Manga Bookshelf

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Archives for March 2011

iPad Manga Review: Captive Hearts Volume 1

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When it comes to my iPad and buying digital content, I tend to spend the most money buying ebooks. While it is great that Viz is one of the few companies to put multiple manga series on the iPad, the initial offerings were either series that I wasn’t that interested in or manga that I’d already collected in print format like Death Note or Kenshin. But the month of March is Manga Madness Month and ALL VOLUME ONES ARE .99 cents in the VIZ MANGA APP(picture me saying that in the voice of a crazy car salesman). Viz has also added a few series that I haven’t already read, and at .99 cents it is very cheap to sample the first volume of a manga I might find interesting.

Captive Hearts Volume 1 by Matsuri Hino

Captive Hearts is the first series by Vampire Knight powerhouse Matsuri Hino. I’ve read the first few volumes of Vampire Knights, traded them away, regretted it, and am slowly building up my print collection again. I’ve also read Hino’s frothy fantasy MeruPuri. Captive Hearts is very cute, but the first volume shows very little traces of Hino’s detailed art style and the story is fairly predictable. Megumi is the son of the butler to a rich family. He grows up in an empty mansion because the Kogami family went missing on a trip to China, and the late master’s will (written before the birth of his daughter) left his fortune split between his wife and his butler. Megumi’s lesiurly life as a student is interrupted when his father announces that the Kogami family has been found. The long-lost daughter Suzuka has been found. Megumi’s father makes dark pronouncements about Megumi finding out about his fate and a family curse, and when Megumi meets Suzuka the curse takes effect.

As soon as Megumi sees the new mistress of the house something is triggered in his brain, and he becomes the perfect servant. He finds himself saying “Welcome home, Princess” and kissing her hand while on the inside his thoughts are protesting. It turns out that one of Megumi’s ancestors tried to steal from the Kogami family and a guardian god appeared to place a hundred generation curse on Megumi’s family, forcing them to become the perfect servants. Megumi spends his time helping Suzuka adjust to life in Japan, and his tendency to have random attacks of subservience hinders their relationship. Does he care about her because of the curse? What would happen if the curse was broken? Suzuka seems to like Megumi, but she’s extremely distressed about the effect she has on him and just wants to spend time with him normally the way they did as children.

There are faint suggestions of Hino’s eventual drawing style, which features plenty of detail and characters that all seem to be wearing a healthy coating of eyeliner, but Captive Hearts isn’t nearly that refined. As a first volume, I would expect that the art gets a lot better as the series progresses. Hino’s later facility with extreme angst isn’t really on display here either. Instead there are plenty of sweet and humorous moments between Megumi and Suzuka as they strike up a friendship in between his uncontrollable servant attacks. For .99 cents, I was happy to have the chance to try out this series. Even though there were quite a few cute moments it didn’t really draw me in, partially because I think that while Hino’s other series might be less funny they are executed much more competently. Although after seeing the sense of humor on display in Captive Hearts, I am tempted to reread Vampire Knight again as paranormal romance parody.

I had no problems downloading and reading this manga on the iPad, and the pages looked very clean and crisp. Even though I wasn’t hooked by this first volume, I wouldn’t hesitate recommending it for anyone who wants to sample some insanely cheap shoujo manga during this March promotion.

The Manga Hall of Shame: Wounded Man

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Nicholas Cage, I have a swell idea for your next project: option the rights to Wounded Man. This mid-eighties schlockfest is tailor made for you. It has a hero with extravagantly bad hair, bad guys so charismatic they beg for Christopher Walken or Sharon Stone to play them, and copious amounts of acrobatic sex and violence. And while it lacks the evil Nazis and mad scientists of Offered, another Kazuo Koike gem set in South America, Wounded Man does Offered one better: the series’ main villain is a pornographer. But not the sleazy, sad-sack type who might be the prime suspect on a Law & Order: SVU episode — no, the chief villain in Wounded Man runs a studio called God’s Pornographic X-Rated Films, a.k.a. GPX. She also wears a caftan and carries a parasol.

You know she’s evil.

Wounded Man begins in Brazil, where Yuko Kusaka, an ambitious young NHK reporter, is pursuing a story about a modern-day gold rush in the Amazon basin. Yuko is intent on finding “Rio Baraki,” a prospector who’s rumored to be Japanese. Baraki finds her first, however, savagely attacking her in a city park. “You’d better thank me because this could be much worse!” he tells Yuko. “Go back to Japan if you don’t want anymore trouble!” (He also talks to her at great length about the unsavory eating habits of Amazonian fish, dialogue that’s so unsafe for work I’ll do the honorable thing and not reprint it here.)

What Baraki doesn’t count on is that Yuko falls madly in love with him, following him deep into the jungle in spite of his dire warnings. She and her camera crew are ambushed by bandits, tied up, and sexually tortured; Baraki rescues them. She then jettisons her crew and tags along with Baraki. Once again, she’s ambushed, tied up, and sexually tortured; once again, Baraki rescues her. Baraki and Yuko then fight; they have sex; and Baraki tells Yuko his sad story, a story even more screwed up than all crazy, non-con antics that preceded it.

Baraki, it turns out, was once Keisuke Ibaraki, star quarterback at USC. After a big game, a group of thugs kidnapped him and his high school sweetheart, threatening them with death if Baraki refused to make an X-rated film with a famous female tennis player. Baraki turned GPX down; his heart belonged to Natsuko, and no amount of money would compromise his resolve. Not even the prospect of starvation undermined his commitment to Natsuko — naked and locked in a dungeon, the two survived by drinking each other’s urine before Natsuko finally died. Baraki lived, and has been plotting his revenge ever since he escaped GPX’s clutches.

I’m not making this up.

You’d be forgiven for thinking that a couple of porn-addled teenagers were responsible for the script, however; the whole story feels like something concocted by Dirk Diggler in one of his pitiful bids for movie-actor legitimacy. Though the ostensible genre is action/adventure, the story’s epic sex scenes take up more than half the first volume alone, with only the occasional fist-fight or manly swim through piranha-infested waters to relieve the tedium. The most reprehensible aspect of all the fornicating, however, is how little of it is genuinely consensual. Yuko is molested by Baraki, by random smugglers and poachers, even by members of her own television crew in a scene unpleasantly reminiscent of Deliverance, yet Koike and artist Ryochi Ikegami play these episodes for maximum titillation, trotting out one of the hoariest, most offensive cliches from the rape culture playbook: the victim who falls for her attacker because the sex is so amazing.

I wish I were making this up.

Koike and Ryoichi Ikegami find other ways to offend as well. The Brazilian characters are drawn as crude caricatures, with hulking physiques, gap-toothed smiles, and leering eyes; their primary role in the story is menacing Yuko. The few female characters are equally ridiculous, shunning clothing the way six-year-olds shun brussell sprouts; I’ve never seen so much laughably gratuitous nudity in a manga before. (The naked tennis player is kind of disconcerting, however, as she looks an awful lot like Martina Navratilova.)

The series’ greatest offense, however, is the way Yuko is portrayed. She may be a judo champ, capable of delivering a high-flying kick, and a rising star at the NHK, scoring high ratings with her investigative journalism, but her behavior is so petulant, so dumb, and so completely contradictory that Koike undermines her identity as a competent, strong woman. “That’s right, I hate you,” she tells Baraki during one of their numerous fights. “But at the same time, I love you so much! I’m so in love with you and I get so weak just being touched by you.” Her frequent hysterical outbursts would be comical if they didn’t serve to infantilize and diminish her, robbing her of any meaningful agency or identity outside of sex object.

Really, I wish I were making this up.

I’d be the first to admit that Wounded Man is luridly fascinating. It’s hard to imagine who thought any of it was a good idea, though it unfolds in such a fast, furious, and utterly unironic fashion that readers may be swept up in the story despite their better judgment. In short, Wounded Man is perfect fodder for a Nick Cage movie. Agents, are you listening?

WOUNDED MAN, VOLS. 1-9 • STORY BY KAZUO KOIKE, ART BY RYOICHI IKEGAMI • COMICSONE • RATING: MATURE (COPIOUS NUDITY AND VIOLENCE, VIOLENCE AGAINST WOMEN, STRONG LANGUAGE, INANE PLOT TWISTS)

The Manga Hall of Shame: Wounded Man

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Nicholas Cage, I have a swell idea for your next project: option the rights to Wounded Man. This mid-eighties schlockfest is tailor made for you. It has a hero with extravagantly bad hair, bad guys so charismatic they beg for Christopher Walken or Sharon Stone to play them, and copious amounts of acrobatic sex and violence. And while it lacks the evil Nazis and mad scientists of Offered, another Kazuo Koike gem set in South America, Wounded Man does Offered one better: the series’ main villain is a pornographer. But not the sleazy, sad-sack type who might be the prime suspect on a Law & Order: SVU episode — no, the chief villain in Wounded Man runs a studio called God’s Pornographic X-Rated Films, a.k.a. GPX. She also wears a caftan and carries a parasol.

You know she’s evil.

Wounded Man begins in Brazil, where Yuko Kusaka, an ambitious young NHK reporter, is pursuing a story about a modern-day gold rush in the Amazon basin. Yuko is intent on finding “Rio Baraki,” a prospector who’s rumored to be Japanese. Baraki finds her first, however, savagely attacking her in a city park. “You’d better thank me because this could be much worse!” he tells Yuko. “Go back to Japan if you don’t want anymore trouble!” (He also talks to her at great length about the unsavory eating habits of Amazonian fish, dialogue that’s so unsafe for work I’ll do the honorable thing and not reprint it here.)

What Baraki doesn’t count on is that Yuko falls madly in love with him, following him deep into the jungle in spite of his dire warnings. She and her camera crew are ambushed by bandits, tied up, and sexually tortured; Baraki rescues them. She then jettisons her crew and tags along with Baraki. Once again, she’s ambushed, tied up, and sexually tortured; once again, Baraki rescues her. Baraki and Yuko then fight; they have sex; and Baraki tells Yuko his sad story, a story even more screwed up than all crazy, non-con antics that preceded it.

Baraki, it turns out, was once Keisuke Ibaraki, star quarterback at USC. After a big game, a group of thugs kidnapped him and his high school sweetheart, threatening them with death if Baraki refused to make an X-rated film with a famous female tennis player. Baraki turned GPX down; his heart belonged to Natsuko, and no amount of money would compromise his resolve. Not even the prospect of starvation undermined his commitment to Natsuko — naked and locked in a dungeon, the two survived by drinking each other’s urine before Natsuko finally died. Baraki lived, and has been plotting his revenge ever since he escaped GPX’s clutches.

I’m not making this up.

You’d be forgiven for thinking that a couple of porn-addled teenagers were responsible for the script, however; the whole story feels like something concocted by Dirk Diggler in one of his pitiful bids for movie-actor legitimacy. Though the ostensible genre is action/adventure, the story’s epic sex scenes take up more than half the first volume alone, with only the occasional fist-fight or manly swim through piranha-infested waters to relieve the tedium. The most reprehensible aspect of all the fornicating, however, is how little of it is genuinely consensual. Yuko is molested by Baraki, by random smugglers and poachers, even by members of her own television crew in a scene unpleasantly reminiscent of Deliverance, yet Koike and artist Ryochi Ikegami play these episodes for maximum titillation, trotting out one of the hoariest, most offensive cliches from the rape culture playbook: the victim who falls for her attacker because the sex is so amazing.

I wish I were making this up.

Koike and Ryoichi Ikegami find other ways to offend as well. The Brazilian characters are drawn as crude caricatures, with hulking physiques, gap-toothed smiles, and leering eyes; their primary role in the story is menacing Yuko. The few female characters are equally ridiculous, shunning clothing the way six-year-olds shun brussell sprouts; I’ve never seen so much laughably gratuitous nudity in a manga before. (The naked tennis player is kind of disconcerting, however, as she looks an awful lot like Martina Navatarola.)

The series’ greatest offense, however, is the way Yuko is portrayed. She may be a judo champ, capable of delivering a high-flying kick, and a rising star at the NHK, scoring high ratings with her investigative journalism, but her behavior is so petulant, so dumb, and so completely contradictory that Koike undermines her identity as a competent, strong woman. “That’s right, I hate you,” she tells Baraki during one of their numerous fights. “But at the same time, I love you so much! I’m so in love with you and I get so weak just being touched by you.” Her frequent hysterical outbursts would be comical if they didn’t serve to infantilize and diminish her, robbing her of any meaningful agency or identity outside of sex object.

Really, I wish I were making this up.

I’d be the first to admit that Wounded Man is luridly fascinating. It’s hard to imagine who thought any of it was a good idea, though it unfolds in such a fast, furious, and utterly unironic fashion that readers may be swept up in the story despite their better judgment. In short, Wounded Man is perfect fodder for a Nick Cage movie. Agents, are you listening?

WOUNDED MAN, VOLS. 1-9 • STORY BY KAZUO KOIKE, ART BY RYOICHI IKEGAMI • COMICSONE • RATING: MATURE (COPIOUS NUDITY AND VIOLENCE, VIOLENCE AGAINST WOMEN, STRONG LANGUAGE, INANE PLOT TWISTS)

Upcoming 3/9/2011

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

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

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

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

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

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

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

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

What looks good to you?

 

Manhwa Monday: March Preview

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Welcome to another Manhwa Monday!

With March upon us, it’s time to take a look at the month’s upcoming manhwa releases. First off, we have volume five of Time and Again (Yen Press), JiUn Yun’s story of a pair of ghost hunters in Tang Dynasty-era China. This is the series’ penultimate volume, so it’s likely to be pretty dramatic. Also from Yen Press, we’ll see volume twelve of Japanese-published Korean-created Black God.

From NETCOMICS, March promises volume two of There’s Something About SunYool, one of last year’s few standout new releases.

In this week’s news, Korea JoongAng Daily reports about Korean manhwa making waves in Japan, particularly The Survival series, an educational comic series that “has taken the competitive Japanese comic book market by storm.”

At Seoul Graphics, Managing Director Dr. Jeeyeon Kim and Comic Bits’ Terry Hooper offer to answer your questions about manhwa.

And at Manga Xanadu, Lori Henderson takes us through the latest issue of Yen Plus, including new chapters of manhwa series Aron’s Absurd Armada and Milkyway Hitchhiking.

In a bit of blog news, given the slow nature of the US manhwa industry lately, I’m considering moving Manhwa Monday from a weekly column to bi-weekly or even monthly. It grows increasingly difficult to find enough news to report each week, and less frequent columns could mean those that do get made are a bit more substantial. What say you, readers?

That’s all for this week!

Is there something I’ve missed? Leave your manhwa-related links in comments!

New TCJ: Where are the women?

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

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

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

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

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

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

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

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

ETA Some related links:

A response from Tim Hodler
Additional commentary from Heidi MacDonald

PotW: Rin-Ne, Rasetsu, Dogs: Bullets & Carnage

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Check out the week’s Picks from the Manga Bookshelf bloggers and special guest Michelle Smith!

From Kate: I’d be the first to admit that Rin-ne has been a hit-or-miss affair. Writing about the second volume, for example, I called it “an unmitigated disaster, filled with clunky exposition, lame adventures, and embarrassingly transparent voice-overs of a ‘Oh, so that’s why no one can see him — he’s wearing the robe that makes him invisible!’ nature.” Yet the first and third volumes were totally charming, filled with inspired comic bits and classic Takahashian characters; anyone who liked Lum: Urusei Yatsura, Ranma 1/2, or InuYasha would find the prickly collaboration between Rinne and Sakura as pleasantly comforting as a bowl of mac and cheese. I’m in the mood for manga mac and cheese this week, so I’m picking volume five of Rin-ne and hoping it’s as solid as volumes one and three.

From Michelle: This week’s pickings include new volumes of several series that I am determined to read in the near future even though I’m woefully far behind. Though I’ll definitely be picking up Arata: The Legend and Rasetsu, it’s the fifth volume of Dogs: Bullets & Carnage I am most determined to acquire. I simply must read this series soon—I’ve been borrowing the early volumes from a friend for far too long!—and slick sci-fi adventure set in a dark future seems awfully appealing right about now.

From MJ: My pick this week is decidedly volume eight of Rasetsu, a supernatural romance series I’ve been enjoying much, much more than I ever expected. In volume seven, things heated up quite a bit in the romance department. This continues in volume eight, but with the stakes rising and a big surprise in store for Rasetsu regarding her personal doom, it’s clear we’re ramping up for a supernatural showdown in the series’ final volume. I’ve been genuinely surprised by how fresh this series manages to feel, especially after its fairly slow start. I wouldn’t miss its penultimate volume for the world. It’s great shoujo fun.

From David: I’m going to second Kate’s choice of Rin-ne for essentially the same reasons — it’s nice to be able to pick up a volume and immerse yourself in Takahashi’s very familiar sensibility. You know there will be endearing characters, good-natured comedy, and a bit of supernatural adventure. As Greg (Read About Comics) McElhatton said in his review, “Even Takahashi on autopilot isn’t bad.” As a bonus, it’s nice to be able to recommend a series where readers can sample so much of it for free.

Amazon.com Widgets

Readers, what are your Picks this week?

From the stack: Dorohedoro vols. 1-3

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It’s probably silly, but I always feel guilty that I don’t like Q Hayashida’s Dorohedoro (Viz) more than I do. I find it difficult to pinpoint exactly what the barrier is for me, since there are so many things to admire about the comic.

Most notable is Hayashida’s sensibility, which she has in abundance. While stories about magic are usually filled with sparkle, she’s set-dressed hers in convincing grime and clutter. Her main setting is a world called The Hole, and the name isn’t ironic. It’s a filthy, often frightening place where average humans live and try and protect themselves from magic-using sorcerers who like to experiment on the non-gifted. But it’s also a strangely homey place. Sure, violence is routine, and you’re living at the whim of powerful beings with next to no conscience, but you can find good dumplings.

Hayashida applies the same gritty-but-not approach to her characters. Our hero, Caiman, is an amnesiac with the head of a lizard. He’s terrifying to look at, but he’s goofy and kind of sweet when he isn’t chomping his jaws down on the heads of sorcerers to see if they’re the one who left him with no memory and a reptilian noggin. He’s very solicitous of Nikaido, the tough girl who makes the dumplings and helps him with his various projects (like the head chomping). They have an appealing rapport, and they’re very protective of each other.

Even the villains have their virtues, mostly because they aren’t entirely focused on villainy. Sorcerer mobster En seems to have a dozen different agendas at once, any of which can be set aside for an adorable (but creepy) new pet. His enforcers, Shin and Noi, are kind of the cloudy, mirror version of Caiman and Nikaido, but with an added level of blithe certainty. They’re endearingly amoral, not even bothering to justify they’re actions. They like their lives, whether they’re eating lunch or slicing and dicing hapless humans.

So, with an interesting cast and a distinct vibe, what’s the problem? I think it’s in the storytelling, which can feel not fully realized. I find it difficult to invest in Caiman’s quest to find out what happened to him. Aside from a general (and justified) sense of being badly used, there isn’t much in the way of specific urgency to Caiman’s search for answers and vengeance. He’s certainly likeable, but his aims seem strangely small. They could represent the overall injustices visited on the denizens of The Hole at the hands of the sorcerers, but Hayashida doesn’t really go there. Keeping things relatively light is an interesting choice that works in a lot of ways, but I keep wishing she’d raise the overall stakes a bit.

On another storytelling front, the staging of certain sequences can be rather confusing, especially when a lot is happening at once. I love the look of the book overall – the environments, the character design, some of the witty ways Hayashida plays around with pacing – but I wish there was a more consistent level of clarity.

Since you can do so for free, at least with chapters that haven’t seen print yet, I’d certainly encourage people to read Dorohedoro. And I certainly wouldn’t recommend a whole lot of things that you can read for free, because time has value. But this series has a lot of strengths, and Hayashida seems to be a remarkable creator in a number of significant ways. Dorohedoro just isn’t as tight as I would hope, and it feels like it could be without losing any of its quirky appeal.

Shojo Beat Quick Takes – Rasetsu and Butterflies Flowers

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Rasetsu Volume 8 by Chika Shiomi

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

Butterflies, Flowers Volume 6 by Yuki Yoshihara

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

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

Previews review March 2011

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Platform review: Viz on the iPad

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Blood, brains, or brawn

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

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

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

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

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

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

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

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

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

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

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

 

Dragon Girl Volume 2

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Dragon Girl Volume 2 by Toru Fujieda

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

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

Fanservice Friday: Intimacy porn

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

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

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

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

Read right-to-left. Click for larger image

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

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

Read left-to-right. Click for larger image

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

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

Read right-to-left. Click for larger images

   

   

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

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

Read right-to-left. Click for larger images



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

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

Read right-to-left. Click for larger image

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

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

So, readers… what’s your porn?

License request day: Jin

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Anime News Network passed along the announcement of the manga nominees for the 15th Osamu Tezuka Cultural Prize. You all know what that means, right? We’ve struck a vein of license request ore! It’s an interesting and diverse slate, and I’m sure it will fuel future license requests, but there’s one title that has an unshakable grasp on my imagination and curiosity.

That would be Jin, written and illustrated by Motoka Murakami and serialized in Shueisha’s Super Jump for a total of 20 volumes. Any manga that launches with a modern-day doctor finding a carcinogenic fetus in a patient’s skull, followed by that fetus then sending said doctor back in time is a manga I want to read very, very badly.

It’s being published in French by Tonkam, which makes it much easier for me to figure out details about the book. I’m guessing that the fetus is just a MacGuffin to send our hero, 30-something doctor Jin Minakata, back to the Edo period. He adapts to his new/old world and begins applying his modern medical knowledge to bygone problems.

A cholera epidemic in Yokohama… communicable diseases among the courtesans of the red-light district… “discovering” penicillin centuries ahead of time… a geisha with breast cancer… If you want to be a busy doctor and seem like a miraculous genius whether you are one or not, it seems like all you have to do is go back in time. (How you get there is your own problem. My suggestion would be to randomly x-ray the skulls of your patients for mysterious fetuses. Of course, any fetus you find in someone’s skull is bound to count as “mysterious.”)

Judging by the sample pages from the first volume that Tonkam has shared, the art looks very clean, detailed, and attractive in a seinen sort of way that won’t be unfamiliar to fans of creators like Jiro Taniguchi. And while it’s perhaps a little soon after asking for Zipang to dip into the well of rewritten history, I think Jin sounds different enough in era and focus that they wouldn’t cannibalize each other’s audience, should we see a day when they’re simultaneously published in English.

So that’s my first choice from the current Tezuka nominees. I’ve only chosen one cover image, because they’re all pretty similar, featuring a strangely blank Jin standing with a beautiful woman. I used to work at a local newspaper, and so many submitted wedding photos looked kind of like these covers, with the woman actively engaging the camera and the man staring out of the frame at something shiny.

Which of the Tezuka nominees would you most like to see licensed?