Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

Ash Brown

My Week in Manga: January 17-January 23, 2011

by

My News and Reviews

The Manga Moveable Feast for Karakuri Odette finished up yesterday. I was pleased to contribute not one, but two posts this time around (three if you count my quick take of the entire series). This probably won’t happen very often, but we’ll see what I can do. My first post was an in-depth review of the first volume of Karakuri Odette. This is the second in-depth manga review for January, so I’ve met my goal for another month, hooray! I also took a closer look at the androids of Karakuri Odette to see how they measured up to Isaac Asimov’s Three Laws of Robotics. It’s kind of silly, but I had fun with it.

Did you get a chance to see the live-action Gantz film last week? Or maybe you just heard about it? Or perhaps you have no idea what I’m talking about? Regardless, there’s been an increased interest in the manga series it was based on, so I’ll be giving away a brand new copy of Gantz, Volume 1 by Hiroya Oku. The contest will begin this coming Wednesday, January 26 and will run for a week.

Quick Takes

ES: Eternal Sabbath, Volumes 1-8 by Fuyumi Soryo. I originally read the first four volumes of Eternal Sabbath from the library, but I liked the series so well that I picked up an entire set for myself. Shuro’s development as a character was particularly interesting. Incredibly intelligent and mature for his age, he is inexperienced emotionally and has to come to grips with this. And he isn’t the only character to grow and change throughout the series. The story itself explores some tough moral questions. The ending was a bit abrupt and parts of it were a little disappointing–Soryo probably could have used a couple more volumes finish–but I still really enjoyed the series.

Gantz, Volumes 1-5 by Hiroya Oku. The artwork is gloriously graphic and slightly disconcerting, but I do like it. However, there is bit more fan-service and misogyny than is necessary, although some of it is appropriate to the story. Gantz is dark. Gantz is violent. Gantz is edgy. It’s hard to say where Oku is going to go with the series and what the aim is or if there is some deeper meaning, but so far the examination of the human psyche is very interesting. The willingness that some characters show to participate in a deadly “game” that they don’t even understand is fascinating. I’ll probably keep with the series for a bit longer; I’d really like to know what is going on and there’s a lot of potential.

Sand Chronicles, Volume 10 by Hinako Ashihara. This is the final volume of Sand Chronicles which remains one of my favorite shoujo series. The main story ended with the eighth volume; volume ten is a side story that takes place when the main characters are in their thirties. They still struggle to accept and deal with their pasts which is not at all an easy thing. The emotional authenticity of Sand Chronicles has been one of its highlights throughout the series and the final volume is no exception. It provides a very satisfying conclusion (and continuation) to the series. The focus this time is on Daigo and it’s nice to see a bit more of the story from his perspective.

Under Grand Hotel, Volumes 1-2 by Mika Sadahiro. Incredibly intense, Under Grand Hotel is fiercely passionate and violent. Turn to a random page and you’ll most likely end up in the middle of a sex scene, but I was okay with that. Taking place in an underground prison, the manga is certainly a fantasy but a completely developed one. Sword is the shot-caller at UGH and Sen becomes his cellmate and lover for protection. At first it’s simply a convenient arrangement, but it soon becomes more. It’s not really a romantic love that is fostered, but instead the two men become mutually dependent upon one another and their lives are intertwined to such an extent that they can’t break free.

Departures directed by Yōjirō Takita. Departures won an Oscar for Best Foreign Language Film in 2009, an honor that is well deserved, among many, many other awards. Daigo lands his dream job as a cellist just before the orchestra is dissolved. (As a fellow “failed” musician, I completely understand what he is going through.) He returns to his hometown and, mostly by chance or fate, becomes the assistant to an encoffiner. It’s a misunderstood a job that isn’t looked well upon, and so he tries to hide it from his wife and is unsure about pursuing it himself. Departures is a beautiful film that faces life and death head on without getting too heavy.

Gantz (World Premiere Live Event) directed by Shinsuke Sato. It was really unfortunate that they decided to screen this with an English dub rather than subtitles. Otherwise, the films seem to be a fairly decent adaptation of the manga so far and the visuals are great. The suits in particular are fantastic. However, for as much action and violence that is in the movie, the pacing seems to drag quite a bit. It also seems to be missing some of the intensity and edge present in the manga. I did enjoy Kenji Kawai’s score and the music was just the right mixture of creepy and driving. The actors did a fine job, particularly Kenichi Matsuyama, and I’m interested in seeing the second part of Gantz when it is released latter this year.

Announcing Experiments in Manga!

by

I’ve been thinking about this for a while now and have finally gotten around to doing it. Please allow me introduce you to my newest site, Experiments in Manga!–devoted to my encounters with manga, Japanese literature, and other topics that may or may not actually have anything to do with anything. Unlike my other site Experiments in Reading, which is strictly review-only, I anticipate Experiments in Manga being a more interactive, flexible, and informal way for me to connect with the online manga community.

Oh, there will still be reviews, not only of manga but of other books as well. In fact, I’ve already taken the liberty of populating Experiments in Manga with reviews originally posted at Experiments in Reading. This includes my embarrassingly atrocious and mostly useless “reviews” of Osamu Tezuka’s Adolf written before I even knew what the hell manga was. (I really need to revisit those books–they were my very first manga and deserve a better write-up. Plus, you know, it’s a great series.) I will continue to cross-post and modify relevant reviews from Experiments in Reading here.

Since I currently read far more manga than I formally review, I also plan on providing brief commentary on the manga that I’m reading in addition to the more in-depth reviews. There will be a weekly My Week in Manga feature which will include quick takes on manga, links to interesting things that I’ve found online, and general randomness. Additional recurring features are also in the works, such as Discovering Manga (focusing on where I learn about manga) and the closely related Finding Manga (focusing on, well, finding manga). I expect that there will be all sorts of different kinds of posts showing up here and I hope to participate in other manga related projects as well.

I do not claim to be an expert. There are far more knowledgeable and well-versed manga enthusiasts out there than me. So, I’ve made sure to include a page for resources which lists other sources of news and reviews, publisher websites, and retailers. It’s rather small at the moment, but I expect this page will continue to grow. Also, if you’d like to be added to the listings or something’s missing (or wrong), please just let me know!

I’m very excited to be launching Experiments in Manga and welcome any comments, feedback, and discussion. I look forward to interacting with the online manga community to a greater extent (though I am admittedly more of a lurker) and hope that others will find Experiments in Manga at least occasionally interesting. And if not, well, so it goes–at least I’ll have fun doing it.

All You Need Is Kill

by

Author: Hiroshi Sakurazaka
Translator: Alexander O. Smith
U.S. publisher: Viz Media
ISBN: 9781421527611
Released: July 2009
Original release: 2004

I really don’t remember exactly when and where I first heard about Hiroshi Sakurazaka’s All You Need Is Kill but after I did it seemed to keep popping up everywhere I looked. It was even picked up by Warner Brothers to make into a live-action film. All You Need Is Kill was originally published in Japan as a light novel in 2004. The English edition, translated by Alexander O. Smith, was one of the very first books to be released by Viz Media’s Haikasoru imprint in 2009. I haven’ read much military science fiction but All You Need Is Kill certainly is that, complete with alien intelligence and battle suits. What particularly caught my interest in the novel was that the main character, Keiji Kiriya, dies during his first battle only to wake up in his bunk thirty hours before over and over again.

The battle on Kotoiushi Island would be pivotal in humanity’s war with the Mimics. If lost, the rest of Japan would follow, along with the technology that made it possible to fight against the constantly evolving invading force. Keiji is a Jacket jockey in the United Defense Force’s 301st Armored Infantry Division which was sent to reinforce the island. He doesn’t even make it through his first battle. Or his second. Or his third. Somehow stuck in a time-loop he is forced to live and die in the same battle again and again. The only thing he can do is learn to fight a little better and hope to survive a little longer each time. Rita Vrataski, member of the U.S. Army Special Forces, has killed more Mimics than any other person in the world. Known as the Full Metal Bitch, not that anyone would call her that to her face, she is formidable, efficient, and scary as hell on the battlefield. She is also one of the last hopes remaining to end the war and may be the only person who can help Keiji escape his fate.

Although All You Need Is Kill is primarily entertainment and not overly serious, Sakurazaka still works in some environmental, technological, and social commentary. At least for me, the story also had a convincing emotional impact. Repeatedly living through the horrors of war, your own death, and the death of your friends and those around you changes a person and Sakurazaka captures this quite well. I like Keiji a lot and was most interested in his story, told in the first person. The third quarter of the book, written in the third person, focuses on Rita and the background of the war with the Mimics. While interesting and certainly important, especially in understanding Rita and her history, I still looked forward to getting back to Keiji. Which is not to say that I didn’t like Rita, because I did. I liked most of the secondary characters as well; Keiji’s bunk-mate and veteran Yonabaru in particular amused me as much as he tended to annoy others in his platoon. I also appreciated the fact that not everyone was assumed to be straight (although pretty much all of them were.)

The translation Smith has done for All You Need Is Kill is great–it’s straightforward with a good flow that hits hard and fast. There is also a nice use of repeated phrases to emphasize the time-loop that Keiji’s stuck in. The original light novel was illustrated by Yoshitoshi ABe and it’s a pity that none of his art was included in the Haikasoru edition beyond the cover–I really would have liked to have seen more of his work. I enjoyed All You Need Is Kill even more than I was expecting to and was impressed by how much action and story Sakurazaka was able to fit into such a relatively short work (it comes in at just under 200 pages.) I’m really looking forward to picking up his only other work currently available in English, also released through Haikasoru, Slum Online.

Hey, Sensei?

by

Creator: Yaya Sakuragi
U.S. publisher: Digital Manga
ISBN: 9781569700471
Released: April 2009
Original run: 2007

It is almost entirely the fault of Yaya Sakuragi’s Hey, Sensei? that I am now gladly suffering from an addiction to yaoi. Before Hey, Sensei?, I had never read yaoi. I had a basic understanding of the genre, but for whatever reason I had never tried it. (It actually really surprises me how long it took me to get around to reading any.) So, when I came across a review on Graphic Novel Reporter praising Hey, Sensei?, especially for not falling into some of the traps of the genre, I figured “Hey, why not? I gotta start somewhere.” I tracked down a copy with a little bit of difficulty and when it finally arrived I only allowed myself one chapter a day to make it last. Since then I’ve read plenty more yaoi and continue to do so but Hey, Sensei? remains one of my favorites—not just because it was my first yaoi manga, but because it is really quite good.

Hey, Sensei? actually contains two stories: the main story “Hey, Sensei?” which is four acts and an epilogue, and “Unbreakable Bones,” which is a one-shot. In “Hey, Sensei?”, high school math teacher Isa is taken aback when his ex-girlfriend’s younger brother, now one of his students, makes a pass at him during a review lesson. Isa can hardly take the situation seriously—what could Homura possibly see in a guy ten years older than him? The age difference will cause some difficulties, and they communicate terribly, but the two men have fallen hard for each other. In “Unbreakable Bones” two childhood friends are unexpectedly reunited after fourteen years. After growing apart, Yuji became a juvenile delinquent although he’s turned his life around and is now working in a ramen shop, while Manabu has become the small town’s local policeman. Yuji hates the idealized memories Manabu has of him, only to realize that he’s the one stuck in the past.

I really enjoy Sakuragi’s art style. Her men are distinctive and handsome and are unmistakably male. Her figures are elongated and angular, particularly noticeable in the hands and fingers and in the long, lanky legs when standing. These slightly odd proportions may bother some people, but I quite like the effect and love her character designs. Sakuragi also does a fantastic job with facial expressions, especially with the eyes; the characters don’t always come out and say what they’re feeling but it’s pretty apparent just by looking at them. She is also skilled in showing the same character at different ages and make the changes look natural while still being identifiable. One issue that I did have with the art was that the genitals were blurred out or erased. However, I’m not sure if this is the case in the original Japanese version or if the art has been censored for the United States which does happen. Either way, I found it distracting and feel that it calls more attention to itself that way.

While the stories in Hey, Sensei? may not be particularly original, Sakuragi makes up for it with the depth of her characters and their feelings for one another. Homura is immature, hot-tempered and brash but ultimately very sincere while Isa is inexperienced, sensitive and reserved but very capable of being stern when necessary; Yuji and Manabu’s relationship is also very sweet. The translation has an occasional awkward moment but overall is very good. In addition to Hey, Sensei? becoming a favorite, I have also become a huge fan of Yaya Sakuragi—I’ve also read and loved her Tea for Two series—and will pick up anything that she has worked on. However, Hey, Sensei? will always hold a special place for me. It’s one manga, yaoi or not, that I come back to again and again.