cameos, but is otherwise absent from volume two—a strange choice, given how urgent his storyline seemed in volume one.

Normally, this kind of narrative sloppiness if a turn-off for me, but Irie rewards the patient reader with complex characters, interesting bits of Icelandic lore, and—best of all—breathtaking artwork that captures the starkly beautiful landscape of the Golden Circle. Her linework is crisp and her use of tone sparing; in her most striking panels, we have a sense of how empty the Icelandic countryside really is thanks to her judicious use of white space. At the same time, however, she excels at detail work, giving the reader an intimate look at houses, cafes, churches, and—yes—car interiors. That same attention to detail extends to her character designs, which are an elegant blend of naturalism and stylization; you’d be forgiven for thinking that Kei looks more like a movie star than a moody teenager.

Her characterizations are likewise thoughtful. Kei, for example, isn’t defined solely by his gift; instead, it’s just a small facet of his personality that helps shed light on how attuned he is to his surroundings. The same is true for Kei’s grandfather, who’s initially portrayed as a stubborn curmudgeon but turns out to be more perceptive than his blustery persona might suggest, especially after Michitaka enters the picture. While several seemingly important characters are still in an embryonic stage of development—most notably Kei’s imperious neighbor Lilja—Irie’s ability to depict people in all their idiosyncrasies makes me confident that the supporting cast will be more fleshed out in future volumes.

I’d be the first to admit that the series’ pacing and narrative detours won’t be everyone’s cup of tea; I was initially put off by Kei’s one-sided conversations with his trusty jalopy, and frustrated by the sudden appearance—and equally sudden disappearance—of a Japanese investigator who is convinced of Michitaka’s guilt. By the end of volume one, however, I didn’t care; I felt that Go With the Clouds had transported me somewhere I hadn’t been before—in real life or my imagination—and was eager for another installment of Kei’s saga. Recommended.

GO WITH THE CLOUDS, NORTH BY NORTHWEST, VOLS. 1-2 • ART AND STORY BY AKI IRIE • VERTICAL COMICS • NO RATING

The Delinquent Housewife!, Vol. 1

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The Spouse With a Secret ranks among the top five narrative devices of all time, as it lends itself to so many different genres: horror stories, costume dramas, lurid thrillers. The Delinquent Housewife! puts a humorous spin on the concept, pitting a seemingly demure newlywed against her in-laws. Though her husband assures Tomugi that his family will embrace her as a cherished member, she isn’t so sure, as Tohru’s younger sister Yukari seems determined to prove to the rest of the Komukai clan that Tomugi is a poor match for Tohru.

Sustaining this premise is a delicate balancing act; if the author hides Tomugi’s secret from the reader or the other characters for too long, the story might become tedious, but if she puts that information out in the open too soon, the story might lose momentum. Nemu Yoko splits the difference, teasing the reader about Tomugi’s big secret for the first thirty pages before dropping a bombshell: Tomugi belonged to a bosozoku (bike) gang. Yoko wisely doesn’t put all her cards on the table, however, leaving the reader to guess how and why the clean-cut Tohru fell for Tomugi.

Yoko makes another smart choice in removing Tohru from the picture just a few pages into volume one, sending him on a mysterious business trip of indefinite length. Though this plot development is a capital-C contrivance, it serves two important functions: it hints that Tohru may be harboring an even bigger secret than Tomugi, and it forces Tomugi to interact with the entire Komukai clan. In particular, Tohru’s absence exacerbates the conflict between Tomugi and Yukari, who views her older brother in a hagiographic light; Yukari spends several chapters scheming ways to expose Tomugi’s culinary deficits, certain that Tomugi’s terrible cooking will be the demise of her marriage to Tohru.

While many of the comic devices are straight out of Moliere — eavesdropping at the door, sneaking around under cover of darkness — The Delinquent Housewife! never feels rote; Yoko puts just enough spin on familiar scenarios to make the jokes’ punchlines seem fresh. Grandpa Komukai, for example, presents like a befuddled old pervert but turns out to be more perceptive about his new in-law than the skeptical Yukari, while Tomugi’s bosozoku buddies prove a fount of useful information about housework. (Her friend Ami’s cooking lesson is a highlight of volume one, a gleeful marriage of foul language, insults, and no-nonsense tips for mastering kitchen basics.) Perhaps the most surprising thing about The Delinquent Housewife! is that Yoko is unsparing in her portrayal of Tomugi’s immaturity, depicting her as a self-pitying leech who’s still blaming her parents for her shortcomings. Yet Tomugi isn’t a monster; even in her worst moments, her interactions with Ami, Dai (Tohru’s kid brother), and Tohru suggest that Tomugi is, at bottom, someone who’s just looking for a family to call her own, even if she’s using questionable tactics to get one.

If I had any criticism of The Delinquent Housewife!, it’s that Tomugi’s tough-girl talk sounds stilted, see-sawing between Noo Joisey realness and teenage text-speak — a tonal problem that might be an artifact of the original script, rather than a by-product of the translation process. On the whole, however, The Delinquent Housewife! is a welcome addition to the Vertical Comics catalog, an energetic comedy that earns its laughs with thoughtful characterizations, appealing art, and juicy plot twists. Recommended.

THE DELINQUENT HOUSEWIFE!, VOL. 1 • STORY & ART BY NEMU YOKO • TRANSLATION BY DAVID MUSTO • VERTICAL COMICS • NO RATING • 192 pp.

CITY, Vol. 1

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CITY, Keiichi Arawi’s latest series, charts the misadventures of Midori, a feckless undergrad who’s behind on the rent, in debt to her roommate, and surrounded by “not-quite-ordinary people.” In a last-ditch effort to stay in her apartment, she hatches several get-rich schemes — betting on horses, entering a photography contest — all of which backfire in spectacular fashion. That premise sounded ripe with comic potential, so I decided to pick up a copy of volume one.

I’ll be honest: I had a hard time reviewing CITY, a manga that seems to be tickling everyone else’s funny bone but mine. Though I could appreciate the skill and imagination behind Keiichi Arawi’s work, I found CITY too frantic to be amusing, thought-provoking, or interesting. My frustration boiled down to two basic observations about Arawi’s methods — first, his unwavering belief that repeating gags is a surefire strategy for laughs, and second, his unwavering belief that certain types of jokes subvert convention when, in fact, they’re just as cliche as the conventions they’re spoofing. Nowhere are those two tendencies more pronounced than in his depiction of Midori’s landlady, a feisty old broad who goes to violent lengths to collect the rent. A karate-chopping grandma sounds hilarious in the abstract, but you’ve seen this gag done better elsewhere, most spectacularly in Kung Fu Hustle, where the regal and ridiculous Yuen Qi steals the show from under Stephen Chow’s nose  — something that can’t be said of Midori’s landlady, whose shouting and punching barely distinguishes her from her equally batshit neighbors.

It’s only in the quieter interludes, when the focus shifts from Midori to her neighbors that Arawi’s flair for the absurd manifests itself. In “Officer,” for example, a neighborhood patrolman finds himself under citizen’s arrest for a theft he was asked to investigate. The officer’s placid expression and deadpan delivery contrast sharply with the physical and emotional indignities of his job, his beatific expression unbroken by the ordeal of being hog-tied by an overzealous mob. Another modestly amusing interlude — “Wako Izumi” — focuses on a control freak who’s distraught by the loss of a restaurant point card. Like the officer, Wako proves an unreliable narrator, her impulsive, weird behavior contradicting the Sgt. Friday-esque tone of her internal monologue. These moments of surrealism aren’t funny, exactly, but they at least feel original, something that can’t be said of the tired slapstick jokes and strenuously unpleasant main characters.

Verdict: Your mileage will vary. See my colleague Sean Gaffney’s review for a different perspective on CITY.

CITY, Vol. 1
Art & Story by Keiichi Arawa
Translated by Jenny McKeon
Vertical, Inc., 166 pp.
No rating

Flying Witch, Vol. 1

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If you’ve dipped a toe in the online dating world, you’ve undoubtedly arranged a date with someone who turned out to be pleasant, polite, and attractive, but not terribly interesting. I had a similar experience with volume one of Flying Witch, a manga that looked promising but lacked the necessary spark of weirdness or wit to make it worth a second chance.

Flying Witch has a simple but fertile premise: Makoto Kowata, a teenage witch-in-training, moves from Yokohama to her cousins’ farm and enrolls in the local high school. Though Makoto’s parents warned her not to reveal her true identity to other people, Makoto blithely confesses her avocation to peers and strangers alike, almost always without prompting.

That running gag is indicative of what works — and what doesn’t — in Flying Witch. In the manga’s best scenes, artist Chihiro Ishizuka wryly juxtaposes the banality of the setting with the strangeness of Makoto’s witchcraft, whether Makoto is test-driving brooms at the local supermarket or pulling up a mandrake from an abandoned field. In these moments, Makoto’s enthusiasm overwhelms her desire to escape detection; she’s astonished that her classmate Nao recoils from the noisy, squirming mandrake, and begins regaling Nao with a list of its medicinal uses in an effort to explain why mandrakes, are in fact, awesome gifts.

In other scenes, however, the punchline is toothless, coming at the end of a long monologue about witchcraft or a chance encounter with a villager who isn’t the least bit scandalized by Makoto’s true calling. Makoto’s blushing and stammering is overplayed to diminishing returns; any reasonable person would wonder why Makoto hasn’t realized that her big secret isn’t a big deal. The same is true for other recurring “jokes” about Makoto’s terrible sense of direction, which are as unfunny on the third or sixth iteration as they were on the first.

The artwork, like the script, is lackluster. Though Ishizuka’s lines are clean and her layouts easy to read, the characters’ blank faces do little to sell the jokes. Chinatsu, Makoto’s ten-year-old cousin, is one of the few characters to register any emotional response to Makoto’s behavior, reacting with a mixture of saucer-eyed fear and astonished exuberance. The rest of the characters drift through the story without much purpose, functioning more like props or set decoration than actual people. Only cameo appearances by the aforementioned mandrake root and the Harbinger of Spring inject the proper note of piquant strangeness to the proceedings, reminding us that Makoto’s existence straddles the fence between the ordinary and the supernatural.

I wish I liked Flying Witch more, as it has all the right ingredients to be a quirky, fun series. Alas, reading Flying Witch is like having dinner with a handsome bore who collects vintage lunch boxes or builds crystal radios; you just know there’s a good story there, but it never comes across in the telling.

FLYING WITCH, VOL. 1 • BY CHIHIRO ISHIZUKA • VERTICAL COMICS • NO RATING (SUITABLE FOR ALL AGES)

A Girl on the Shore

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A Girl on the ShoreCreator: Inio Asano
U.S. publisher: Vertical
ISBN: 9781941220856
Released: January 2016
Original release: 2011-2013

Several of Inio Asano’s manga have been released in English in the past—Solanin, What A Wonderful World!, and Nijigahara Holograph—and I’ve read every one. While they all left a significant impression on me and can be difficult works, Nijigahara Holograph in particular floored me, further convincing me to seek out more of Asano’s manga. Vertical Comics published one of Asano’s more recent manga series A Girl on the Shore in early 2016. While the English-language edition of A Girl on the Shore is complete in a single omnibus, in Japan the series was originally released in two volumes which were published in 2011 and 2013. I didn’t actually know much about A Girl on the Shore before picking it up beyond the fact it was by Asano, but I rightfully anticipated that it would be a fairly challenging read in addition to being beautifully drawn.

Junior high can be a trying time for anyone as students become more aware of themselves and each other while hormones and the intense desire to belong complicate relationships and they make decisions that will greatly influence their futures. Koume has a crush on her upperclassman Misaki, but he turns out to be something of a playboy, taking advantage of her interest by receiving sexual favors with no intention of returning her feelings. In order to cope, Koume turns around and does the same thing to her classmate Keisuke who she had previously rejected after he confessed that he liked her. Keisuke and Koume both know that they’re manipulating and using each other, but that doesn’t stop their increasingly intimate relationship from evolving and their feelings from changing. Both of them are searching for some deeper connection and meaning in their lives. For a time, having sex together seems to satisfy that need, but in the end the physical relationship only obscures their underlying emotional crises.

A Girl on the Shore, page 147A Girl on the Shore contains numerous and frank depictions of teenage sex. However, the sexual content of the volume is integral to the story that Asano is telling and carries meaning beyond titillation. In fact, A Girl on the Shore provides a deliberately uncomfortable and voyeuristic reading experience, often showing events and personal encounters unfolding directly from the characters’ perspectives. Sex isn’t romanticized or idealized in the manga and carries with it significant repercussions. Koume and Keisuke’s relationship has consequences not only for them both, but for the others around them as well. Physically the two are intimate and daring, but there continues to be a separation between them and they remain emotionally distant. Their relationship is an incredibly important one and their feelings and needs become progressively intertwined, but they are never quite able to completely and truly connect with each other.

Asano’s works tend to be emotionally intense and A Girl on the Shore is no exception. The manga is filled with discontent and sadness that occasionally erupts in physical or psychological violence. A Girl on the Shore is coming-of-age story that can be brutally unsettling and hard-hitting. Koume finds herself drawn more and more towards Keisuke and the complicated power dynamics of their intimacy, seemingly oblivious of the toll that the relationship is taking on them both. Independent of that, Keisuke is also dealing with some heavy family matters and emotional issues of his own. Ultimately, one of the most prominent themes of A Girl on the Shore is loneliness and isolation even in the midst of a relationship. This is beautifully emphasized by Asano’s artwork in which detailed backgrounds, dramatic perspectives, layout and use of space form settings in which people seem set apart not only from others but the world around them as well. At times A Girl on the Shore can tend to be overwhelmingly bleak and tragic, but there is a deliberate narrative purpose and intent behind the pain and pessimism.

The Manga Revue: Brave Dan and FukuFuku: Kitten Tales

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Do you own a cat tea cosy? Is there an enormous feline jungle gym in your living room? Have you lost entire afternoons to watching YouTube videos of cats opening doors, playing pianos, and riding Roombas? If you answered “yes” to at least one of the following questions, this week’s column is for you, as I’ll be reviewing two cat-centric comics: Osamu Tezuka’s Brave Dan–a boy-and-his-tiger story–and Kanata Konami’s FukuFuku: Kitten Tales–a manga about cats doing normal cat things.

brave_danBrave Dan
By Osamu Tezuka
Rated Teen, for readers 13 and up
Digital Manga Publishers, Inc., $15.95

Brave Dan begins as a rollicking adventure: Kotan, an orphaned Ainu boy, befriends Dan, a “man-eating” tiger, and embarks on a quest with him to find a valuable treasure. The pair dodges bullets, escapes from a helicopter, and tangles with guardian spirits in their search for the tomb of an ancient Ainu warrior. As the story enters its final act, however, a darker subplot emerges, one in which Dan is forced to confront the wisdom of associating with humans.

Though Tezuka makes frequent reference to Kotan’s Ainu heritage, this plot strand is more window dressing than serious thematic element; Kamuiroji’s tomb looks more like a set from a Flash Gordon or Tarzan serial than an authentic expression of Ainu culture. (Granted, it’s a pretty nifty tomb; Indiana Jones would have had a field day exploring it.) Tezuka is on firmer ground when staging a chase or a fight. In one memorable scene, for example, Dan plunges into a lake to save Kotan from an enormous spider-demon. Tezuka captures the fluidity and speed of Dan’s attacks with a few carefully chosen “snapshots” of him tumbling and twisting in the water, struggling to crush the monster with his paws. Small details–such as the trail of bubbles from each of Dan’s legs–remind us that in this underwater setting, Dan has a fleeting window of opportunity to save his friend. By the time that he and Kotan burst to the lake’s surface, we’re gasping for air, too–a testament to Tezuka’s ability to transport the reader to the scene of the action.

Tezuka’s artwork also plays an important role in garnering sympathy for Dan, establishing the tiger’s bravery, intelligence, and unwavering loyalty to Kotan. Though Tezuka can’t resist some ham-fisted touches–Dan actually shakes his paw at the sky in one scene–Dan’s essential tigerness is never compromised. The emphasis on Dan’s animal nature reminds us that his friendship with Kotan can only exist apart from human society; kind and smart as Dan may be, adults perceive him as a threat, to be killed or contained in a zoo.

The bottom line: If you still bear scars from reading The Yearling and Old Yeller, be warned: Dan is as doomed as those other noble animal protagonists. Less sensitive souls, however, can enjoy Brave Dan as both a gonzo adventure story and a meditation on the perils of interspecies friendships. Recommended for readers ten and up.

Fuku Fuku Kitten TalesFukuFuku: Kitten Tales, Vol. 1
By Kanata Konami
All Ages
Vertical Comics, $10.95

FukuFuku: Kitten Tales is perfectly calibrated to elicit an “awwww” and a chuckle on every page. The title character–a spunky calico–does predictably cute things: she falls asleep in odd places, escapes from a sudsy bath, plays with her food, and snatches a fish from the table. Unlike Chi, star of Konami’s other hit manga, FukuFuku doesn’t voice her thoughts about her new owner, or the strangeness of her new surroundings; she simply does what she pleases. Konami’s minimalist artwork captures the nuances of FukuFuku’s moods surprisingly well, however, as Konami bends and stretches the kitten’s moon-shaped face into an astonishing range of smiles, scowls, and grimaces. Absent a plot or a deeper sense of how FukuFuku sees her world, the story hits fewer emotional notes than Chi’s Sweet Home, focusing almost exclusively on the kind of ordinary cat behavior that’s been documented copiously on YouTube. You may find that the vignettes–charming as they are–have a sameness about them that prevents them from being genuinely funny or surprising.

The bottom line: As with Chi’s Sweet Home, Konami demonstrates a talent for drawing winsome kitties doing winsome things. She’s also cornered the market on disdainful feline reaction shots.

Reviews: ANN columnist Rebecca Silverman posts an early review of Inio Asano’s critically lauded drama Goodnight Pun-Pun, while Seth Hahne, host of Good OK Bad, tackles another Asano work: A Girl on the Shore.

Mark Pelligrini on vol. 3 of AKIRA (AiPT!)
Sean Gaffney on vol. 7 of Blood Lad (A Case Suitable for Treatment)
Adrienne on vol. 1 of Bloody Mary (Heart of Manga)
Sean Gaffney on The Boy and the Beast (A Case Suitable for Treatment)
Julie on The Cinderella Solution (Manga Maniac Cafe)
Julie on Crowns and a Cradle (Manga Maniac Cafe)
ebooksgirl on vol. 1 of FukuFuku: Kitten Tales (Geek Lit Etc.)
Karen Maeda on vol. 1 of JoJo’s Bizarre Adventure, Part 2: Battle Tendency (Sequential Tart)
Wolfen Moondaughter on vol. 23 of Kimi ni Todoke: From Me to You (Sequential Tart)
Nick Creamer on vol. 3 of My Hero Academia (Anime News Network)
David Brooke on vol. 5 of One-Punch Man (AiPT!)
Ash Brown on vol. 1 of Persona 4 (Experiments in Manga)
Jordan Richards on vol. 1 of Pokemon Adventures (AiPT!)
Sheena McNeil on vol. 2 of QQ Sweeper (Sequential Tart)
Wolfen Moondaughter on vol. 1 of Gakyuu Hotei: School Judgment (Sequential Tart)
Rebecca Silverman on vol. 3 of Umineko When They Cry Episode 5: End of the Golden Witch (Anime News Network)
Austin Lanari on issue no. 13 of Weekly Shonen Jump (Comic Bastards)

The Most Anticipated Manga of 2016

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We’re kicking off 2016 with a look at the manga titles and trends we’re most excited about. Joining me and Brigid is manga journalist and critic Deb Aoki, former guide to AboutManga.com, current host of Manga Comics Manga, and Publishers Weekly contributor.

What new manga are we looking forward to this year?

New Fruits BasketBRIGID: Fruits Basket! Natsuki Takaya’s tangled tale of a cursed family was one of the first shoujo manga I ever read, and I’m looking forward to re-reading it with a more experienced eye (and a better translation).

The other upcoming manga that everyone seems to be looking forward to is Princess Jellyfish, which Kodansha is publishing in double-sized omnibus volumes. This josei title about a bunch of nerdy girls living in their own rooming house sounds like it will be a lot of fun.

In terms of continuing series, I loved the first volume of Planetes and I’m looking forward to more. It’s a smart science fiction story with likeable characters and thoughtful storylines, and Dark Horse’s new edition is a beautiful two-volume omnibus that really feels like something special. I can’t wait to read more of Hiroya Oku’s Inuyashiki, about two humans given extreme superpowers in a freak accident—one uses them for good, one… doesn’t—and Yoshitoki Ōima’s A Silent Voice, an amazingly powerful story that’s about bullying but also about alienation and redemption. One more: Your Lie in April, which has kind of slid under the radar, a shonen romance about musicians that, like A Silent Voice, goes beyond the standard shonen romance tropes and has relatable characters experiencing real emotions.

On a general note: When I was compiling my lists of the best new and ongoing manga series of 2015, I was struck by how many really good manga debuted in 2015. From all accounts, 2016 is going to be even better.

haikyuuDEB: I’m most excited about the trend where manga publishers are taking chances on titles and genres that were once considered the third rail/extra risky to license, like sports manga. Super excited about the Summer 2016 arrival of the first volumes of Haikyu!! by Haruichi Furudate and Kuroko’s Basketball by Tadatoshi Fujimaki from Shonen Jump/VIZ Media! I love Haikyu!! a lot — been watching the first and second seasons on Crunchyroll over and over again. the characters are really wonderful — it’s delightful to see the team grow and reach new heights every time. It’s got lots of heart and humor as well as exciting sports action. It’s now one of my all-time faves!

I’ve also been enjoying the recently released Yowamushi Pedal by Wataru Watanabe, a manga about a hapless anime otaku who discovers that he has a talent for bicycle racing. Big ups to Yen Press for publishing this fairly long series in double-sized volumes.

queen-emeraldas-smallAnother example of manga publishing biz in the US dipping their toes into riskier fare is the upcoming publication of three classics: Rose of Versailles by Riyoko Ikeda from Udon Entertainment, Queen Emeraldas by Leiji Matsumoto from Kodansha Comics, and Otherworld Barbara by Moto Hagio from Fantagraphics Books.  For too long, the classics that are the foundation of manga in Japan have been largely unavailable in English. I’m hoping that these titles succeed so we can someday get more.

Also super excited about having more manga by Asano Inio available in English. Solanin and What a Wonderful World! are go-to recommendations for anyone who loves indie comics and is curious about manga. Now VIZ Media is publishing the mind-bending Goodnight Pun Pun, and A Girl on the Shore, coming from Vertical Comics. Both should be on your pre-order lists, as these are beautifully drawn, thought-provoking books that everyone will be talking about in the months to come.

rose-of-versailles-udonKATE: I share Deb’s excitement about classic manga. It’s a risky undertaking for any publisher, especially when so many readers are young (under 20) and not particularly curious about the medium’s roots. It will be interesting to see if UDON can pitch Rose of Versailles to the Shojo Beat crowd; though the artwork is a little dated, the melodrama, costumes, and kick-butt female lead have obvious parallels with titles in VIZ, Kodansha, and Yen’s catalogs. Who knows? It could be a surprise hit.

Speaking of vintage titles, I’m ecstatic about Drawn & Quarterly’s new Kitaro volumes. D&Q will be releasing these previously untranslated stories in slimmer, kid-friendly editions–a departure from their 2013 Kitaro release, which screamed “prestige project!” I think that’s a smart move: adults with an interest in Shigeru Mizuki’s work will buy it in almost any format, but younger manga fans need a length and trim size that reflects their own reading habits.

Another title on my must-read list is Jiro Taniguchi’s Guardians of the Louvre, which NBM Publishing will be releasing in April. The previous installment of the Louvre series–Hirohiko Araki’s Rohan at the Louvre–was the ultimate otaku two-fer: a ghost story and a standalone chapter in the JoJo’s Bizarre Adventure saga. Taniguchi’s book will undoubtedly be a more sober affair, but one I’m anticipating with the same eagerness: I can’t wait to see how Taniguchi integrates the museum’s famous collection into his story.

fukufukuIn the just-for-fun department, I Am a Hero, a zombie thriller from Dark Horse, is near the top of my list, as are VIZ’s Haikyu! (mentioned by Deb above), Vertical’s FukuFuku: Kitten Tales, and the final installment of DC Comics’ Batman: The Jiro Kuwata Batmanga. I’m also looking forward to Wandering Island, a story about a gutsy young woman who runs an air mail service in a remote corner of Japan. The illustrations are by Kenji Tsurata, the creator of the criminally under-appreciated Spirit of Wonder, which was published by Dark Horse in 1998.

Last but not least, I’d also make a plug for The Osamu Tezuka Story: A Life in Anime and Manga. This visual biography clocks in at a hefty 900 pages, highlighting important periods in Tezuka’s career as an illustrator and animator. Its author, Toshio Ban, worked closely with Tezuka in the 1970s and 1980s, giving Ban a unique perspective on his subject. As an added bonus for American readers, Stone Bridge Press brought in Frederick L. Schodt to do the translation.

How about conventions—does anything look particularly tempting?

DEB: I’m always curious to see what Toronto Comic Arts Festival will be bringing as their guests this May. Last year was Gurihiru and Aya Kanno, prior years brought Konami Kanata, Moyoco Anno, Akira Himekawa, Usamaru Furuya, Est Em, Natsume Ono and Yoshihiro Tatsumi to name just a few. I don’t know what they have planned, but I know it’ll be worth the trip!

As booth space and tickets get harder and harder to get at San Diego Comic-Con, Anime Expo in Los Angeles has turned into the Japanese content biz must-go show. I’ve noticed that more companies from Japan are buying booths, and see lots of meetings / business being conducted at the show.

It’s great that AX is getting bigger and bigger, but I worry that it creates a situation where the anime/manga world becomes even more segregated/separated from the general pop culture community that converges at Comic-Con and similar American shows. This is especially irksome because it seems like most of the Western comics / pop culture press corps basically ignore / don’t report on / don’t attend Anime Expo or any of the announcements that come out of this show.

This pisses me off because anime/manga matter more than ever — especially as its fandom tend to skew younger, are more active, and more interested in all kinds of entertainment from US and Japan compared to their counterparts on the superhero side of the comic shop. So much for my “be less crabby in 2016” resolution… ;-)

KATE: I had a blast attending shows like New York Comic Con and Wondercon in the late 2000s. The last time I attended NYCC, however, I felt that the show had taken a much sharper turn towards the television, film, and gaming industries, and was losing its identity as a comics convention. The manga publishers were still there, of course, but it was harder to circulate and interact with editors and sales reps because of the enormous crowds. That experience pretty much soured me on going to any more big conventions. TCAF always sounds like a blast, but the timing never works for me; I’m always knee-deep in final exams and student papers when it rolls around!

BRIGID: I echo Deb’s concern about AX, but it does seem like this year, the news was spread across a broader swath of conventions—and many of the new licenses, including Fruits Basket, were announced on Twitter. The presence of so many people from the Japanese publishers—not just creators but editorial staff as well—was very noticeable this year and shows that the publishers are taking the American audience seriously. It also enhanced the experience to see, for instance, the editor of Noragami explaining the process of how it went from sketches to finished page. I’m looking forward to more of that at the larger shows as well as the more intimate experience at the smaller shows, where the creators and their readers are not so far apart.

Any predictions about the industry?

DEB: Almost all signs point to a healthier, more robust manga publishing business in 2016, which is a great thing. I don’t see the same rush to publish anything and everything vaguely manga-ish (even crappy manga) that I saw prior to the crash of the late 2000’s — publishers seem to be making more careful choices, more calculated risks. The fact that they’re taking any risks at all — by expanding genres, offering their stories via more digital channels and doing more simulpub/same day as Japan releases, is a good sign.

I’m also intrigued/encouraged by the efforts being made by Japanese manga publishers to welcome submissions by creators from outside of Japan, like Comics Zenon’s Silent Manga Audition contests and the Japanese edition of Shonen Jump’s latest contest to get published in their online magazine, Jump Plus. It’s no secret that many up-and-coming comics creators from around the world are inspired by manga, so it’ll be very interesting to see what happens when more of these creators get exposure in Japan and guidance from Japan’s top-notch manga editors.

magus1KATE: I’m consistently impressed by Seven Seas’ tenacity and business acumen, but not so impressed with the actual titles they license. Last year, however, Seven Seas published The Ancient Magus’ Bride and acquired Orange, neither of which fit the profile of a typical Seven Seas manga; if anything, both seemed like the kind of titles that CMX used to license. That gamble has paid off with Bride, which recently cracked the NY Times Manga Bestseller list. My prediction: Seven Seas will continue to make bold licensing choices in 2016, even as vampire-monster girls remain their core business.

BRIGID: I see publishers taking manga more seriously as the audience expands. While the “pile ‘em high and sell ‘em cheap” attitude that made Tokyopop and Viz’s Shonen Jump lines such a success ten years ago works well with teen readers, who gobble up manga in quantity, publishers are starting to cater to older readers who want a somewhat better experience. The oversized omnibus isn’t that much more expensive than single volumes, but it allows for a more satisfying reading experience, and publishers often include extras like better quality covers and color pages. Viz’s new edition of Monster, Dark Horse’s Planetes, and Yen Press’s Emma are all examples of this, and Kodansha gets a shoutout for not only its superb editions of Vinland Saga but its deluxe Attack on Titan Colossal Edition. This seriousness goes beyond production values to the licensing of quality manga that might not have found a market in earlier years, including Inuyashiki and Naoki Urasawa’s Master Keaton.

gekiga01If any publishers are reading this, I have a very specific licensing request. There’s a small French publisher called Lezard Noir that is publishing some amazing manga in French; I spoke to the publisher when I was in Angouleme two years ago and was really impressed with his line, which includes Minetaro Mochizuki’s Chiisakobé, Bonten Taro’s Sex & Fury, and Masahiko Matsumoto’s Gekiga Fanatics. I’m not the only one—every year at least one of his books is picked as an official selection by the Angouleme festival. I’d love to see some U.S. publishers pick up these titles in a similar format—I think they would have a lot of appeal to those older, more sophisticated manga readers.

The Manga Revue: The Complete Chi’s Sweet Home and Tokyo ESP

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The theme of this week’s column: New(ish) Titles from Vertical Comics. Up for review: The Complete Chi’s Sweet Home, an omnibus treatment of Konami Kanata’s beloved cat comic, and Tokyo ESP, a new series about mutant teens with superpowers who want to save the world.

chi_complete_v_1The Complete Chi’s Sweet Home, Part One
By Konami Kanata
No rating; Suitable for all ages
Vertical Comics, $24.95

When I first reviewed Chi’s Sweet Home in 2010, I described it as “a deceptively simple story about a family that adopts a wayward kitten.” I argued that “Chi is more than just cute kitty antics; it’s a thoughtful reflection on the joys and difficulties of pet ownership, one that invites readers of all ages to see the world through their cat or dog’s eyes and imagine how an animal adapts to life among humans.”

Revisiting Chi’s Sweet Home five years later, I stand by my original assessment. I still found Chi’s behavior adorable — or should that be adowable? — and her family’s amused and exasperated reactions true to my own experiences as a cat owner. At the same time, however, I appreciated the opportunity to read more of Chi’s story in one sitting, as Konami Kanata does a fine job of recreating the day-to-day rhythm of living with a kitten or puppy, from the obvious — accidents, clawed furniture — the to subtle — mastering the art of jumping onto a table or chair, examining strange new objects. As an added bonus, the Complete edition includes a sprinkling of chapters from Kanata’s first big hit, FukuFuku: Kitten Tales, and a larger trim size that gives Kanata’s playful, charming watercolors more room to breathe.

The verdict: Chi is an indispensable addition to any animal lover’s bookshelf. Look for Part Two (which collects volumes 4-6) on January 16, 2016.

tokyoesp_v_1Tokyo ESP, Vol. 1
By Hajime Segawa
No rating; Suitable for older teens
Vertical Comics, $15.95

On paper, Tokyo ESP sounds like The X-Men or The Fantastic Four: a group of Tokyo residents begin manifesting cool new powers — teleporting, walking through walks — after exposure to a supernatural phenomenon. Some ESPers embrace the criminal possibilities of these gifts, while others vow to use them for good, pitting the two groups against each other in epic fashion.

Perhaps mindful of the similarities between his creation and Stan Lee’s, Hajime Segawa makes a game effort to individualize his creation with an abundance of quirky details: a flying penguin sidekick, a night sky filled with glowing fishes. As a result, long stretches of Tokyo ESP feel more like a spaghetti-throwing exercise than genuine world-building; the reader is never certain if there’s an underlying logic that would explain what we’re seeing, or if Segawa is making it up as he goes along. By the end of volume one, you may remember the flying penguin more clearly than anything that actually happened in those first nine chapters, as the plot is standard shonen fodder: super-powered teens saving the world.

The verdict: Your mileage may vary; some readers will undoubtedly find the sleek character designs and out-of-left-field plot developments appealing, while others will find the storytelling too frenetic to be engaging.

Reviews: Sean Gaffney takes a fond look at the final volume of Oh! My Goddess, which arrived in stores this week. Over at Comics & Cola, Zainab Akhtar reviews the fifth and final volume of Taiyo Matsumoto’s bittersweet Sunny.

Sarah on vol. 2 of The Ancient Magus’ Bride (Anime UK News)
Lori Henderson on vol. 1 of Assassination Classroom (Good Comics for Kids)
Matt Brady on vols. 2-4 of Assassination Classroom (Warren Peace Sings the Blues)
L.B. Bryant on vol. 6 of Assassination Classroom (The Otaku Review)
L.B. Bryant on vol. 1 of Black Bullet (ICv2)
Justin Stroman on vol. 1 of Bodacious Space Pirates: Abyss of Hyperspace (Organization Anti-Social Geniuses)
Connie on vol. 8 of Cross Game (Slightly Biased Manga)
Connie on vol. 16 of Dengeki Daisy (Slightly Biased Manga)
Connie on vol. 11 of Dorohedoro (Slightly Biased Manga)
Helen on Fuuka (Organization Anti-Social Geniuses)
Ash Brown on vol. 3 of Hide and Seek (Experiments in Manga)
Ian Wolf on vol. 1 of Komomo Confiserie (Anime UK News)
Austin Lanari on vol. 10 of Lone Wolf and Cub Omnibus (Comic Bastards)
Megan R. on Neon Genesis Evangelion: Angelic Days (The Manga Test Drive)
Steve Bennett on vol. 1 of One-Punch Man (ICv2)
Dustin Cabeal on vol. 2 of One-Punch Man (Comic Bastards)
Anna N. on vol. 1 of QQ Sweeper (The Manga Report)
L.B. Bryant on vol. 1 of Rose Guns Days: Season One (ICv2)
Jocelyn Allen on vol. 1 of Shashinya Kafka (Brain vs. Book)
Sean Gaffney on Showa 1953-1989: A History of Japan (A Case Suitable for Treatment)
Alice Vernon on Sword Art Online: Progressive (Girls Like Comics)
Erica Friedman on vol. 4 of Tsuki to Sekai to Etoile (Okazu)

News Round-Up for NYCC 2015

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haikyuuGood news for manga readers: 2013-2014 was the first time since the mid-2000s that the industry enjoyed two consecutive years of sales growth. While the manga market isn’t as red-hot as it was in Tokyopop’s heyday, publishers released almost 800 new volumes in 2014, up 25% from 2013. [ICv2]

At its Friday panel, VIZ Media unveiled a diverse slate of titles that ran the gamut from shonen (Black Clover) to josei (Everyone’s Getting Married). Among the most interesting licenses were two sports manga: Haikyuu!, which focuses on a volleyball team, and Kuroko’s Basketball. VIZ also confirmed that it will be publishing Seventh Garden, Monster Hunter: Flash Hunter, and fan favorite Yona of the Dawn. [Crunchyroll]

Yen Press announced five new manga at NYCC, including an adaptation of Space Dandy and a new series by Yuji Iwahara (Cat Paradise, King of Thorn) called Dimension W. Also joining the Yen line-up in 2016 are Scumbag Loser, a cautionary tale about lying to your peers; Corpse Party: Blood Covered, another entry in the teens-fight-to-the-death-in-an-alternate-universe genre; and Unhappy Go Lucky!, a comedy about a group of unlucky middle-school students. [Anime News Network]

Yen isn’t the only company on the Space Dandy bandwagon: Kodansha Comics will be publishing I Am a Space Dandy!, another manga spin-off of the popular anime. Kodansha also revealed plans to publish the 4-koma Spoof on Titan. [Anime News Network]

At the Crunchyroll panel, the company introduced fans to its newest offerings, which include Arakawa Under the Bridge, a drama by Saint Young Men creator Hikaru Nakamura; Gugure! Kokkuri-san, a comedy about a little girl who inadvertently summons a fox demon; and Cuticle Detective Inaba, a supernatural comedy-thriller about a detective who’s half wolf, half man. (The “cuticle” in the title refers to the character’s pronounced interest in hair. Oh, manga…) [Anime News Network]

In a further sign of manga’s global reach, two companies announced that they would publish comics inspired by a signature title in their catalogs. Kodansha’s Attack on Titan and Dark Horse’s Lone Wolf and Cub 2100 projects will feature original stories by Faith Erin Hicks, Gail Simone, and other creators active in the American industry. [A Case Suitable for Treatment]

Although Vertical Comics did not announce any new manga acquisitions, it did give con-goers a sneak peek at an intriguing new project: audio light novels with music, sound effects, and voice acting. Look for the product line’s debut in spring 2016. [Crunchyroll]

Tokyo Ghoul, One-Punch Man, and Attack on Titan are fighting for the top spot on this week’s New York Times Manga Best Seller list. [New York Times]

Reviews: Michelle Smith and Sean Gaffney post a new set of Bookshelf Briefs, with short reviews of Assassination Classroom, He’s My Only Vampire, and QQ Sweeper.

Lori Henderson on vols. 1-2 of Beast Master (Manga Xanadu)
Terry Hong on The Complete Chi’s Sweet Home: Part One (Book Dragon)
Richard Gutierrez on vol. 2 of Is It Wrong to Pick Up Girls in a Dungeon? (The Fandom Post)
Wolfen Moondaughter on vol. 23 of Kaze Hikaru (Sequential Tart)
Kat Stevens on vol. 1 of L-DK (AiPT!)
Terry Hong on vol. 1 of One-Punch Man (Book Dragon)
Amy McNulty on vol. 72 of Naruto (Anime News Network)
Megan R. on Neon Genesis Evangelion (The Manga Test Drive)
Jordan Richards on vol. 6 of Noragami: Stray God (AiPT!)
Sheena McNeil on vol. 1 of QQ Sweeper (Sequential Tart)
Kate O’Neil on vol. 1 of Rose Guns Days: Season One (The Fandom Post)
SKJAM on Sanctuary (SKJAM! Reviews)
Wolfen Moondaughter on vol. 6 of Seraph of the End (Sequential Tart)
Rebecca Silverman on vols. 1-3 of Servamp (Anime News Network)
Anna N. on vol. 3 of So Cute It Hurts! (The Manga Report)
Plutoburns on Terra Formars (Pluto Burns)
Richard Gutierrez on vol. 1 of Tokyo ESP (The Fandom Post)
Garrett Gottschalk on vol. 1 of Ultraman (No Flying No Tights)
Ken H. on vol. 6 of Vinland Saga (Sequential Ink)
G.B. Smith on vol. 7 of Witchcraft Works (The Fandom Post)
Lori Henderson on Yurei Attack! The Japanese Ghost Attack Survival Guide (Manga Xanadu)

*Indicates YouTube review

 

The Manga Revue: Back to School Special

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My inbox is overflowing with emails touting back-to-school deals on everything from sneakers to school supplies–a sure sign that the fall semester is right around the corner, and a nice reminder that Seven Seas, VIZ, and Vertical all have new (well, new-ish) school-themed comedies arriving in stores this month. Today, I take a look at Haven’t You Heard? I’m Sakamoto, a comedy about the World’s Most Fascinating High School Student; My Hero Academia, a shonen adventure about a teen who’s studying to become a superhero; and My Neighbor Seki, a gag series about a slacker who elevates procrastination to an art form.

sakamotoHaven’t You Heard? I’m Sakamoto, Vol. 1
By Miki Sano
Rated Teen
Seven Seas, $12.99

Haven’t You Heard? I’m Sakamoto is “The Aristocrats” of manga, a basic joke that yields endless variations, each more baroque than the last. The premise is simple: transfer student Sakamoto is handsome, brilliant, and athletic, making him a natural target for bullies and lovelorn girls. Any time a challenging situation arises–a bee in a classroom, a classmate injured by a softball–Sakamoto effortlessly meets that challenge, in the process revealing a previously undisclosed talent.

In the hands of a less imaginative storyteller, Sakamoto might be a wish-fulfillment character for every teenager who’s ever been tongue-tied or harassed by other students. Nami Sano puts a distinct spin on the material, however, portraying Sakamoto as so calculating and unflappable that he’s genuinely creepy; Sakamoto never smiles, laughs, or shows any discernible human emotion, even when confronted with other people’s tears or anger. (The real joke seems to be that everyone admires Sakamoto anyway.) I’m not sure that I LMAO, but Sakamoto’s odd persona and equally odd talents are a welcome rebuke to the school council presidents and earnest strivers who populate most teen-oriented manga; I’d much rather spend time with him than a standard-issue shonen prince.

The verdict: You’ll either find Sakamoto’s antics inspired or too weird to be amusing.

academiaMy Hero Academia, Vol. 1
By Kohei Horikoshi
Rated T, for teens
VIZ Media, $9.99

Meet Izuku Midoriya: he’s an ordinary teen living in a world where 80% of humanity possesses a super power. That doesn’t stop Izuku from aspiring to become a professional hero, however; since childhood, he’s dreamed about the day he might gain admission to prestigious U.A. High School, a training ground for future crime-fighters. A chance encounter with All Might, a celebrity superhero, gives Izuku a chance to prove his mettle and get the coaching he needs to pass the U.A. entrance exam.

Though the plot twists are unsurprising, and Izuku’s classmates familiar types (e.g. the Bully, the Spazzy Enthusiast), the breezy script propels My Hero Academia past its most hackneyed moments. The clean linework, playful superhero costumes, and artfully staged combat further enhance the series’ appeal; Kohei Horikoshi could give a master class on the reaction shot, especially when a supervillain is wrecking havoc on a downtown skyline. Most importantly, Horikoshi respects the sincerity of Izuku’s ambitions without letting the character’s earnest intensity cast a pall over the fun–in essence, it’s a Silver Age comic in modern shonen drag, with all the corny humor and fist-pumping action of Stan Lee and Steve Ditko’s best work on Spider-Man.

The verdict: My Hero Academia is as predictable as death and taxes, but a smart script and crisp artwork help distinguish it from other titles in the Shonen Jump catalog.

sekiMy Neighbor Seki, Vols. 1-3
By Takuma Morishige
Unrated
Vertical Comics, $10.95

Like Haven’t You Heard? I’m Sakamoto, My Neighbor Seki is a one-joke series: middle-school student Seki goofs off during class, much to the consternation of his seat mate Rumi. Seki isn’t just doodling in his notepad, however. He pets kittens, builds elaborate sculptures from shoji pieces, runs an intraschool mail service, and hosts a tea ceremony. To vary the rhythm of the joke-telling, artist Takuma Morishige occasionally transplants the action from the schoolroom to the playground, though the set-up remains the same; Seki does something outrageous and Rumi reacts, prompting the teacher to scold Rumi for not paying attention.

Given Seki‘s slender premise, it’s not surprising that each volume is a hit-and-miss affair. In volume one, for example, Seki knits a cactus plushie using a double-ended afghan hook. Rumi initially scoffs at his choice of tool; as she observes, “The hallmark of afghan knitting is its unique thickness and softness. It’s a texture best utilized when making sweaters,” not stuffed animals. When she sees the final results, however, she concedes that Seki has chosen the perfect technique and materials for his cactus, sending her into a rapturously funny meditation on yarn. Not all the gags are as successful: Seki’s penchant for staging elaborate scenes with action figures is moderately amusing at first, but grows more tiresome with each new and less imaginative iteration. Still, it’s impossible to deny the energy, creativity, and specificity with which Morishige brings Seki’s exploits to life, making this series more “win” than “fail.”

The verdict: My Neighbor Seki is best enjoyed in one or two chapter installments; when read in large bursts, some scenarios read like 4-koma strips stretched to epic and unfunny proportions.

Reviews: Over at Manga Connection, manjiorin reviews the first four volumes of Princess Jellyfish, which are currently available on Crunchyroll. TCJ columnist Joe McCulloch jumps in the WABAC machine for a nostalgic look at Even a Monkey Can Draw Manga. In honor of 801 Day, Megan R. reviews a title from the Tokyopop/BLU Manga catalog, Shout Out Loud.

Matthew Alexander on vol. 1 of Aoi House (The Fandom Post)
Michael Burns on vol. 5 of Assassination Classroom (AniTAY)
Nick Creamer on vol. 4 of A Bride’s Story (Anime News Network)
Rebecca Silverman on vol. 1 of First Love Monster (Anime News Network)
Michael Burns on vol. 7 of Food Wars! Shokugeki no Soma (AniTAY)
SKJAM! on Fragments of Horror (SKJAM! Reviews)
Connie on vol. 1 of Junjo Romantica (Slightly Biased Manga)
Sean Gaffney on vols. 1-2 of Maid-Sama! (A Case Suitable for Treatment)
Wolfen Moondaughter on vols. 1-2 of Maid-Sama! (Sequential Tart)
Lesley Aeschliman on vol. 1 of My Hero Academia (WatchPlayRead)
Adam Capps on vol. 3 of My Neighbor Seki (Bento Byte)
Connie on No Touching At All (Slightly Biased Manga)
Adam Capps on vol. 75 of One Piece (Bento Byte)
Ken H. on vols. 9-11 of Sankarea: Undying Love (Sequential Ink)
Matthew Warner on vol. 7 of Say I Love You (The Fandom Post)
ebooks girl on vol. 1 of Shiba Inuko-san (Geek Lit Etc.)
confusedmuse and Helen on Shugo Chara (Organization Anti-Social Geniuses)
Marissa Lieberman on vol. 1 of Spell of Desire (No Flying No Tights)
manjiorin on vol. 1 of Tokyo Ghoul (Manga Connection)
Ian Wolf on vol. 1 of Twin Star Exorcists (Anime UK News)
Connie on vol. 1 of Twittering Birds Never Fly (Slightly Biased Manga)
Connie on vol. 2 of Twittering Birds Never Fly (Slightly Biased Manga)
Lori Henderson on vols. 3-4 of Until Death Do Us Part (Manga Xanadu)
Sarah on vol. 9 of What Did You Eat Yesterday? (Anime UK News)
Connie on vol. 1 of World’s Greatest First Love (Slightly Biased Manga)
Alice Vernon on xxxHolic (Girls Like Comics)
SKJAM! on vol. 1 of Yamada-Kun and the Seven Witches (SKJAM! Reviews)
Ash Brown on vol. 2 of Your Lie in April (Experiments in Manga)

US Manga Market on the Rebound

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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)

A Sky Longing for Memories: The Art of Makoto Shinkai

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A Sky Longing for MemoriesCreator: Makoto Shinkai
Translator: Maya Rosewood
U.S. publisher: Vertical
ISBN: 9781941220436
Released: June 2015
Original release: 2008

I was introduced to the work of Makoto Shinkai through his animated film 5 Centimeters per Second, which left a huge impression on me. The beautifully melancholic story about lost and unrequited love was simple enough, but the visuals were stunningly gorgeous. A Sky Longing for Memories: The Art of Makoto Shinkai is an artbook that was originally released in Japan in 2008, the year after 5 Centimeters per Second debuted. I was very pleased when Vertical Comics announced its intention to publish an English-language edition. That volume was ultimately released in 2015 with a translation by Maya Rosewood. Vertical hasn’t released very many artbooks, but A Sky Longing for Memories is a good fit for the publisher. Not only has Vertical published other nonfiction works about Japanese film, it has also released two Shinkai manga: 5 Centimeters per Second and The Garden of Words.

A Sky Longing for Memories primarily consists of stills and background artwork from four of Shinkai’s projects initially released between 2002 and 2007. Prominently featured are three of his animated films—5 Centimeters Per Second, The Place Promised in Our Early Days, and Voices of a Distant Star—as is the television commercial he created for Shinano Mainichi Shimbun, “Say Something Important.” More than half of A Sky Longing for Memories is devoted to 5 Centimeters Per Second, the volume opening with some of Shinkai’s most visually refined and impressive work. The three sections that follow are dedicated to each of the earlier films and “Say Something Important.” Also included in the volume is a glossary—useful for readers who are unfamiliar with some of the technical terms used in the animation industry—as well as “Makoto Shikai’s Colors,” a section exploring the methods and techniques used by Shinkai, and “Testimonials of Makoto Shinkai’s World,” a collection of brief interviews with Shinkai and ten other members of Shinkai Works.

Although A Sky Longing for Memories can simply be appreciated and enjoyed as a collection of stunning artwork, the volume also provides insight into the creative processes and artistic direction required to achieve such impressive images. Many of the individual pieces are accompanied by brief descriptions of the decisions that were made in their overall design in addition to the specific considerations and techniques used in their creation. It’s unclear who actually wrote much of the text in A Sky Longing for Memories, but from the context it would seem to either be one (or several) of Shikai’s staff members or someone else who was close to the work being done. Either way, I was glad for the inclusion of the various descriptions and explanations; I don’t have a strong background in visual art or design and so found A Sky Longing for Memories to be illuminating and intellectually stimulating as well as beautiful to look at.

One of the key components of Shinkai’s style is his use of color. With this in mind, Vertical has taken great care to faithfully reproduce Shinkai’s artwork in A Sky Longing for Memories; the volume uses thick, glossy paper on which the colors in particular are beautifully presented. Simply put, it’s a gorgeous book of gorgeous illustrations. A Sky Longing for Memories reveals Shinkai not only as a talented artist but also as a skilled director. While he solely handled almost every aspect of Voices of a Distant Star except for the film’s music, by the time 5 Centimeters per Second was produced Shinkai was guiding and coordinating the work of an entire staff. Interestingly, most of the team members were traditionally trained artists from outside of the animation industry who had to learn digital techniques and illustration methods on the job. As can be seen from A Sky Longing for Memories, the result of their combined efforts is spectacular.

Kodansha Licenses Princess Jellyfish; Tokyopop Returns

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Kuragehime_vol01_CoverJust 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 Revue: Dream Fossil

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The last two years have been kind to Satoshi Kon fans: Dark Horse and Vertical Comics have each released two volumes of Kon’s manga, from Tropic of the Sea, a supernatural mystery, to Seraphim 266613336 Wings, an unfinished collaboration with Ghost in the Shell director Mamoru Oshii. This week, I investigate Dream Fossil, which collects all of Kon’s published short stories into a single volume.

dream_fossilDream Fossil: The Complete Stories of Satoshi Kon
By Satoshi Kon
No rating
Vertical Comics, $24.95

Dream Fossil is a window into a crucial stage in Satoshi Kon’s development: the six-year period between the publication of his first short story (1984) and his first long-form manga (1990). Readers may be astonished by Kon’s undisguised homage to Katsuhiro Otomo, and the flaws in his storytelling technique. Yet Dream Fossil is not simply a collection of juvenilia; these stories represent Kon’s first meaningful attempt to grapple with the themes that define his mature work, from Perfect Blue and Tokyo Godfathers to Paranoia Agent and Paprika.

Consider “Carve” and “Toriko,” two of Kon’s earliest works. Both take place in dystopian societies that stress conformity and obedience over individualism and free will–an ideal set-up for exploring the boundaries between reality and illusion. Though Kon delineates these boundaries more baldly in “Carve” and “Toriko” than in his later films, all of Kon’s characters exist in a false state of consciousness; only shattering acts of violence force them to question what they think is real. These early stories also suggest Otomo’s strong influence on Kon; “Carve,” in particular, feels like a compressed retelling of Akira, as both feature a young male protagonist whose extrasensory powers turn him into God-like being.

“Beyond the Sun” and “Joyful Bell” are another instructive pairing. Both stories evoke the humanist spirit of Tokyo Godfathers in their fond, funny depictions of two city-dwellers who temporarily escape the confines of their daily routines. As in Tokyo Godfathers, the urban landscape proves an essential component of both stories; Kon treats the city as a playground where adults can shed the burdens of age, failure, and loneliness to recover their optimism and youthful wonder.

Other stories work well on their own terms. “Guests,” a cautionary tale about real estate, skillfully blends humor and horror, while “Picnic,” one of Dream Fossil‘s briefest selections, depicts the sepulchral beauty of an underwater city. At the other end of the spectrum are Kon’s coming-of-age stories “Horseplay,” “Summer of Anxiety,” and “Day Has Dawned,” all of which suffer from tonal schizophrenia, see-sawing between wacky hijinks and meaningful lessons about adulthood. This combination might have worked in a longer format, but Kon’s characters are so underdeveloped that they never register as distinct individuals who are motivated by their own beliefs, fears, and desires.

If pressed to say whether I “liked” Dream Fossil, I’d be reluctant to give a simple yes-or-no answer. It’s difficult to overlook the rubbery faces and clumsy internal transitions in the volume’s weakest stories, or Kon’s flagrant efforts to cop Otomo’s style. Yet many of the stories feature the kind of arresting sequences, amusing plot twists, and flashes of genuine imagination that are hallmarks of Kon’s best films, making it difficult to dismiss this uneven body of work as “good,” “bad,” or “okay.”

Reviews: Jason Thompson makes a strong case that Kekkaishi is the best shonen manga you haven’t read. At Anime UK News, Sarah reviews Servamp, a supernatural adventure about–what else?–vampires. Closer to home, TCJ columnist Joe McCulloch sings the praises of Professor Layton, an untranslated manga in which “a top-hatted archeologist and his adolescent weed carrier solve extremely unlikely and sentimental mysteries” by means of word games, puzzles, and riddles.

Ash Brown on vol. 4 of After School Nightmare (Experiments in Manga)
Matthew Warner on vol. 2 of Akame ga KILL! (The Fandom Post)
Connie on vol. 1 of Alice in the Country of Clover: Knight’s Knowledge (Slightly Biased Manga)
Alice Vernon on The Angel of Elhamburg (Girls Like Comics)
Connie on vol. 17 of Black Bird (Slightly Biased Manga)
Connie on vol. 5 of Crimson Spell (Slightly Biased Manga)
Leroy Douresseaux on vol. 10 of Dogs: Bullets and Carnage (Comic Book Bin)
Helen and Justin on Donyatsu (Organization Anti-Social Geniuses)
Connie on vol. 1 of Earthian (Slighty Biased Manga)
Kory Cerjak on vol. 44 of Fairy Tale (The Fandom Post)
Frank Inglese on vols. 1-2 of Food Wars! Shokugeki No Soma (Snap 30)
Rich Johnston on Fragments of Horror (Bleeding Cool)
Kate O’Neil on vol. 6 of Gangsta (The Fandom Post)
Connie on vol. 11 of Inuyasha: VIZBIG Edition (Slightly Biased Manga)
L.B. Bryant on vol. 1 of Is It Wrong to Try to Pick Up Girls in a Dungeon? (ICv2)
Luke Halliday on vol. 1 of JoJo’s Bizarre Adventure: Phantom Blood (Snap 30)
Tony Yao on Kiss Him, Not Me (Manga Therapy)
Seth Hahne on Last Man, Vol. 2: The Royal Cup (Good Ok Bad)
Kane Bugeja on The Legend of Zelda: A Link to the Past (Snap 30)
Kathryn Hemmann on The Legend of Zelda: A Link to the Past (Contemporary Japanese Literature)
Connie on vol. 9 of Maoh: Juvenile Remix (Slightly Biased Manga)
Leroy Douresseaux on vol. 3 of Master Keaton (Comic Book Bin)
Robert Frazer on vol. 2 of My Neighbor Seki (UK Anime Network)
Dan Barnett on vols. 1-4 of Neon Genesis Evangelion (UK Anime Network)
Connie on Nonnonba (Slightly Biased Manga)
Erica Friedman on Seijun Shoujo Paradigm (Okazu)
Connie on vol. 18 of Sensual Phrase (Slightly Biased Manga)
Megan R. on Strawberry 100% (The Manga Test Drive)
Andy Hanley on vol. 1 of Sword Art Online Girls’ Ops (UK Anime Network)
Sakura Eries on vol. 2 of Sword Art Online Progressive (The Fandom Post)
Joceyln Allen on vol. 2 of USCA (Brain vs. Book)
Lori Henderson on vols. 1-5 of W Juliet (Manga Xanadu)
Erica Freidman on vol. 6 of Wandering Son (Okazu)
Sean Gaffney on vol. 8 of Wandering Son (A Case Suitable for Treatment)
Connie on vol. 15 of We Were There (Slightly Biased Manga)
Robert Frazer on vols. 5-6 of Wolfsmund (UK Anime Network)
Ken H. on vols. 1-2 of Yamada-Kun and the Seven Witches (Sequential Ink)
Connie on vol. 1 of Yukarism (Slightly Biased Manga)

 

Bookmarked: Satoshi Kon-a-thon

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It’s not every day that an American publisher releases a manga by the late, great Satoshi Kon, so Brigid and I decided to mark the occasion with a roundtable discussion. Joining us is David Brothers, one our favorite comics journalists. David has written for Comics Alliance, Pop Culture Shock, Publisher’s Weekly, Wired, and The Atlantic Monthly, and currently works in the comics industry.

On our plate: Tropic of the Sea, which was published by Vertical Comics in 2013, and OPUS, which arrives in comic book stores today courtesy of Dark Horse. Both works date to an early stage of Satoshi Kon’s career, but explore themes present in such films as Perfect Blue, Millennium Actress, and Paprika–most notably the boundary between reality and imagination.

KATE: Let’s start the conversation with a basic question: which did you enjoy more, OPUS or Tropic of the Sea, and why?

OpusDAVID: I definitely liked OPUS a lot more than Tropic of the Sea, I think owing to the fact that while both are stories in well-worn genres, OPUS is way more up my alley in general, since it was at least partly about storytelling as a creator. Tropic of the Sea felt fairly pat, with precious few surprises all the way down to the last panel. OPUS follows the blueprint of other stories in its genre, but it’s also funnier and warmer somehow, I suppose because it’s about the nature of free will and humanity, and to tackle those points you kinda have to have characters that are entertaining to watch.

I actually read these books back-to-back the first time I read both, Tropic of the Sea and then OPUS, with a break for cooking and dinner in-between. OPUS did a great job of sparking my imagination. I think it’s cool that the story works as both how we read it, as the story of a creator in his creation, and also a crazy deus ex machina ending for the manga Resonance. Tropic of the Sea sorta is what it is, which is a well-executed story to be sure, but OPUS goes places I really enjoy.

I’m focusing on OPUS, but I didn’t dislike Tropic of the Sea. It’s good, but it’s just not quite my bag. How was it for you two?

BRIGID: Wow, I’m actually feeling the opposite: I really liked Tropic of the Sea because I thought that it was very well done, even if the story had been done before. I’m finding OPUS much harder to follow, though. Maybe I’m just not good with action stories, but it seems like things are constantly exploding and flying apart without any visible cause. And right at the end of chapter 1 there’s this weird non-sequitur where Satoko’s leg is trapped under a stone column and then, without anything changing in the panel that I could see, she just pushed it off and jumped up. On the one hand, this manga has a pretty sophisticated sense of space, but on the other hand, I’m having a lot of trouble following the motion of people and things within that space, and in particular, why things are blowing up. As I write this, I haven’t finished the manga, so maybe there’s a resolution or explanation I’m not seeing yet, but right now it’s pulling me out of the story to have to stop and figure out what just happened. It’s weird, too, because you would expect an animator to be tighter about that kind of thing.

tropic-of-the-sea-cover
KATE: My experience tracks with yours, David: I liked OPUS more than Tropic of the Sea. I found the premise of Tropic of the Sea a little too familiar, in large part because the characters were all such obvious types–the skeptic, the unscrupulous developer, the wise old-timer–that none registered as individuals. The story’s length was also a contributing factor, as Kon didn’t have enough space to flesh out the cast beyond their specific plot functions. It’s a shame that the script wasn’t better, as the illustrations create a palpable sense of place.

As for OPUS, it irresistibly reminded me of the a-ha video for “Take on Me” and the Will Farrell/Emma Thompson flick Stranger Than Fiction, with a pinch of AKIRA for seasoning. I normally find these kind of meta-exercises tedious, but Kon infuses the story with a sense of playful urgency that thwarts the urge to deconstruct every page. (For me, at least; your mileage may vary.)

DAVID: Oh, I’m definitely knee-deep in that urge to deconstruct. Resonance feels like the anime and manga that was around when I was getting into this stuff, something halfway between Ryoichi Ikegami’s ’80s realism and Masamune Shirow’s willingness to blend weird tangents into his hard sci-fi worldbuilding. The haircuts, the fashion, the motivations, the poorly thought-out backstories, and somehow even the fourth wall breaking action are all my bag. Which I think is a big part of why I share the constant feeling of Things Are Happening All Over with you, Brigid, but have a different response to it. The story-in-the-story is something I know well and have read often (the cop mentor, the thug friend, the weird way the heroine keeps getting rescued instead of rescuing!), so I buy into that, and through that the rest of the story, maybe a little harder than others would. This feels a lot like a lost chapter of a comic I never read as a kid, from late enough in the story that doing a daring metafictional “let’s talk about comics stories by way of being in a comics story!” tale was not just feasible, but something you could dedicate 300+ pages to.

KATE: I agree with Brigid that the draftsmanship in Tropic of the Sea is crisper–in fact, I think that’s part of the reason that I’m so focused on the creakier aspects of the story. The illustrations are almost… well, “invisible” isn’t quite the right word, but they don’t call attention to themselves in the same way that the illustrations in OPUS do. I don’t always respond well to flashy artwork, but I found OPUS engaging enough that I didn’t linger on the busier images.

As for the story, I’m with you, David: OPUS is a fun throwback to the kind of manga that Dark Horse and VIZ were publishing in the 1990s, right before the Sailor Moon/InuYasha revolution. OPUS isn’t as gonzo as some of the Koike/Ikegami manga from that era, but it still has that same breathless, hyperbolic quality. I’m kind of surprised that I liked it better than Tropic of the Sea, actually, as Tropic seems like it would be more in my wheelhouse. But I thought the script was too on-the-nose–a little ambiguity would have made the ending more satisfying, and more in keeping with Kon’s mature work. (An aside: I wondered what Rumiko Takahashi could have done with the premise of Tropic of the Sea… sigh.)

Switching gears, how did you react to the ending? Was Dark Horse right to include Kon’s unfinished sketches, or should the manga have been left incomplete?

DAVID: I came into OPUS cold, not even knowing it was unfinished, so I was both surprised, disappointed, and glad to see them. Surprised at the lack of an ending, disappointed at the same, but glad there was some kind of resolution, even if it’s just a metafictional one. For a story about stories to end with “Welp, and I guess I just didn’t finish this one, but I might one day!” is the kind of serendipity you can’t plan for, but is sometimes thematically correct for the work. It worked here, and I especially liked to see the pages Kon did with no faces. I thought that was a cool and creepy touch, and when combined with the rest of the backmatter, it made for a satisfying, though not all the way satisfying, ending.