Archives for August 2011

I’m pleased to see that we’re getting the second and final omnibus of this quiet, down-to-earth shoujo series from Kodansha. It has a satisfying conclusion, though I admit that I think I liked it better when the series was focusing on Sumino trying to open up and make new friends. This final volume deals more with Sumino’s romantic love triangle, and it’s simply not as interesting.

We left off with the manga trying to confuse us more about the two online friends in Sumino’s blog, and whether one or both of them were the two guys at her high school. It should come as no surprise to learn that one of them is, nor should it be too much of a surprise to find it’s a bit of a role reversal. I was rather surprised to find that the other online friend was completely unrelated to Sumino’s life in every way, and in fact lives in Osaka. It was a reasonable fakeout that I appreciated. (It also led to a mostly boring side story at the end, but hey, can’t have everything.)

We do also see Sumino clash with the schoolgirl bully who hounded her in Volume 1, Aya. I liked this as well, if only for a look at the mentality of this sort of person. Aya’s already been ostracized by her classmates, and has pretty much already ‘lost’. But she’s bullying Sumino, because, well, that’s what she does. And there’s still these unresolved feelings inside her that need to come out somewhere. The resolution of their fight was cliched, but still rather heartwarming. Although I will admit I could have done without ‘the sunflower in my heart isn’t bent!’. There’s cheesy and then there’s just corny.

But the majority of the volume is dealing with which guy Sumino is going to choose – Hinata, the sweet, caring boy that she’s already grown close to, or Teru, the harsher but sexier type whose words gave her more encouragement? Needless to say, this also leads to a rift between the two boys, who are now after the same girl. I found this more interesting for Teru’s backstory than anything else – he’s a certain type of shoujo boy that if this were a title for teens rather than young girls might be the lead – a jerkass sort who tries to encourage the heroine in an oblique way. Hinata, unfortunately, comes off as rather bland in comparison, though he did get more attention last volume.

Overall, it’s a nice, sweet manga, but it’s still hard not to compare this with Kimi Ni Todoke and find it wanting. No new ground is broken, and after a first volume focusing on broadening our heroine’s world, it all comes down to the standard love triangle. It doesn’t really put a foot wrong, and if you like this sort of genre it’s an easy title to recommend. But you might want to grade it on a bit of a curve.

First off, let’s get one thing clear right off the bat: no matter how much lovers of Shakespeare want it to be, and try to rewrite history to make it so, this is *not* the final play that Shakespeare wrote. Henry VIII and Two Noble Kinsmen, both co-written with John Fletcher, followed this, as well as the lost play Cardenio (also with Fletcher). There’s no denying that it would be awesome if we could read the play as an allegory of Shakespeare’s playwrighting and the final speech as his retirement form the stage. But that’s not what actually happened.

This is not to take anything away from The Tempest. There’s a reason people want it to be Shakespeare’s last play – it’s fantastic, easily his best ‘romance’ and among his top plays, with some superb dialogue, especially from the magician who many say was Shakespeare’s self-portrait, Prospero. It has a lovely palindromic structure, and some supporting roles that an actor can really sink their teeth into in the form of the island’s two natives, Ariel and Caliban. And, despite many saying that she’s just a passive girl who does whatever her father tells her to, there’s more teeth to Miranda than one might expect if played in the right way.

I must admit when I first read this in college I did not get any colonial subtext at all – most of my classes were not dedicated to finding the political or social themes in Shakespeare’s work, merely focusing on the plot and language. But apparently there’s been a lot of discussion about how much Shakespeare was influenced by colonial trips England was taking to the Bermudas, so much so that some used to describe this as Shakespeare’s American play. I’m not sure I’d go that far, but certainly the conflict between Prospero and Caliban has been what many directors enjoy focusing on as the centuries have passed.

As times and mores change, the way we view the three main characters also develops. Caliban was a hulking, ape-like villain at times, but has also been portrayed as something of a noble savage – though one has to be careful not to make him too noble, given how he willingly admits to attempting to sexually assault Miranda shortly before the play began. Likewise, while it is tempting to keep to the symmetries of Shakespeare’s play by portraying Ariel as the light to Caliban’s dark, this does not necessarily make him any less of a servant – and many excellent productions have focused on Ariel’s truculence when dealing with Prospero, and his joy once freed.

As for Prospero himself, his character seems to have experienced a similar trajectory to Shakespeare’s, as so many scholars and readers saw Prospero’s magic and arts as Shakespeare’s discussion of his own writing. And, as the ‘bardolatry’ of the earlier centuries has given way to a more balanced look at Shakespeare’s life and works, so Prospero is not viewed with the rose-colored glasses anymore. He can be surprisingly petulant and stubborn, even in his final speech, and it’s possible to read his decision to leave behind his magic and return to the real world as a particularly bitter pill to swallow.

I’ve talked before about how I would stage a production of the play I’ve just read, but unlike Shrew and Merchant, I have less to say here. Certainly there would be a few more special effects needed than I’m normally used to in my Shakespeare – I’ve mostly performed the comedies – but that shouldn’t pose too much of an issue. Other than that, though, just reminding the actors that they need not necessarily lock themselves into one interpretation on their first reading, an to let their own view of the character come about during rehearsals and multiple readings. I hope that this would allow the ambiguities I prize so much in Shakespeare to shine through.

I feel I haven’t said as much as I normally do about this play but, slight controversies about Prospero and Caliban aside, there’s not as much controversy here as in the prior plays I’ve reviewed. This is the last truly great play Shakespeare ever wrote – Henry VIII and Two Noble Kinsmen are interesting yet flawed, I would say – and anyone who loves the theater or language should read it if they have not already. As for this Arden edition, it’s great to read if you want to hear about the backstory of the play and get into the nitty gritty of Shakespearean scholarship – I loved the discussion about whether a speech should be assigned to Miranda or Prospero – and reads smoothly. This edition also updates it to cover the last 10 years or so of Tempest discussion, including the recent Helen Mirren version.

It’s not *quite* a Best Of – the publisher is trying to give a historical overview of the titles the company put out, and thus you’ll see stuff here of lower quality that nevertheless gives a broader look than just a bunch of Archie love triangle stories – but it’s actually a very decent effort. The stories all have as many credits as they were able to locate, and a short paragraph either saying why they felt this story deserved to be in the book, why this ‘sort’ of story typifies Archie and his friends, or the occasional celebrity blurb. Each decade gets about 50 pages, ending with the Life With Archie years that we’re getting right now.

As for the stories I mentioned above, we see many of the other titles Archie put out over the years that weren’t Archie. Some are famous enough to stand on their own – it’s nice to see the first Sabrina comic here, as well as a couple of Josie and the Pussycats stories (though I’d like to have seen something from the early, pre-band Josie years). And then there’s things like Wilbur, Ginger, and That Wilkin Boy, all of which try unsuccessfully to duplicate Archie’s formula with writing and characters that simply aren’t as good. Still, it’s interesting to see them here (we even get a glimpse of the infamous Super Duck) as a sign that it wasn’t just recently that Archie would try lots of different ideas to see what stuck – they were *always* doing it.

As for the Archie stories themselves, they are solid and readable – this is more of the Best Of that the title led me to expect. In particular, every time you see Bob Bolling credited you are in for a real treat. He’s got 3 stories in here, two featuring his specialty – The ‘Little Archie’ Archie as a kid strips – and they’re all brilliant, with two of them dredging out memories in me from when I was a small boy reading digests myself. Seeing Little Archie drag Betty through Riverdale’s worst outgrowth in order to put off her obsession with him – only to have it backfire and end in one of the most heartwarming moments in the history of the series – is beautiful. Likewise, one of his stories with adult Archie shows Betty misunderstanding seeing Archie and Veronica after he was just on a date with her, and spiraling into a blue funk. Archie’s solution requires a major deus ex machina, but we don’t care, as it’s simply so sweet. There needs to be a Bolling collection asap.

We do get a few stories we’ve seen reprinted many times over the last two years – Archie’s debut, the first appearance of Veronica, that Reggie with the football game – but that’s simply as the archive has skewed heavily towards the 40s and debuts, and you can’t really leave them out. But there’s other fascinating stuff here – some Katy Keene and Archie pin-ups, a few Jughead Dipsy Doodles, and of course Archie in the early 1970s taking the time to explain his growing media empire to the reader. We also get a few reminders that it wasn’t just experiments with other characters or series that didn’t work out for Archie. Witness Jughead’s pin that makes him irresistible to women, or ‘The New Archies’ trying to split the difference between Archie and Little Archie, or even things like Alexandra from Josie having magical powers – which, naturally, she uses for evil.

The book ends with a few stories that are right up to date. We get a Life With Archie from the current series, the only comic in here longer than 6 pages (by design, the editors admit), as well as a very funny Reggie comic about an anthropomorphic personification of his ego – and you can imagine how big it is. Kevin Keller even gets mentioned as a new breakout character – although his sexuality is not mentioned, FYI. And lastly, we see they’re still trying new things – the very last strips are one-page gag comics featuring Jinx, a teenage version of the bratty L’il Jinx from decades earlier.

There’s things I wish we’d seen in here – I’d have liked a few of the more serious 70s-style political stories, and I’d have loved one of the old ‘Betty Cooper is insane’ stories that the web has highlighted. But really, you can’t do a best of for Archie in only 400 pages – there’s simply too much. What you can do is give a sampler and show that Archie has, for the past 70 years, been doing what it’s doing today – writing fun, likeable stories and then finding ways to market them in any way possible. And if that defines Archie as a business more than a character, that’s not to say that the character is weak. You’d never have lasted 70 years without people loving Archie and his friends, and this collection shows why everyone loves them. As a history, it’s fine, and I would not mind seeing a second volume in a similar vein.

You can leave out That Wilkin Boy next time, though.

Well, JManga is finally open, and there was no way that I wasn’t going to get a title or two to test out, even if the prices are currently ludicrous, and the flash reader content means you are essentially paying for the right to read rather than buying an actual manga. That said, my goal was to find titles that I would never otherwise see here. The two companies who debuted with the most unseen manga were Futabasha and Kadokawa Shoten. Sadly, Kadokawa was all hype but no delivery as of yet, with no previews or chapters. Futabasha (who are clearly one of the big powers behind this site) had real content, and not just stuff already out in the US. So I picked two titles, one seinen and one josei, and began to read.

I will note that this manga is listed under the ‘seinen’ tag on JManga, but I’m pretty sure this is incorrect: it runs in Futabasha’s ‘Women’s Comic Jour’, a mystery-themed magazine whose covers and content definitely look like josei. The author, Makiko, has been drawing it since 1998, and it’s still running, with 14 volumes.

The story takes place sometime in the Edo period of Japan. We meet a young woman, Oyou, who’s trying to drink sake in a local bar. Unfortunately, she’s got a reputation as creepy and terrifying, and the bar owners beg her to leave as she’s driving away their business. (They also beg her not to curse them.) On her way out, she runs into a young man – literally. She knows a pickpocket when she sees one, though, and grabs him before he can get away. Though Saji, the thief, finds her weird, he’s also attracted to her, and offers to take her back to his place for some sake – and maybe get lucky, he thinks.

However, this isn’t just a romance. It’s a supernatural mystery title, and the mood overall is that of unease. Young men have been found frozen to death in greater numbers than usual this winter, and there’s a very good reason for this. And when Saji’s old childhood friend winds up the latest victim, he’s determined to get to the bottom of things. Luckily for him, Oyou is the titular Urameshiya, a woman who can see and, to some extent, control ghosts, spirits and monsters. And while this has made her a hated loner and outcast in the village, it also makes her a powerful spiritual detective.

There’s only 3 chapters available in this volume, but don’t worry, they add up to a full 200 pages – each story is lengthy and goes into detail. I wouldn’t call the stories horror, necessarily. This is a supernatural mystery with tinges of romance. I was actually rather surprised at the latter, as I was expecting this to be more along the lines of a ghost of the week type of story, with Oyou and Saji mostly being sounding boards to figure out the mystery. But the mysteries aren’t very mysterious. What works best throughout the volume is the prickly relationship that develops between Oyou and Saji, two lonely people used to being shunned by society who can’t quite have a normal romance. Oyou in particular is quick to act uncaring and cool around Saji, despite her obvious growing feelings. The two become lovers almost immediately – another sure sign this is josei – but Saji is going to have to get used to his lover being from the ‘show, don’t tell’ school of affection.

The first story deals with a vengeful ‘snow woman’ type, but the second one gets a lot more explicit, and reminds me to warn folks that this is not a title for anyone under 18. It deals with a girl who has a ‘vagina dentata’, so to speak – or “a nice set of chompers”, as Oyou points out in one of the few actual funny bits in a mostly serious book. Oyou’s solution to the problem is also fairly explicit, but works quite well. Unfortunately, solving the girl’s own personality is a much harder task, and not one Oyou particularly wants to try. The third story introduces a new male into the mix, a bratty fox spirit who goes to great lengths to make Oyou his – even if it means killing Saji off. This is the longest story of the book, and probably also the best – there’s no mystery here, so the romance is allowed to develop more, and the ending is fantastic. Best of all, no cliffhanger ending here, which is good, as only Volume 1 is available at this time.

The art is fairly typical ‘pointy chin’ style, being neither exceptional nor distracting. Oyou is conveyed very well, giving the impression of a woman wise beyond her years, one who’s been hurt a few too many times. As for the translation, I’ve heard that others have found titles that are more unsuccessful in that regard, but this one was just fine – no obvious awkward spots, and despite being in the Edo period it did not attempt to use anything other than modern speech. It’s very serviceable.

Overall, this wasn’t completely amazing, but was pretty much exactly what I wanted from JManga anyway. A title I’d never even heard of before, in a genre that hasn’t generally knocked it out of the park over here (mystery romance for young women). And the result was quite satisfying, and left me wanting to get the next volume to see if Saji can get Oyou to open up to him any more – and also to see what sorts of yokai might show up next. Anyone wanting to get a good look at what Futabasha is offering for US readers would be advised to check this out, even if JManga is still clearly a work in progress.

This has been on my to-read list for some time. I found a copy at World’s Biggest Bookstore in Toronto this May and picked it up, mostly as it’s quite hard to find these days. I had both this title and Antique Bakery in the back of my head, as they had been the subject of a debate regarding the casual use of the word ‘yaoi’ in fandom to refer to anything with the suggestion of gay men in it, even titles that did not necessarily have any romance or sex in them. So I had a certain set of expectations about the content going in. I wasn’t too worried about the quality – this is a Yoshinaga manga, I knew it would be enjoyable.

after the first few pages, which deal with a new pretty boy transfer student running into his flamboyantly swishy teacher, I remained unsurprised. After all, this is a series that ran in Wings, a magazine that seems to specialize in the very debate I mentioned earlier. It rarely has explicit BL, but its shoujo fantasy content skirts the edges a lot. Wings is not a magazine for your typical hot-blooded heterosexual Love Hina reader. So I sat back and enjoyed the otherwise amusing slice-of-life school comedy. This is why the payoff of the teacher’s real gender was possibly my favorite moment of the series. I love a good fakeout, and Yoshinaga handles it perfectly.

The characters in the series are, in fact, the main reason to get it. This is a lot of fun. It doesn’t have much of an actual plot, to be sure. Essentially it’s about Harutaro, a young man returning to school after a long battle with leukemia, and his trying to fit in among a close-knit class of eccentrics. He seemingly does very well, but much of the series examines how people treat others when they know what’s expected of them, and Harutaro finds that everything doesn’t quite go as easily as it would in your typical shoujo manga.

Harutaro bonds immediately with the boy sitting next to him, Shota. Shota’s another example of Yoshinaga writing a seemingly ‘typical’ school comedy, but adding her own eccentricities. He’s not your typical pretty boy, being short and rather portly – several characters call him cute/adorable, and one of the chapters deals with the other classmates casually calling him fat, and how upset that gets Harutaro. If there’s any hitn of BL in the series, it would be here, and clearly it can be read as such, but doesn’t have to be – it’s the perfect Wings-style plausible deniability. These two read just as well if they’re merely a budding friendship.

And then there’s Majima, who was the character in the end I think I found the most fascinating. It’s entirely possible that in later volumes he will open up to someone and show a hidden, vulnerable side, but I hope not, because my god, he’s such an amazingly appalling asshole. And he’s so good at it! He hits all those buttons that would make anyone back away – he’s a giant otaku who unashamedly reads artbooks in the middle of class, and will talk your ear off about it with no thought to whether you care. He’s brusque and rude when you try to interject your own problems and issues. And he gets angry at slights, even when the intent is clearly to apologize to him. He’s a horrible person, and I love that the two leads try to deal with him ANYWAY. His presence enriches the book.

There’s a lot of discussion of manga here, and it gets fairly metatextual. Harutaro has a definite talent for art – he was holed up in his recovery room with only manga and drawing paper, so is mostly self-taught – and once the class finds out about it, they’re quick to ask him to create something for them. This is also a great scene in the book, as everyone asks for their own fetishes, and Harutaro is quick to reject any that offend his sensibilities (incest, intergenerational yaoi), while still showing he’s a pervy guy at heart (yuri is OK). Later volumes apparently take the drawing aspect of this further, which is good to hear.

Also, his parents are chicken sexers. Words can’t describe how awesome that is.

There’s a lot of Yoshinaga out there, ranging from the more explicit yaoi titles that DMP has released to the currently running alternate universe political drama Ooku. But if you’re new to Yoshinaga, and have access to a copy, the first volume of Flower of Life is a good place to start. It has fun characters, a relaxed pace, and lots of humor. It proved to be quite refreshing.