Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

Ash Brown

Blade of the Immortal, Volume 24: Massacre

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Creator: Hiroaki Samura
U.S. publisher: Dark Horse
ISBN: 9781595827517
Released: October 2011
Original release: 2008
Awards: Eisner Award, Japan Media Arts Award

Massacre is the twenty-fourth volume in the English-language release of Blade of the Immortal, Hiroaki Samura’s long-running manga series. Earlier on in the series’ release, Dark Horse divided the volumes by storyline rather than by number of chapters. Because of this, many of the individual volumes are slightly different in the English-language edition compared to the original Japanese release of Blade of the Immortal. Massacre, published by Dark Horse in 2011, collects the same chapters as the twenty-third volume of the Japanese edition of the series which was released in 2008. At this point, the manga has entered its final major story arc. The previous two volumes, Footsteps and Scarlet Swords, provided the necessary set up which allows Samura to really let loose in Massacre. As can be assumed from the title, it’s a rather bloody volume.

As agreed, the Ittō-ryū is leaving Edō after being banished from the city. However, the rogue sword school is still being chased by Habaki Kagimura and his Rokki-dan warriors as well as by Rin Asano and her bodyguard Manji. But what the pursuers don’t yet realize is that there are key members missing from the group of Ittō-ryū said to be making its way to the port in Hitachi: the sword school’s leader Anotsu Kagehisa and three of its elite fighters–Magatsu Taito, Ozuhan, and Baro Sukezane. The four highly skilled swordsmen have their own task to complete, a bold raid on Edō Castle through one of its most heavily guarded entrances. It’s a brash move that, if successful, will leave quite an impression in its wake, not to mention a high body count. The Ittō-ryū has already been identified as a threat, but they are prepared to show just how dangerous they can be.

Samura’s artwork in Blade of the Immortal has always been something that has particularly appealed to me about the series, but his kinetic style works especially well in Massacre. A large part of the volume is devoted to the daring attack on Edō Castle; the sequence is one of the most effectively choreographed and visually executed battles in Blade of the Immortal thus far. The Ittō-ryū is a group of swordsmen sharing the same ideals and martial philosophy more than it is a strictly enforced style. This can especially be seen in Massacre simply by watching how the Ittō-ryū’s elite fight. They all use different weapons and techniques and each has his own aura. Anotsu’s elegance, Magatsu’s cruder dynamism, Ozuhan’s speed and uninhibited wildness, and Baro’s strength and power are all readily apparent. They fight well as individuals, but also work well together as a team.

Although the focus of Massacre is on the raid of Edō Castle–a quickly paced, action packed, violent, and rather impressive escapade–several other important things happen in the volume as well. For the last few volumes of Blade of the Immortal Shira has been on the fringe of the story, but his prominence is quickly growing. He may have lost a limb or two over the course of Blade of the Immortal but his extreme sadistic streak and penchant for sexual violence remain. Shira is as terrifying as ever. Also making his return to the series was Ayame Burando, which I was surprised but happy to see. He and Manji even end up having a heart-to-heart about atonement and the meaning of evil. These are themes that play a major role in Blade of the Immortal, one of the reasons that I like the series so well. As always, I’m looking forward to reading the next volume, Snowfall at Dawn.

My Week in Manga: August 5-August 11, 2013

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My News and Reviews

The Boys’ Love Manga Moveable Feast came to an end last week. Khursten at Otaku Champloo did a fabulous job as the host and posted some great content. Sadly, it may be the last Manga Moveable Feast to be held, at least in the foreseeable future. I did have one last offering for August’s Feast before it ended: I announced the 801 Manga Giveaway Winner. The post also includes a wishlist of boys’ love manga. (And speaking of manga giveaway winners, the winner of the Umineko giveaway from a few months ago created a video of the unboxing of her prize.)

Last week I also posted two in-depth reviews. The first was for Suehiro Maruo’s The Strange Tale of Panorama Island. I have literally been waiting for this manga for years and am thrilled that it is finally available in English. Last Gasp has done a beautiful job with the release. The manga is an adaptation of Edogawa Rampo’s novella Strange Tale of Panorama Island which I reviewed earlier this year. The second review that I posted last week was for Isuna Hasekura’s light novel Spice & Wolf, Volume 8: Town of Strife I. Although I had previously enjoyed the series, with this volume Spice & Wolf has finally lost its charm for me.

I also updated the Resources page, adding a couple of sites. Last week I mentioned Deb Aoki’s new site Manga Comics Manga which is definitely worth checking out if you haven’t already. I also recently discovered Seth T. Hahne’s review site Good Ok Bad. I really like the site which includes reviews of manga in addition to other comics and graphic novels.

On to other interesting things found online! Nippon.com has the very interesting article Urasawa Naoki Talks with Top European Artists. The most recent Speakeasy podcast at Reverse Thieves is about American comics recommended for manga readers. Reverse Thieves also posted a review with Melissa Tanaka talking about her work translating Mobile Suit Gundam: The Origin. (I loved the first volume of the series and my review of the second should be coming soon.) If you’re interested in what Viz Media is up to these days, ICv2 has a two part interview with Leyla Aker and Kevin Hamric and Comic Book Resources has an interview with Ken Sasaki.

Also last week was Otakon. Sean Gaffney at A Case Suitable for Treatment takes a quick look at some of the recent manga announcements. Vertical has licensed Fumi Yoshinaga’s What Did You Eat Yesterday? which I am extremely excited about. Viz Media is bringing Naoki Urasawa’s Monster back into print in a deluxe omnibus edition. I already own the series and probably won’t be double-dipping, but I’m very happy to see this re-release. Finally, Seven Seas will be publishing Milk Morinaga’s most recent yuri series Gakuen Police. I really enjoyed Morinaga’s Girl Friends and Kisses, Sighs, and Cherry Blossoms Pink, so I plan on picking up Gakuen Police, too.

Quick Takes

Animal Land, Volumes 1-4 by Makoto Raiku. I’m not sure why I was so reluctant to read Animal Land but after repeated urging from a few fans of the series I decided to finally give it a try. And I’m very glad that I did. It took me a volume or so to really settle into the story, but I definitely want to read more. Taroza is a human who was abandoned as a baby only to be rescued and raised by a young female tanuki in a world of animals. The art in Animal Land is kind of strange, mixing realism, anthropomorphism, and just plain goofiness even within the same species. Despite its cuteness, the story in Animal Land can be very dark. It’s also not particularly subtle, but it is engaging. Animal Land surprised me; so far it’s a great series.

Ichiro by Ryan Inzana. Ichiro is a young man living with his Japanese mother in New York City after his American father dies. When her work takes them both to Japan, Ichiro has the chance to get to know his grandfather who he’s never met and learn more about the country’s history and culture. One night he unexpectedly stumbles into an even stranger world. I did find the sections dealing with Ichiro’s real life to be much more compelling than his adventures in the land of the gods and immortals. However, I really liked the blend of story, mythology, and reality in Ichiro and I loved the artwork. Inzana smoothly shifts his style of art and use of color throughout the graphic novel depending on the tale being told in a very effective way.

Limit, Volumes 5-6 by Keiko Suenobu. Limit has been very hit-or-miss for me. Overall, I did like it, but I had a few problems with the story. There weren’t plot holes per se, but significant suspension of disbelief is required. (I’m still trying to figure out how Usui’s bandage ended up on the ground and why no one seemed to hear the helicopters.) But the series had some truly great moments and intense, dramatic group dynamics. The fear that the characters deal with as they struggle to survive is almost palpable. I liked most of the fifth volume which revealed some great plot twists, but found the final volume to be rather unsatisfying. Everything is tied up too neatly and nicely and there’s a fair amount of moralizing.

Triton of the Sea, Omnibus 1 (equivalent to Volumes 1-2) by Osamu Tezuka. I was delighted when Triton of the Sea was licensed as part of one of Digital Manga’s Kickstarter projects. Although I don’t have a particular affinity for merfolk, I have always enjoyed stories involving oceans and other bodies of water. Triton is a merman, one of the last of his kind when his clan is wiped out by Poseidon, the king of the sea. Unaware of his true nature, Triton is adopted by a human family. As he grows older he is drawn into a fight against Poseidon. Triton of the Sea isn’t as strong or as innovative as some of Tezuka’s other manga, but it’s still a solid adventure story. I particularly enjoyed Triton’s relationship with his family and his interactions with humans.

Spice & Wolf, Volume 8: Town of Strife I

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Author: Isuna Hasekura
Illustrator: Jyuu Ayakura
Translator: Paul Starr
U.S. publisher: Yen Press
ISBN: 9780316245463
Released: April 2013
Original release: 2008

Town of Strife I is the eighth volume in Isuna Hasekura’s light novel series Spice & Wolf, illustrated by Jyuu Ayakura. The previous volume, Side Colors, was actually a collection of three side stories; Town of Strife I picks up the story immediately following Spice & Wolf, Volume 6. As indicated by its title, Town of Strife I is the first part of a two-volume story, a first for Spice & Wolf. Town of Strife I was originally published in Japan in 2008. Paul Starr’s English translation of the novel was released by Yen Press in 2013. Spice & Wolf is a series that I have been enjoying much more than I thought I would. Although I wasn’t particularly taken with most of Side Colors, I was interested in getting back to the main story again with Town of Strife I.

Having had quite the adventure on the Roam River, Kraft Lawrence, a traveling merchant, and Holo the Wisewolf, a centuries-old spirit in the form of a young woman, have finally made their way to the port town of Kerube with a new companion in in tow–Col, a young student they encountered along the river. Together the three of them are following a curious rumor: a search is on for the bones of a northern town’s guardian deity. Many people think the story is some far fetched fairytale, but Lawrence, Holo, and Col know very well that there could be some truth behind the rumors. Upon their arrival at Kerube Lawrence seeks the aid of Eve, a former noblewoman and a skilled merchant in her own right. He’s been burned once before in his dealings with her, but Eve’s impressive network of connections may be their best chance of finding the bones.

One of the things that I have always enjoyed about Spice & Wolf is the relationship and developing romance between Lawrence and Holo. By this point in the series, Lawrence has lost some of his awkwardness when it comes to Holo. While I suppose this means he’s grown as a character, I do miss the more easily embarrassed Lawrence. With the addition of Col to the mix, the dynamics of Holo and Lawrence’s relationship has also changed. Their battles of wits and their good-natured bickering and teasing which once seemed so natural now feel forced as if the two of them are putting on some sort of performance for the boy. More often than not, Holo and Lawrence are verbally sparring for show in Town of Strife I and it’s not nearly as entertaining. Ultimately I do like Col (everyone in Spice & Wolf likes Col), but his presence in the story is somewhat distracting.

Not much happens in Town of Strife I; it mostly seems to be setting up for the second volume in the story arc. Hasekura promises that Lawrence will get to be “really cool” in the next volume and Town of Strife I does end on a great cliffhanger, but I’m not sure that I’m actually interested in finding out what happens. Unfortunately, the series has finally lost its charm for me. The characters know one another so well and their conversations are so cryptic that the story is difficult to follow. The narrative lacks sufficient detail and explanations leaving readers to puzzle out the characters’ motivations and actions. This has always been the case with Spice & Wolf but what makes it particularly frustrating in Town of Strife I is that the volume doesn’t even have a satisfying ending and doesn’t stand well on its own. Hasekura claims that he needed two volumes to tell this particular story, but considering how tedious much of Town of Strife I is, I’m not convinced.

The Strange Tale of Panorama Island

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Creator: Suehiro Maruo
Original story: Edogawa Rampo
U.S. publisher: Last Gasp
ISBN: 9780867197778
Released: July 2013
Original release: 2008

I have been looking forward to Suehiro Maruo’s The Strange Tale of Panorama Island with great anticipation ever since the license was announced by Last Gasp in 2009. After years of delay, the manga was finally released in English in 2013 as a gorgeous, large-format hardcover. Maruo’s The Strange Tale of Panorama Island was originally released in Japan in 2008. The manga is an adaptation of the renowned author Edogawa Rampo’s novella Strange Tale of Panorama Island which was initially serialized between 1926 and 1927. (Coincidentally, the novella was also released in English for the first time in 2013.) After reading Edogawa’s Strange Tale of Panorama Island, I couldn’t think of a more perfect artist to adapt his work than Maruo. I didn’t think it was possible, but I was somehow even more excited for the release of Maruo’s The Strange Tale of Panorama Island after reading the original.

As the Taishō Era draws to a close, failed novelist Hirosuke Hitomi finds himself behind in his rent and the prospect of his work being published slim. His latest novel, The Tale of RA, is a utopian fantasy which allows him to dream about what he would do if he had limitless riches. His editor encourages him to write about something closer to his real life instead. Months later Hitomi is confronted with an almost impossible opportunity that could be straight out of his novel. His former classmate Genzaburō Komoda, to whom he bears an uncanny resemblance, has unexpectedly died, leaving behind an immense fortune. Devising an outlandish scheme to take Komoda’s place and take control of his wealth, Hitomi plans on devoting all of it to the creation of a hedonistic paradise, Panorama Island. The plan proceeds surprisingly well, but there is still one person who could reveal Hitomi as a fake–Komoda’s wife.

I have been an admirer of Maruo’s work ever since I first discovered it. At this point, only two other volumes of Maruo’s manga have been published in English: Mr. Arashi’s Amazing Freak Show and Ultra-Gash Inferno. As I have come to expect, Maruo’s illustrations in The Strange Tale of Panorama Island are exquisite. With its sensuality, eroticism, and shades of the macabre and grotesque, Maruo’s artwork is ideally suited to Rampo’s story. Even in all of its beauty, The Strange Tale of Panorama Island has an ominous and vaguely disconcerting atmosphere that is extraordinarily effective in setting the mood of the work. Hitomi’s paranoia and madness is captured in ink for all to see. And then there’s the island itself–Maruo’s portrayal is breathtaking with stunning reveals, careful attention to detail, and beautiful design and perspective work. The art in The Strange Tale of Panorama Island is simply marvelous.

Maruo’s The Strange Tale of Panorama Island is a superb adaptation and a spectacular work in its own right. The manga is not at all a slavishly executed interpretation. While staying true to Rampo’s original, Maruo allows himself to put his own touches and flourishes on the story. The ending is admittedly abrupt and somewhat disorienting (this was true of the novella as well), but what comes before more than makes up for this weakness. In part, Maruo’s The Strange Tale of Panorama Island is about the end of one era and the beginning of the next, the start of a new life after the old has been discarded. Hitomi begins as a penniless author only to become intoxicated with his own ideas as he slips into a life of debauchery and excess. Maruo’s vision of his descent is both captivating and unsettling, alluring and abhorrent. In the end, I am absolutely thrilled that The Strange Tale of Panorama Island is finally available in English.

Manga Giveaway: 801 Manga Giveaway Winner

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And the winner of the 801 Manga Giveaway is…Linda Liu!

As the winner, Linda will be receiving a new copy of Shiuko Kano’s boys’ love collection Affair as published by 801 Media. This giveaway was a part of the Boys’ Love Manga Moveable Feast and so I asked entrants to tell me about a boys’ love or yaoi mangaka that they would like to read more of in English. (See the 801 Manga giveaway comments for all of the responses and juicy details.) I’ve compiled the list of creators who were mentioned along with any of their manga that I know of that have been licensed in English. (Or, in the case of CLAMP, a small selection of their available manga.) A great way to encourage publishers to release more of mangaka’s work in English is to make that sure their current offerings do well!

First, those creators who have yet to be licensed in English:

Nojiko Hayakawa
Junko
Akira Kamuro
Neko Kanda
Yonezou Nekota
Hiroi Takao

And now, those creators currently available in English:

CLAMP (a small selection)
Cardcaptor Sakura
Clover
Legal Drug
Tokyo Babylon
Wish
X

Lily Hoshino
Alone in My King’s Harem
Chocolate Surprise
Love Quest
Mr. Flower Bride
Mr. Flower Groom
My Only King

Saika Kunieda
Future Lovers

Asumiko Nakamura
Utsubora: The Story of a Novelist
(not boys’ love, but still very good!)

Muku Ogura
Castle Mango
Secrecy of the Shivering Night
Sentimental Garden Lover

Kaim Tachibana
Boys Love
Pieces of a Spiral

Kotetsuko Yamamoto
Blooming Darling
Doki Doki Crush
Love and Trap 
Mad Cinderella
New Beginnings
Tweeting Love Birds

Thank you to everyone who visited Experiments in Manga and entered the giveaway! I hope to see you all again for the next one, too.

Bookshelf Overload: July 2013

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I had some great luck in finding out of print manga in July: my collection of the ultimate edition of the Battle Royale manga is finally complete; I’m now only missing one print volume of Shotaro Ishinomori’s Cyborg 009; and I came across an entire set of Kyoko Ariyoshi’s Swan (or at least the volumes that were released in English.) More importantly, I managed to get them all below cover price, which is saying something. Other July manga acquisitions included a near-complete collection of Ai Yazawa’s Nana for an incredible price. I had been borrowing Nana from my local library; I’ve been debating picking up a copy of my own because it’s so good. I couldn’t pass up the opportunity and finally caved. But the manga I was most excited about in July was Suehiro Maruo’s The Strange Tale of Panorama Island. I have literally been waiting for this release for years. Expect a review soon!

Manga!
Animal Land, Volumes 1-4 by Makoto Raiku
Battle Royale: Ultimate Edition, Volumes 5 written by Koushun Takami, illustrated by Masayuki Taguchi
Black Jack, Volume 7 by Osamu Tezuka
Cyborg 009, Volume 8 and 10 by Shotaro Ishinomori
The Flowers of Evil, Volume 6 by Shuzo Oshimi
The Gorgeous Life of Strawberry Chan by Ai Morinaga
Hide and Seek, Volume 1 by Yaya Sakuragi
The Last of the Mochicans by Shigeru Sugiura
Limit, Volume 6 by Keiko Suenobu
Loveless, Omnibus 4 by Yun Kouga
Math Girls Manga, Volume 1 written by Hiroshi Yuki, illustrated by Mika Hisaka
Nana, Volumes 1-20 by Ai Yazawa
Ral Ω Grad, Volumes 1-4 written by Tsuneo Takano, illustrated by Takeshi Obata
Sengoku Basara: Samurai Legends, Volume 1 by Yak Haibara
The Strange Tale of Panorama Island by Suehiro Maruo
The Super-Cool Life of Strawberry Chan by Ai Morinaga
Swan, Volumes 1-15 by Kyoko Ariyoshi
Triton of the Sea, Omnibus 1 by Osamu Tezuaka
The Twin Knights by Osamu Tezuka
Velveteen & Mandala by Jiro Matsumoto
Wolfsmund, Volume 1 by Mitsuhisa Kuji

Manhwa!
Aron’s Absurd Armada, Omnibus 2 by MiSun Kim

Comics!
Demeter by Becky Cloonan
Every/Body: An Open Discussion of Gender and Body by Various
Meat Cake by Dame Darcey
NNN by Dan Kim
Samurai: A Digital Tribute to Men by Various

Light Novels!
Orochi no Kishi written by Itoshi, illustrated by Lehanan Aida

 Novels!
The Crimson Labyrinth by Yusuke Kishi
The Goddess Chronicle by Natsuo Kirino
Kafka on the Shore by Haruki Murakami

Anthologies!
The Edogawa Rampo Reader by Edogawa Rampo
Japanese Tales of Mystery and Imagination by Edogawa Rampo

Anime!
Fullmetal Alchemist: Brotherhood directed by Yasuhiro Irie
The Garden of Words directed by Makoto Shinkai
X: The Movie directed by Rintaro

Music!
Kodo vs. Yosuke Yamashita in Live

Manga Giveaway: 801 Manga Giveaway (Affair)

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Not only is it the last Wednesday of the month–meaning it’s time for another manga giveaway here at Experiments in Manga–it’s also the last day of the month. Tomorrow begins the Boys’ Love Manga Moveable Feast, also known as the 801 MMF. Keeping with the theme of the Feast, I decided to coordinate this month’s giveaway by offering you all a chance to win Shiuko Kano’s boys’ love collection Affair from Digital Manga’s imprint 801 Media. Now, this is a mature title so entries are restricted to those who are eighteen and older. The giveaway is open worldwide, but if boys’ love or yaoi is illegal in your country, please refrain from entering. (Sorry!)

My introduction to Shiuko Kano’s work was through Affair, one of the earliest to be released by 801 Media and Kano’s second manga to be released in English. Since then she’s had a pretty good run of it. Her boys’ love manga has been published in print by 801 Media, Be Beautiful, Deux Press, Juné, and SuBLime. It’s quite impressive, really. Seeing how much of and how frequently her work has been licensed, I think it would probably be safe to assume that Kano has a fairly strong following.

So, you may be wondering, how can you win a copy of Affair?

1) In the comments below, name at least one boys’ love or yaoi mangaka whose manga you would like to see more of in English and tell me why you enjoy their work.
2) If you’re on Twitter, you can earn a bonus entry by tweeting about the contest. Make sure to include a link to this post and @PhoenixTerran (that’s me).

Pretty simple, no? For this giveaway, each person who participates can earn up to two entries. As usual, you have one week to submit your comments. If you have trouble leaving comments, or if you would prefer, you can e-mail me your entry at phoenixterran(at)gmail(dot)com. The winner will be randomly selected and announced on August 7, 2013. Good luck to you all and enjoy the 801 MMF!

VERY IMPORTANT: Include some way that I can contact you. This can be an e-mail address, link to your website, Twitter username, or whatever. If I can’t figure out how to get a hold of you and you win, I’ll just draw another name.

Contest winner announced–Manga Giveaway: 801 Manga Giveaway Winner

My Week in Manga: July 15-July 21, 2013

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My News and Reviews

Last week I posted two in-depth manga reviews here at Experiments in Manga. The first review was for Hiroaki Samura’s Blade of the Immortal, Volume 23: Scarlet Swords. Now that Manji has made his escape from the dungeons under Edō Castle the series has started to focus a bit more on the Ittō-ryū once again, which I’m happy to see. My second review last week was my contribution to the Yun Kouga Manga Moveable Feast. I took a closer look at Viz Media’s new release of Kouga’s Loveless. I had previously read Loveless when Tokyopop published the first eight volumes years ago, but Viz’s first omnibus quickly reminded me why I find the manga so peculiarly compelling.

Last week was also the San Diego Comic-Con. Seeing as it’s clear across the country from me and it’s unlikely that I’d ever be able to handle such a huge event, I wasn’t in attendance. However, I did pay attention to some of the news and announcements coming out of SDCC. I was most interested in Haikasoru’s plans for a graphic novel adaptation of All You Need Is Kill (I reviewed the original a few years ago), a new translation of Battle Royale (I reviewed the previous translation a few years ago, too), and a collection of essays on Battle Royale. In other news: Viz is relaunching the Viz Kids imprint as Perfect Square; Kodansha is adding more shoujo titles to its catalog, including some Del Rey license rescues; and Naoki Urasawa’s 20th Century Boys won its second Eisner Award this year.

Oh! And the next Manga Moveable Feast will soon be upon us! Khursten of Otaku Champloo is hosting August’s Feast early in the month in order to coincide 8/01 (a.k.a. “yaoi day.”) Khursten’s calling it a fujojo fiyaysta and the Feast will be focusing on boys’ love and yaoi. So, join us from August 1 to August 10 for a good time, giveaways, and more!

Quick Takes

Honeydew Syndrome, Volumes 1-2 by New Shoe. I thoroughly enjoyed Honeydew Syndrome, particularly it’s quirky and true-to-life characters. Initially released as a webcomic, the boys’ love series was later collected in print in two volumes with additional bonus content. The first volume focuses on the somewhat awkward relationship between Metis and Josh which only gets its start after Josh hauls out and punches Metis in the face. The second volume partly overlaps with the first–some of the same events are seen from different perspectives–and focuses on their friends. Honeydew Syndrome doesn’t really have a driving plot; instead, it’s much more about relationships (and not just the romantic ones.)

Saiyuki Reload, Volumes 1-3 by Kazuya Minekura. Though the manga changed names, magazines, and demographics, Saiyuki Reload is a direct followup to Minekura’s Saiyuki. While I enjoyed the slightly ridiculous Saiyuki, for some reason Saiyuki Reload doesn’t seem to be clicking as well with me. Despite a few flashbacks delving into Sanzo’s past, these early volumes just don’t feel like they’re going anywhere with either the story or the characters. It’s as if Sanzo and his crew are simply playing their previously established roles; the character development seems to be missing. However, the artwork in Saiyuki Reload is more polished than that in Saiyuki. (It is a more recent series after all.) The action sequences tend to be clearer and easier to follow, too.

Sayonara, Zetsubou-Sensei: The Power of Negative Thinking, Volumes 9-10 by Koji Kumeta. Sayonara, Zetsubou-Sensei was originally released in English by Del Rey, but it is one of the series that Kodansha now continues to publish. It’s a slow seller–there hasn’t been a volume released in over a year–but I can understand why. The series tends to be episodic, has a very specific sense of humor, and the sheer number of cultural references it uses makes the series challenging to translate and adapt. Despite the fact that I often find Sayonara, Zetsubou-Sensei to be hilarious in a darkly absurd way, I can only read a volume or two at a time without it feeling like a chore. But I do like the series and am glad that it’s available.

Here Is Greenwood directed by Tomomi Mochizuki. Based on the shoujo manga series by Yukie Nasu, Here Is Greenwood is a six-episode OVA. Although it is a mix of strict adaptation, new material, and slight re-imaginings of the stories in the original, the anime stays very true to the tone of the manga. I read and enjoyed Here Is Greenwood and I enjoyed the anime as well, but I don’t think that it will hold much appeal to those who aren’t already familiar with the characters. Here Is Greenwood is fairly episodic but the stories all revolve around the perpetually stressed-out high school student Kazuya Hasukawa, his oddball dorm and class mates, and the often absurd situations they find themselves in. The series is quirky and funny and made me laugh on several occasions.

My Week in Manga: July 8-July 14, 2013

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My News and Reviews

Last week I posted two reviews. The first was for The Vast Spread of the Seas, the third novel in Fuyumi Ono’s fantasy series The Twelve Kingdoms. I’ve really been enjoying reading The Twelve Kingdoms and this volume was no exception. I also reviewed Jen Lee Quick’s Off*Beat, Volume 1. Originally published by Tokyopop, the recently established Chromatic Press has rescued the series and I couldn’t be happier. The new Chromatic editions also include some additional bonus content as well.

Elsewhere online: Xavier Guilbert has published his interview with Taiyo Matsumoto from the 2013 Toronto Comic Arts Festival. The most recent episode of the Comic Books Are Burning In Hell podcast focuses on Suehiro Maruo. Kodansha Comics is offering two digital samplers containing the complete first chapters of many of its series. The Real sampler collects chapters from Kodansha’s “real-life” manga: Arisa, Bloody Monday, Danza, Genshiken, Genshiken: Second Season, I Am Here, Kitchen Princess, Missions of Love, and Vinland Saga. The Unreal sampler includes chapters from Kodansha’s fantasy, science fiction, and supernatural series: @ Full Moon, Attack on Titan, Cage of Eden, Fairy Tail, Mardock Scramble, Ninja Girls, No. 6, Sankarea: Undying Love, and Until the Full Moon.

Finally, this week is the Yun Kouga Manga Moveable Feast! MJ of Manga Bookshelf is hosting this round and has already posted a marvelous introduction. For my contribution to the Feast I’ll be reviewing the first Loveless omnibus later this week. Loveless was originally published in English by Tokyopop, but Viz Media rescued the license last year (which made me very happy.) Although I enjoy Loveless, I haven’t actually read any of Kouga’s other manga. I look forward to seeing what everyone else has to say about her work.

Quick Takes

Dog X Cat, Volume 1Dog X Cat, Volumes 1-3 by Yoshimi Amasaki. Junya and Atsu have been friends since they were young. They’re in college now and their friendship becomes a little more complicated when Junya lets it slip that he’s actually in love with Atsu. Dog X Cat might not have the most original plot–I’ve seen the friends becoming lovers storyline many a time–but the two young men have a charming relationship with each other and a lot of sex. (Dog X Cat is part of Digital Manga’s more explicit 801 imprint, after all.) Some chapters are told from Junya’s perspective while others are from Atsu’s. It’s nice to see both sides of their story. Dog X Cat is an ongoing series; the fourth volume is scheduled to be released in English in 2014.

Mardock Scramble, Volume 5Mardock Scramble, Volumes 5-7 by Yoshitoki Oima. I’ve read Tow Ubukata’s original Mardock Scramble, but somehow managed to forget how pivotal child and sexual abuse was to the plot. The manga handles it fairly well and hasn’t turned it into something titillating. One thing that I didn’t forget from the novels was the lengthy casino scene. In particular, nearly two hundred pages worth of Blackjack which sorely tried my patience. Although some of the finer details and plot complications are glossed over in Oima’s adaptation, I much preferred reading the two volumes of manga covering the same material. This left one volume for Oima to bring everything to a quickly paced, action-packed close. For the most part, Oima’s interpretation of Mardock Scramble largely succeeds.

No. 5, Volume 1No. 5, Volumes 1-2 by Taiyo Matsumoto. Only two volumes of No. 5 were ever released in English in print. However, the entire series is now available digitally (on a platform I can’t use). I’ve come to love Matsumoto’s work in general and I particularly enjoy No. 5. The story follows Number Five, a member of the Rainbow Council of the International Peackeeping Forces, a small group of people with superhuman abilities. He’s fallen in love and gone rogue and now his teammates must hunt him down. While Number One and the rest of the Rainbow Council try to maintain control of the situation, there are others who are making the argument that the group is obviously dangerous and should no longer exist.

Black Lagoon, Episodes 13-24 directed by Sunao Katabuchi. Although I still enjoyed the second half of Black Lagoon anime, for some reason that I can’t identify I didn’t like it quite as much as the first. The anime follows the manga fairly closely, but takes a few of its own liberties while keeping the same tone as the original. I do think that I still prefer the manga slightly more than the anime, but the anime is entertaining as well. Additionally, the action is a little clearer and easier to follow in the anime. And I continue to be impressed by the sound design. The Black Lagoon anime tends to be violent and bloody and even the protagonists aren’t really “good guys.” They can be just as vicious as the other people they come up against.

Twinkle Twinkle

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Author: Kaori Ekuni
Translator: Emi Shimokawa
U.S. publisher: Vertical
ISBN: 9781932234015
Released: May 2003
Original release: 1991
Awards: Murasaki Shikibu Literary Prize

Kaori Ekuni’s novel Twinkle Twinkle was the first of her works to be translated into English. Ekuni is both a bestseller and a literary award winner in Japan. Initially she wrote poetry and children’s stories before beginning to write for a more general audience. Twinkle Twinkle, originally published in Japan in 1991, was her debut novel and earned Ekuni the Murasaki Shikibu Literary Prize in 1992. Also in 1992, Twinkle Twinkle was adapted into a film directed by Joji Matsuoka. The novel was translated into English by Emi Shimokawa and published by Vertical in 2003. (Twinkle Twinkle was actually the first book ever to be released by Vertical.) Despite being a well-known and admired author in Japan, before reading Twinkle Twinkle I was unfamiliar with Ekuni and her work. After reading Twinkle Twinkle I sincerely hope that more of her writing is translated. Currently the only other novel by Ekuni available in English is God’s Boat.

Shoko and Mutsuki married four months after they first met, much to the delight of their respective parents who feared that their progeny would never find someone to spend the rest of their lives (and hopefully have children) with. Although Shoko and Mutsuki are pleased with their arrangement, each is hiding a secret from their new in-laws. Shoko is an alcoholic and emotionally unstable while Mutsuki is gay and continues to see his long-term boyfriend Kon. Shoko and Mutsuki care for each other, but their marriage is one of convenience more than anything else. They are each free to live their lives how they choose while at the same time are able to keep up appearances for their families. It seems like a perfect marriage as long as they can prevent their parents from discovering the farce. But during their first year together things begin to unravel. Neither Shoko or Mutsuki quite realize what all of the consequences of their marriage might actually be.

Each chapter of Twinkle Twinkle alternates between Shoko and Mutsuki’s individual perspectives. It’s a great technique that lets readers see both sides of their relationship and how they view each other. It also allows a glimpse into the newlyweds’ internal states of being. Throughout the novel it is clear that both Shoko and Mutsuki deeply care about the other. They’re not exactly romantically involved and they may not be having sex together, but they both want the other to be happy and work to make that happen. It’s not always easy, though. Both of them have habits that either baffle or annoy the other and they’re not always sure what to do about it. As Twinkle Twinkle and the first year of their marriage progresses Shoko becomes increasingly unstable—anxious that she isn’t able to adequately fulfill her role. As for Mutsuki, as wonderful as he can be, he’s unable to ease Shoko’s fears; his kindness often makes matters worse.

Twinkle Twinkle is a very peculiar love story between two incredibly imperfect people. But it’s Shoko and Mutsuki’s faults and flaws that make the novel as effective as it is. No marriage is perfect and even a fake one takes a tremendous amount of effort to maintain. To make matters even more complicated there’s Kon, who at times is on better terms with Shoko than he is with Mutsuki. Kon is extremely important to both of them as well as to the story itself. Together Kon, Shoko, and Mutsuki form an intense triangle with relationship dynamics crucial to their development as people and to the development of the novel. Twinkle Twinkle is fairly light in its tone and is immensely readable, but Ekuni still manages to pack several hard-hitting punches into the narrative. Personally, I loved Twinkle Twinkle. It’s one of the best novels that I’ve read recently and I can easily see myself reading it again.

No. 6, Volume 1

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Creator: Hinoki Kino
Original story: Atsuko Asano
U.S. publisher: Kodansha
ISBN: 9781612623559
Released: June 2013
Original release: 2011

Hinoki Kino’s manga adaptation of No. 6 is the second adaptation of Atsuko Asano’s nine-volume series of science fiction novels to be released in English. The first, and my introduction to No. 6, was the 2011 anime adaptation directed by Kenji Nagasaki. While I largely enjoyed the anime, the rushed and fumbled ending left me disappointed. The first volume of the No. 6 manga was originally published in Japan in 2011, a few months before the anime began airing. Kodansha’s English-language edition of No. 6, Volume 1 was released in 2013. It’s highly unlikely that Asano’s original novels (which are really what I would like to read) will ever be licensed in English, and so I was intrigued when Kodansha announced that Kino’s manga adaptation would be published. Since the series is still currently being serialized in Japan, I’m hoping that the story will have a properly executed ending this time around.

On the surface, the city of No. 6 appears to be an ideal, utopic society. The crime rate is negligible. Medical and technological advancements offer its citizens unprecedented comfort and care. Shion is among the elite of the elite. Identified at a young age as a prodigy with a particular affinity for medicine and ecology, he and his mother have their every need provided for by the city. But when Shion saves the life of a young fugitive named Rat, helping him to escape, Shion is stripped of his status and special privileges. He has seen a brief glimpse of the darker side of No. 6. Four years later he’ll see even more when he stumbles upon a pair of bizarre deaths and he becomes the perfect scapegoat for the supposed murders. With his own life now in danger, Shion has a decision to make: flee No. 6 and the only life he knows or remain in a city that no longer considers him human.

The first volume of No. 6 does a nice job of establishing the series’ two main protagonists: Shion and Rat. Although the two young men share an important connection with each other, they come from very different backgrounds and have very different personalities. Shion is intelligent but sheltered and there’s a certain innocence about him. He comes across as a bit naive and socially awkward, but he is intensely curious and searches for the significance behind things. Even though most of Rat’s past hasnt’ been revealed, it is quite clear by the end of the first volume of No. 6 that he has had a much rougher time of it. He is quick-witted but world-weary and cynical. The underlying meaning of a situation isnt’ nearly as important to him as is the immediate reality. It’s simply a matter of survival. In part because they are so different, Rat and Shion find themselves drawn to each other.

After only one volume, No. 6 has yet to really distinguish itself from other dystopian fiction. It’s a fairly standard set up with a seemingly perfect society that’s not quite everything it appears to be. The manga itself often feels very rushed in places and lacking in details in others. There were a few scenes that had I not previously seen the anime would have left me momentarily confused. In the afterword Kino admits to having had to cut much more from the manga than was ideal in order not to surpass page limits. Even so, No. 6, Volume 1 provides the needed introduction to the story and outlines the world in which it takes place. I hope that now that the stage has been set that the manga will have room to breath and slow down a little. It is a different version of the story than was seen in the anime; I’m looking forward to seeing where Kino takes it.

Random Musings: Toronto Comic Arts Festival 2013

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© Taiyo Matsumoto

I first learned about the Toronto Comic Arts Festival (TCAF) in 2011 when Usamaru Furuya and Natsume Ono were invited to the event as featured guests. (As a side note: translations of their diary manga from the trip are included in the 2013 TCAF program guide.) It took me two years to finally work up the courage to attend TCAF myself and get my passport in order. 2013 marked TCAF’s tenth anniversary. This year’s festival featured over four hundred creators from nineteen different countries, including mangaka Taiyo Matsumoto and Gengoroh Tagame. While there were festival events throughout May, TCAF 2013’s main exhibition took place on Saturday, May 11th and Sunday, May 12th.

In order to keep the cost of the trip as low as possible, I crossed over the border into Canada from Michigan early Saturday morning along with my good friend Traci (who contributed a guest post here at Experiments in Manga not too long ago.) I arrived in Toronto in time to see The World of Taiyo Matsumoto, an exhibition at The Japan Foundation featuring original artwork by Matsumoto (creator of Blue Spring, Tekkon Kinkreet, GoGo Monster, and the recently released Sunny.) Matsumoto himself was in attendance for a special interview and artist’s talk. The turnout was huge—standing-room only and some people even had to be turned away. Matsumoto admitted that he never expected so many people to turn out to see him and that he was greatly honored. The event and exhibit, which focused on Matsumoto’s artwork, were marvelous. I certainly learned quite a bit: Matsumoto and Santa Inoue (creator of Tokyo Tribes) are cousins and they regularly talk about manga and help each other out; Tekkon Kinkreet was originally intended to be six volumes long, but ended after three since it wasn’t popular enough to continue (although Matsumoto said that he is satisfied with its conclusion and has no desire to revisit the story); in the beginning, Matsumoto was actually reluctant and even resentful working on Ping Pong, which became his breakout manga; and while Matsumoto has always been an innovative artist, more recent developments in printing technology have allowed him to experiment with different drawing materials and techniques, moving even further away from the use of screentone.

© Maurice Vellekoop

From The Japan Foundation, I headed over to the spotlight on Gengoroh Tagame, a highly influential gay manga artist. Joining Tagame were Anne Ishii, Chip Kidd, and Graham Kolbeins to celebrate Tagame and his work and to discuss the recent release of The Passion of Gengoroh Tagame, which they all had a hand in bringing into being. The panelists were all very enthusiastic and had a great senses of humor. Because of this, the spotlight was engaging and entertaining in addition to being informative. Apparently, there was a rumor that Tagame did not want his work translated into English. He assured us all that this was not true. In fact, he was surprised that it took until now for a collection of his manga to be released in English. It is possible that the rumor may have had a chilling effect on the licensing of Tagame’s materials. Like so many other people (myself included), he is very excited about the publication of The Passion of Gengoroh Tagame. He is also unbelievably happy that others share enjoyment in his fantasies. Tagame is unusual in that very few gay manga artists in Japan are able to make their living on their artwork alone, most hold at least a second job. The panel ended with a very interesting conversation about gay manga and bara (manga typically geared towards gay men) and boys’ love and yaoi (manga typically geared towards women.) It’s difficult to generalize about the genres and the distinction between them isn’t always as clear as some people claim or would like; there can be considerable grey area, crossover, and overlap between the two. For a time, yaoi served as an outlet for gay manga before bara became more publicly acceptable and gay manga magazines were established. Tagame actually started out by submitting his work to yaoi magazines when he was eighteen and he continues to have a large number of female fans. In line for his signing after the talk were people of all (adult) ages, genders, and sexualities, which was wonderful to see.

After having my copy of The Passion of Gengoroh Tagame signed, Traci and I met up together again. We made our way down to The Beguiling Books & Art which is an astounding, award-winning comics store. If you find yourself in Toronto, I highly recommend stopping by The Beguiling. It has new comics, old comics, out-of-print comics, mainstream comics, alternative comics, independent comics, domestic comics, international comics (including the largest selection of manga that I’ve ever seen in one place), and more, more, more. And since the shop was across the street from Koreatown, Traci and I took the opportunity to chow down on some delicious Korean food before heading over to Church on Church to catch the tail end of the TCAF Queer Mixer. Unfortunately, we missed the reception and artist talks, but we still were able to see the exhibit Legends: The Gay Erotic Art of Maurice Vellekoop and Gengoroh Tagame which was well worth the trek across town. (Honestly, I was more interested in the art than I was in the mixer itself, anyways.) On a more personal note, I have never had the opportunity to walk around a queer neighborhood before. It was an awesome and somewhat surreal experience for me; it made me very happy just to be in the Church Wellesley Village area.

On Sunday, I attended the Comics Editing International panel which brought together four comics editors from different countries and backgrounds: Thomas Ragon from Dargaud (the oldest comics publisher in France), James Lucas Jones from Oni Press, Mark Siegel from First Second Books, and Hideki Egami from IKKI/Shogakukan. The group talked about the similarities and differences between their work as editors and the comics markets in their countries. The panel was fascinating. I love IKKI manga, and so was very excited to hear editor-in-chief Egami speak. IKKI is different from most magazines in Japan; it appeals to mangaka who want more control over their work and artistic vision as well as those who want to escape the factory-like system associated with so many of the other magazines. Egami mentioned that the manga industry in general is in decline in Japan, and so publishers are beginning to look outside of the country more and more where once they were almost exclusively focused on the domestic market. IKKI has even started to experiment by publishing left-to-right comics with horizontal text, hoping that they will be more easily adapted, translated, and distributed in other countries. I also attended Sunday’s Queer Comics panel which featured Zan Christensen (who is utterly delightful), Erika Moen, Justin Hall, Chip Kidd, and Gilbert Hernandez and Jaime Hernandez. They talked about queer comics specifically and the representation of queer characters in comics in general, with a particular emphasis on non-binary and fluid sexualities and genders, which I personally appreciated. It was a great group and a great discussion.

My very small, TCAF haul

For the most part, I intentionally flew under the radar while at TCAF. I saw several of my fellow manga lovers around (Deb Aoki, Brigid Alverson, and Jocelyne Allen, just to name a few) and I know that there were even more of us there, too, but I tend to keep to myself and didn’t seek anyone out. I did, however, wander around the exhibitors’ area for a bit. Because I promised that I would, I made a point to introduce myself to the wonderful ladies of Chromatic Press and Tokyo Demons, which is one of my more recent obsessions. (I had been invited to the Chromatic Manga Mixer on Friday night, but I sadly wasn’t in town yet.) I also chatted with Alex Woolfson about  Artifice and The Young Protectors and stopped by Jess Fink‘s table long enough to awkwardly profess my love for her work. Ryan Sand’s new publishing effort Youth in Decline made it’s official debut at TCAF, so I picked up a copy of the first issue of Frontier to show my support. One of the best things about TCAF, other than the chance to see so many fantastic artists who I already follow all in one place (and there were a lot of them there), was the opportunity to discover creators who I wasn’t previously aware of. This is how I ended up bringing home Andrew Fulton‘s minicomic Pubes of Fire, Pubes of Flame which continues to greatly amuse me.

I really do not do well in unstructured, social settings; simply attending TCAF was a huge deal for me and a tremendous personal achievement. I largely consider my first TCAF experience to be a success. I am very happy to report that Traci and I both had a phenomenal time. After only a few hours of being there, I was already making plans for a return visit for next year’s show. Seriously, TCAF is amazing. There was so much going on that I had to make some extremely tough decisions about which programs to attend over others. I saw a ton of incredible work from incredible creators from all over the world and I still feel like there was more that I didn’t get to see. So next year, I’ll be showing up no later than the Friday before the main exhibition and preferably earlier. I’ll be scheduling more time to spend exploring every nook and cranny of the exhibitors’ area. I’ll also be carrying around some snacks with me during the festival; I was so busy and engaged by the programming and exhibits that I actually forgot to eat for most of the day. Next year, I hope to have the guts to actually introduce myself to everyone and maybe even socialize a bit more, too. (Please do not be offended if I didn’t say hello to you this year!) As long as there’s a TCAF, you can expect me to be there.

Random Musings: Tokyo Demons

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Last week I reviewed Tokyo Demons, Book 1: You’re Never Alone by Lianne Sentar. Long story short, I loved it. In the process of writing the review, I quickly discovered that there was a lot more that I wanted to say about Tokyo Demons in general. Serialized online and written in the tradition of Japanese light novels, Tokyo Demons has expanded to include dramatized audio books, comics, short stories, games, and more. Since reading the first volume, I’ve nearly become obsessed with Tokyo Demons in all of its incarnations. Seriously, I haven’t been this excited about a series in a very long time. So please excuse me while I gush about it for a bit.

The Story
Tokyo Demons will be a trilogy although two sequel series, Tokyo Ghosts and Tokyo Angels, are planned as well. To be honest, Tokyo Demons is a little weak in the beginning; I was even a little worried about some of the potential cliches. But after a few chapters, it really takes off and the scope is huge. The story is packed with action, cussing, humor, supernatural abilities, drama, and awkward teenage romance. Overall, I found it to be exciting, engaging, and entertaining. Tokyo Demons can also be rather dark and tragic at times. Terrible things happen to the characters in both the past and the present. The characters’ relationships to and with one another–romantic, platonic, familial…the list could go on–are also extremely important to the story.

The Characters
And speaking of the characters, they are one of the reasons that Tokyo Demons works so well for me. The entire cast has a lot of personality (which happens to come across fabulously in the audio drama.) The characters have layers and they’re not always particularly likeable at first. But as Tokyo Demons progresses more and more is revealed about them and they grow and change over time. The characterizations are complicated and the morality is often grey–the protagonists and antagonists have both good and bad qualities and it’s not always easy to tell who belongs in which group. The characters don’t fit into neat little boxes or stereotypes.

The Goods
The serialized version of the novels and the audio drama are available for free online at the Tokyo Demons website. Other bonus materials are also available for free: character guides, relationship charts, timelines, comics, illustrations, previews of the short stories, and so on. The Tokyo Demons visual novel Get It Together and the card game Your Number’s Up are currently in production. The finalized editions of the materials (both physical and digital) as well as additional content only available for purchase can be found through the Tokyo Demons store. Also available through the store are art prints, posters, bookmarks, key chains, buttons, and other merchandise.

The Creators
Lianne Sentar is Tokyo Demons writer and head administrator. She works very closely with Rebecca Scoble who serves as the head editor in addition to producing and directing the audio dramas. They are supported by multiple illustrators, designers, and an entire cast of voice actors. It’s obvious from wandering around the Tokyo Demons website and listening to the free talks that the creators have a tremendous amount of love for their work. They are all enjoying themselves and have a great sense of humor. Their enthusiasm is persuasive. In addition, Lianne and Rebecca are particularly accessible to fans on the website and through other social media outlets. My personal interactions have all been wonderful. (It’s nice to know that they’re great people.)

The Fans
I’ll readily admit that I tend to be more of a lurker when it comes to online communities but there are plenty of other fans of Tokyo Demons who regularly comment on the the site, interact with each other, and show their support through fan art and fan fiction (which the creators wholeheartedly encourage.) In 2012, a Tokyo Demons Kickstarter project was launched to fund the second novel and better audio equipment. It reached more than double its initial goal. In fact, there has been so much support for Tokyo Demons that the creators were able to quit their jobs to focus on Tokyo Demons and their manga-industry work full time in addition to helping to launch Chromatic Press.

The Publisher
In part, Tokyo Demons served as a test project for the newly formed Chromatic Press as a way to explore publishing formats and distribution models and to determine what sorts of multimedia opportunities would be possible. The first novel is currently being revised for a new Chromatic Press edition and the series will continue to be released by the publisher–Tokyo Demons is one of the flagships for Chromatic Press. I am very excited to see what Chromatic Press has in store, not just for Tokyo Demons but for all of its titles.

Guest Post: The Infernal Devices Vol 1: Clockwork Angel: Manga Review

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Not too long ago I reviewed The Infernal Devices, Volume 1: Clockwork Angel, HyeKyung Baek’s graphic novel adaptation of Cassandra Clare’s novel by the same name. While I am familiar with The Infernal Devices, I haven’t actually read any of the original trilogy. I do, however, know people who have and thought it might be interesting to get another perspective on the work. And so I decided to bribe my good friend Traci with manga in exchange for her thoughts on the adaptation. The video below (a first for Experiments in Manga) is the result. I’m extremely excited that she agreed and am very pleased to welcome Traci to Experiments in Manga!

Hello, all. My name is Traci and I am the mastermind behind the alwynuu channel and Traci Reads vlog on YouTube. I am a photographer by passion and trade and a wanderer, philosopher, and reader by desire and happenstance. I enjoy most things geeky and nerdy, odd literary adaptations, and any genre that includes some form of magic or supernatural business. Don’t be shy. Drop in on occasion and see what I’ve gotten up to and where I’ve wandered.

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We, the Children of Cats

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Author: Tomoyuki Hoshino
Translator: Brian Bergstrom and Lucy Fraser
U.S. publisher: PM Press
ISBN: 9781604865912
Released: August 2012
Original release:1998-2006

We, the Children of Cats is a collection of Tomoyuki Hoshino’s early short works. Published in 2012 by PM Press under its Found in Translation imprint, the volume gathers together five short stories and three novellas which were originally released in Japan between 1998 and 2006. (PM Press is also the publisher of the only novel by Hoshino that is currently available in English, Lonely Hearts Killer.) Three of the stories in We, the Children of Cats were previously translated and released in English, but the others are appearing for the first time. Although one story, “Chino,” was translated by Lucy Fraser, Brian Bergstrom was primarily responsible for editing and translating the collection as a whole. Bergstrom also contributes a substantial afterword to the volume, “The Politics of Impossible Transformation.” We, the Children of Cats was my introduction to Hoshino’s work.

After a newly written preface by Hoshino for the collection, “To All of You Reading This in English,” We, the Children of Cats begins with the short story “Paper Woman.” This story ended up being my favorite piece included in the volume and made me want to read everything that Hoshino has ever written. This set my expectations pretty high for the rest of We, the Children of Cats; for the most part, I wasn’t disappointed. I did tend to prefer Hoshino’s short stories (“Paper Woman, “The No Fathers Club,” “Chino,” “We, the Children of Cats,” and “Air”) over his longer novellas (Sand Planet, Treason Diary, and A Milonga for the Melted Moon.) For me, reading Hoshino’s works was often a heady and even dizzying experience; his shorter pieces are still mystifying but more grounded, immediately accessible, and easily grasped as a whole.

The stories collected in We, the Children of Cats are not directly related to one another although many share common elements and themes. Faint echoes of Hoshino’s earlier stories can often be seen in his later works. Latin America is a frequent touchstone in We, the Children of Cats. Which, considering Hoshino’s personal interest and time spent in the area, shouldn’t be too surprising. The influence of magical realism, which has strong ties to Latin American literature, is also readily apparent in Hoshino’s stories. Perhaps my favorite recurring theme to be found in We, the Children of Cats is that of the power granted to words and language and their ability to change, process, create, restore, and transform truth and reality.

As Bergstrom’s illuminating afterword asserts, transformation is the key to We, the Children of Cats. Some of the stories are more realistic (some are even based on or inspired by actual events) while others are more fantastic, but they all deal with transitions, growth, and changing identity in some way. Hoshino’s writing style tends to be discursive and his stories aren’t always particularly straightforward, but his imagery is powerful and poetic. Every once in a while there would be a thought, idea, or phrase that would momentarily floor me. After reading We, the Children of Cats, even I felt changed or transformed in some nearly indescribable way. We, the Children of Cats isn’t an easy collection, at times it can be difficult and even troubling, but I am glad that I put in the effort needed to truly appreciate it.