Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

David Welsh

From the stack: Chi’s Sweet Home

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We adopted a dog not too long ago. Her previous owner had passed away, and she was being fostered by a kind family in a neighboring town. She’s about two years old and small, apparently some kind of hybrid of Chihuahua and Dachshund, and yes, she looks as odd as that combination suggests. (We’ve unofficially labeled the hybrid “Gummi Weasel,” but we have yet to hear back from the AKC.)

She’s adorable and quirky and we love her very much. Of course, introducing an animal into a new house never goes flawlessly, at least in my experience, but we’re doing our best to convince her that our home is her home and that we’ll always have her best interests at heart, while reassuring our preexisting brood that they’re loved every bit as much as they were before this little alien moved in.

During this gradual and pleasurable process, I’m reminded of the many things Kanata Konami gets exactly right in creating Chi’s Sweet Home (Vertical). I say “reminded,” because I’m sure we relearned all this the last time we welcomed a new animal, but I guess it’s a much milder version of what some people say about childbirth: you forget the negatives, and you just remember the outcome.

The beauty of Chi’s Sweet Home isn’t in its narrative sweep but in the way that Konami captures specific beats in the process of being a pet owner. Yes, there are plenty of kittenish antics from the titular feline, but the spine of the series is her human family adapting to their shared responsibility for this furry little creature. They shift things around in their household to make sure Chi is both safer and less prone to mischief. They take her to the veterinarian. They figure out what kind of food she likes. They trim her nails. They make choices and sacrifices that responsible people make when they add an animal to their family.

If the book was simply about a cute kitten doing cute things, I don’t believe it would be nearly as successful as it is. Powerful a force as cuteness is, care-giving isn’t all romping with plush toys and blissful naps. It’s sometimes messy, sometimes expensive, and sometimes inconvenient. The cuteness is the reward, as is the affection and the gradually strengthening bond between pet and owner. (This is one of the reasons that I think Chi’s Sweet Home would be a great comic for a kid, since the work end of the equation isn’t neglected.)

Over at Comics Alliance, David Brothers gives a persuasive summary of the book’s strong points, noting that Konami has a good grasp of feline behavior. This is absolutely true, and she doesn’t over-anthropomorphize Chi’s antics. She doesn’t need to, because she finds all of these telling moments in the warmly everyday relationship between humans and pet.

Brothers also notes Konami’s willingness to fold sadness into the narrative, which is also entirely correct. I knew it was dramatically successful when I originally read the sequences Brothers describes. But I know it’s accurate from watching our new dog have moments when she seems to remember that our house hasn’t always been her house, that she’s had other, meaningful people in her life, and that something inside her amounts to unfinished business. And if you ignore those moments or reject them, you miss the fullness of the experience that Konami is describing. I never thought I’d use the phrase “mono no aware” to describe a manga about a kitten, but I guess that’s what you get when it’s a seinen manga about a kitten.

So, as we continue to welcome our new little citizen to the household, I’ll certainly keep up with Chi’s immersion in her new home. And I’ll probably have a Gummi Weasel on my lap as I do so.

(This review is based on complimentary copies provided by the publisher.)

Win some, lose some

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My latest experiment in crowd-sourced Previews ordering has come to an unexpected conclusion. I feel compelled to order both of them.

This is primarily because Tsuta Suzuki’s Your Story I’ve Known (DMP) has been revealed to not be the kind of comic I’d like to include in these experiments. Enough people who should know have spoken highly of Suzuki’s work to the point that I actually just want to order it because I’d like to read it. Basically, a known quantity that may have qualities I enjoy a lot has crept into the roster of candidates due to my failure of due diligence. This cannot stand.

So, that means the winner by default is Maid Shokun, written by Nanki Satou and illustrated by Akira Kiduki (Tokyopop). Disqualification aside, I was much moved by Erica (Okazu) Friedman’s eloquent plea, and I was frankly unnerved by Tokyopop editor Lillian Diaz-Przybyl’s favorable comparison of the book to Chica Umino’s Honey and Clover (Viz). In my experience, Lillian is completely reliable and further evidence that Tokyopop should let its editors write its marketing text.

This one’s backfired rather badly on me. Fun, though.

The Josei Alphabet: B

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“B” is for…

Body and Soul, written and illustrated by Erica Sakurazawa with Takumi Terakado, originally serialized in Shodensha’s Feel Young, two volumes. This is described as half wellness guide, half romance, which sounds very intriguing. It’s been published in French by Asuka.

Barbara Ikai, written and illustrated by Moto Hagio, originally serialized in Shogakukan’s flowers, four volumes. I’ve already covered this series as Otherworld Barbara in a license request, and I’m keeping my fingers crossed that I may be able to list it under licensed josei when I reach the letter “O.” There’s nothing wrong with optimism, is there?

BeruBara Kids, written and illustrated by Riyoko Ikeda, currently running in Asahi Shimbun, a daily newspaper. How popular is Ikeda’s The Rose of Versailles? So popular that it can spawn a successful, spin-off gag manga, decades after its original publication.

Bara no Tame ni, written and illustrated by Akemi Yoshimura, originally serialized in Shogakukan’s Petit Comic, 16 volumes. Don’t you hate it when your elderly grandmother dies, then you find out that, in spite of what you’ve been told, your mother is alive, is a famous movie actress, and has given birth to hot stepsiblings? Such is the plight of dumpy Yuri, but I suspect her new life has its bright spots.

Bathroom Guuwa, written and illustrated by Mari (Suppli, Sweat and Honey) Okazaki, originally serialized in Shueisha’s Bouquet, one volume. This seems to be a collection of slightly surreal short stories from a wonderfully sophisticated creator. It’s been published in French by Akata.

Magazines:

Licensed josei:

  • The Bachelor, written by Debbie Macomber, illustrated by Misao Hoshiai, originally serialized in Ohzora Shuppan’s Harlequin, published in English by Dark Horse and Harlequin.
  • Beautiful People, written and illustrated by Mitzukazu Mihara, originally serialized in Shodensha’s Feel Young, published in English by Tokyopop.
  • Between the Sheets, written and illustrated by Erica Sakurazawa, originally published by Shodensha, published in English by Tokyopop.
  • Blind Date, written by Emma Darcy, illustrated by Mihoko Hirose, originally serialized in Ohzora Shuppan’s Harlequin, published in English by Dark Horse and Harlequin.
  • Blue, written and illustrated by Kiriko Nanana, originally serialized in Magazine House’s Comic Are!, reprinted in Shodensha’s Feel Young, published in English by Fanfare/Ponent Mon.
  • Bunny Drop, written and illustrated by Yumi Unita, originally serialized in Shodensha’s Feel Young, currently being released in English by Yen Press.
  • Butterflies, Flowers, written and illustrated by Yuki Yoshihara, originally serialized in Shogakukan’s Petit Comic, currently being released in English by Viz.

What starts with “B” in your josei alphabet?

Upcoming 2/9/2011

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It’s a huge week for Viz via Diamond, though some books have already shipped through other venues. (See my pick of last week and my pick of this week, and bask in the bafflement!) If you buy your manga shopping via Diamond-dependent comic shops, you have many, many choices, at least according to the ComicList.

Had Viz not sent me a review copy of the second volume of The Story of Saiunkoku, adapted from Sai Yukino’s light novels by Kairi Yura, I probably would have camped out at the local bookstore and repeatedly mispronounced the title as I asked if it had arrived yet. Such was the force of my reaction to the first volume. But does the second hold up? Yes, it certainly does. While not the same kind of revelation, I still ran to my computer to make sure there are more volumes to come. (There are.)

This was a concern, since the first two volumes form what must be an adaptation of Yukino’s first novel in the series. Having established the leads, seemingly feckless emperor Ryuki and his frugal, forceful tutor, Shurei, Yura and Yukino put them in danger in the form of palace intrigue. To be entirely honest, the details of the scheme are much less interesting than Ryuki and Shurei’s individual and collective responses to it. But their shifting but well-balanced relationship is still a complete treat, and the prospect of reading about their next encounter is pure, happy anticipation.

If you like stories about smart, feisty girls sparring with deeper-than-they-seem boys, this series can be injected directly into a vein for that sweet, sweet rush of shôjo romance between the very different but equally matched.

In other Viz news, there’s the seventh volume of the always welcome Kimi ni Todoke: From Me to You, written and illustrated by Karuho Shiina. This one promises lots of holiday activity, which is always fun.

There’s also the less welcome but still potentially intriguing second volume of Genkaku Picasso, written and illustrated by Usumaru Furuya. I wasn’t especially impressed with the first volume, but I find Furuya kind of fascinating, so I’ll probably succumb at some point.

What looks good to you?

Pick of the Week: Kinda, Sorta

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The pickings are slim this week at Midtown Comics, but it’ll take much worse to stop these bloggers from finding a way to spend their money.

From David: I’ve made a conscientious effort to like Kaori Yuki’s manga, but I’ve had limited success. I always end up appreciating the style but not getting invested in the story or characters. I’m happy to report that I’m having good luck with Yuki’s Grand Guignol Orchestra, so my pick for this week will be the second volume of that series. I wrote a brief review of it last week, and I’ll tempt you further with this brief snippet: “Our protagonists go undercover in a convent, looking for a sacred relic and investigating the grisly murders of young nuns. This mini-arc is shaping up to be both creepy and very funny, provided you find secretive nuns committing and subjected to unexpected violence funny, which, I assure you, I do.”

From Kate: Oh, manga, I’m stepping out on you this week. I just can’t muster the enthusiasm for Jormungand or Maoh: Juvenile Remix, and Biomega descended into incoherent nonsense two volumes ago. My pick, therefore, is issue six of The Walking Dead Weekly (Image). When I first heard that Image would be re-issuing the series, I was skeptical: who would really want to read it in weekly installments when The Walking Dead was already collected into trade paperbacks? Turns out the answer is me. The story is a familiar one, fashioned from the DNA of 28 Days, I Am Legend, and Dawn of the Dead, but it scores major points for brisk pacing, strong characterizations, and sharp artwork. What’s genuinely surprising, however, is just how well the story works in thirty-two page installments. The issues aren’t exactly self-contained, but each has a satisfying dramatic arc. I’m hooked!

From MJ: I, too, have difficulty getting behind any of this week’s new releases, so I’m going to follow David’s lead and pick out something that was technically released last week. I’m also going to go even further off our usual Midtown Comics list by choosing something available only online. My Pick is volume four of Sooyeon Won’s Full House, recently completed with the release of chapter six at NETCOMICS’ online portal. I’ve fallen a bit behind with this delicious screwball romantic comedy manhwa, but witness my enjoyment of the first two volumes here. This is a great time to pick up the series, even from scratch, with each volume coming in at $1.50 apiece ($.25 per chapter) for a 48-hour rental period. Though I do wish NETCOMICS offered some kind of ownership option, (preferably chapter downloads, though I’d settle for an eManga-style permanent rental) it’s hard to quibble with the price.

Amazon.com Widgets

From the stack: The Summit of the Gods vol. 2

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The second volume of The Summit of the Gods (Fanfare/Ponent Mon), written by Yumemakura Baku and illustrated by Jiro Taniguchi, delves deeply into both the psychology and behavior of its characters, though one particular aspect of their psychology and the behavior it inspires remains utterly baffling to me. I can think of few things I’d rather do less than dangle from an icy mountain by a rope. Since that’s almost all these characters think about, one might anticipate some remoteness on my part as a reader.

This reaction is averted by the sheer density of the work – the madly detailed illustrations, the tense technicalities of climbing, and the oblique revelation of small aspects of the characters. I say small aspects because Baku and Taniguchi make virtually no attempt to answer the big question of how people can dedicate their lives to an activity that’s almost entirely perilous, no matter how prepared you may be.

There’s a lot of dialogue, but there’s very little in the way of speech-making. Nobody really gazes off into the middle distance and talks about the nobility of the climb or anything of that sort. That, to my way of thinking, would have been insufferable, not to mention unpersuasive. The point-of-view character, Fukamachi, has specific interests instead of theses to prove. His attempts to understand things that have happened are different than grasping at reasons or creating context.

Most of the time in this volume is spent with Fukamachi talking to people who know legendary, troubled climber Habu. He learns of an ill-fated climb in Europe and another in Tibet. He digs into the life story of one of Habu’s rivals, finding new ways that their respective careers intersected and ran parallel. Fukamachi has an ultimate goal and mysteries to solve, but he has no specific urgency in his efforts. He’s hearing too many interesting stories to want to bring the process to a speedy conclusion.

The same can be said of the book itself. It doesn’t really have an overwhelming momentum to it, though individual sequences are often very exciting. There’s a level of remove, an analytical quality even to the nail-biting moments that suggests the perspective of a detached (but not entirely unmoved) observer. It’s a very intellectual, meticulous approach to very visceral material, and a big part of the appeal of the series is that counterpoint.

Another part is Taniguchi’s undeniably beautiful illustrations. He exhibits great restraint and fidelity in the way he renders people, keeping them on the unglamorous side. They look average, if robust, instead of heroic, which raises the stakes when they risk their lives. And his breathtaking vistas are a marvelous substitute for seeing these peaks in person.

I’m not really sure where The Summit of the Gods fits in the seinen universe, with its cerebral muscularity. With the possible exception of Hiroshi Hirata’s Satsuma Gishiden (Dark Horse), it’s unlike just about anything else I’ve read, even from Taniguchi. It’s just a tremendously confident work, and it’s rare to feel that quality come through so clearly, yet so modestly at the same time.

Here’s my review of the first volume.

Men or maids?

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It’s time again for you to help me choose a title from the current Previews catalog. Here are this month’s candidates:

Your Story I’ve Known, written and illustrated by Tsuta Suzuki, Digital Manga (page 278):

High-school student Matsumoto Haato has fallen in love with his abusive mother’s ex-boyfriend, yakuza Shibusawa, who was nice to him in the past. When he has nowhere left to go he turns to the gruff but kind older man. A three chapter love story that details the changing relationships between the two men over the years.

I admit that I don’t find this description entirely problematic. I do tend to like to investigate yaoi titles fairly thoroughly to see if they meet my rather specific standards (which are very similar to MJ’s), and I’m not familiar with this one, its creator, or the magazine from which it springs (Takeshobo’s Reijin).

Maid Shokun, written by Nanki Satou and illustrated by Akira Kiduki, Tokyopop (page 311):

This slice-of-life manga is a lovely exploration of the inner workings of a Maid Cafe, filled with laughter and romance, joy and heartbreak. Maybe you’ve wondered what the ‘maids’ are like before or after work? Or perhaps you’ve wondered how they deal with a job where pleasing the customer is their top priority? Well, let’s introduce you to an adorable, delicate, attractive girl who gets drawn into such a job – and see this unusual story, filled with warmth and pathos, unfold!

I like slice-of-life manga! I like stories set in eateries! I’m utterly indifferent to maid panties. Also, boobies. Also, the Japanese cover to the third volume has to be seen to be believed. Also, Tokyopop’s solicitation text is sometimes singularly useless in evaluating a book’s true nature and the likelihood that I’ll enjoy it. Maid Shokun originally ran in Comic Gum from Wani Books.

So there are your choices. Please vote in the comments, either because you think I’ll be pleasantly surprised or because you want to see me suffer.

Previews review February 2011

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The findings from the current issue of Previews aren’t as extensive as they sometimes are, though there are new volumes of plenty of appealing series. And there are two exciting debuts on the artier end of the spectrum.

First up is Shigeru Mizuki’s Onward Towards Our Noble Deaths from Drawn and Quarterly (page 281). Here’s the rundown:

A landmark publishing event by one of Japan’s most famous cartoonists. Shigeru Mizuki is the preeminent figure of Gekiga manga and one of the most famous working cartoonists in Japan today. Onwards Towards Our Noble Deaths is his first book to be translated into English and is a semi-autobiographical account of the desperate final weeks of a Japanese infantry unit at the end of World War II. The soldiers are told that they must go into battle and die for the honor of their country, with certain execution facing them if they return alive. Mizuki was a soldier himself, and he uses his experiences to convey the devastating consequences and moral depravity of the war.

It was originally serialized in Kodansha’s Gekiga Gendai in 1973. You may recognize Mizuki as the creator of GeGeGe no Kitaro. Drawn and Quarterly also plans to publish Mizuki’s Non Non Bâ, which earned top honors at Angoulême in 2007. A large quantity of his work has already been published in French.

Next is Usumaru Furuya’s Lychee Light Club from Vertical (page 316):

The Lychee Light Club is considered Usamaru Furuya’s breakthrough work. Originally designed as an experiemental project Lychee’s themes of youthful rebellion and deus ex machina destruction, and attractive designs eventually won over a new generation of readers and critics, leading the way for Furuya to take on his many recent high profile properties.

A surreal yet touching horror comedy Furuya’s Lychee Light Club that mixes elements of French Le Théâtre du Grand-Guignol and with modern day pop culture tropes and is set in modern day Tokyo. Shocking, sexy and innovative, the Lychee Light Club is at the pinnacle of modern day Japanese seinen manga (young adult comics).

It was originally published in Ohta Shuppan’s fascinatingly rangy Manga Erotics F.

So those are the highlights. Tomorrow, I’ll give readers another opportunity to pick a title for me that could be either intriguing or awful.

The Akiko Higashimura license pool

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You know what seems kind of weird to me? That nobody has licensed any manga from Akiko Higashimura yet. She’s been nominated for the Manga Taisho Award three times for three different titles. She was nominated for the Tezuka Cultural Prize in 2010, and she won the Kodansha Award in 2010. Of course, the admiration of one’s peers and critics doesn’t necessarily translate into something marketable.

And yet, there’s evidence that her highly regarded artistic sensibility yields commercially successful product. Kuragehime, which won the Kodansha, has been adapted into an animated series, which is available in the United States through Funimation as Princess Jellyfish. While it’s not unheard of for a josei series like Kuragehime (which ran in Kodansha’s Kiss) to be made into an anime, it’s still unusual enough to be impressive.

The manga also has the advantage of falling into the “Nerds, yay!” genre. It’s about an apartment building filled with female otaku. They describe themselves as “nuns,” and each has her own religion. The lead, who’s loved jellyfish since memorable trips to an aquarium with her mother, wants to be an illustrator and has moved to Tokyo to achieve that, but she’s cripplingly shy. She makes an outgoing new friend, though, who becomes her roommate. The friend turns out to be a cross-dresser from a well-connected political family who’d rather work in fashion.

So there are geeks, secret-identity shenanigans, big dreams, romance, and, if I’m correctly informed, the pernicious influence of gentrification. What’s the hold up? Based on existing enthusiasm, I’d imagine that Kodansha is waiting for the best offer, or to establish their outpost well enough to publish it themselves. It’s up to six volumes.

And if I’m going to be perfectly honest, I’d rather read her Himawari: Kenichi Legend, which is running in Kodansha’s Morning. It’s about another aspiring artist, this time a would be mangaka who toils at an office lady for the same company that employs her eccentric father. There are 13 volumes available so far, and I just get a good vibe off of it, particularly because it’s supposed to be loosely autobiographical.

Her current series is Omo ni Naitemasu, which I’ve seen translated as Mainly Crying, running in Morning and up to three volumes. As near as I can determine, it’s about an extraordinarily beautiful woman who lives a rather isolated life. It also has really striking covers, which is always a plus.

So what are your thoughts on Higashimura’s license prospects? She’s clearly talented and prolific, neither of which ever hurt a mangaka. Which of her titles tickle your fancy? Do you think any of them will be announced by the end of the year?

My official guess: Kodansha will announce Kuragehime at this year’s Comic-Con International.

From the stack: Kamisama Kiss vol. 1

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One of the bonuses of the most recent Manga Moveable Feast was being introduced to a series I really liked (as opposed to the pleasure of talking about a series I already appreciated), Julietta Suzuki’s Karakuri Odette (Tokyopop). For more points, the feast convinced me to pick up a copy of Suzuki’s Kamisama Kiss (Viz), so now I have two new series that I enjoy. I also have a creator added to my “try automatically” list in Suzuki.

I’ve read good manga about supernatural boys sparking with human girls, and I’ve read some fairly icky manga about the same subject. Kamisama Kiss is decidedly on the good end of the spectrum; it’s endearingly familiar, but it has the same evidence of a quirky, distinct sensibility that Suzuki displayed in Karakuri Odette.

Nanami, a high-school girl, finds herself orphaned and homeless when her irresponsible father flees his gambling debts. Even in distress, she’s good hearted, and she helps a stranger she meets in the park where she’s planning to sleep. In return, he offers her shelter. Unfortunately, it turns out to be a dilapidated shrine, and the free rent is balanced by some heavy responsibilities.

One of those is riding herd over the supernatural staff, which includes a snide (but cute) fox demon named Tomoe. He dislikes Nanami and is reluctant to serve under her. Nanami finds him obnoxious, but she’s a responsible person, and she wants to fulfill her duties to the shrine (and not die at the hands of some rival demon). Disgruntled protagonists are nothing new, but Suzuki makes an important choice in her portrayal of them. She makes them equally matched.

Much as Tomoe would like to bully and deride Nanami for her human incompetence, Suzuki gives the girl an edge over the fox. He still has the advantage of his knowledge and powers, but Nanami gets just enough of the right kind of authority to hold her own. She approaches her responsibilities at the shrine differently, which Tomoe finds both irritating and intriguing. Suzuki finds small, surprising ways to indicate that their relationship may evolve further.

The art is appealing. After the appropriate restraint exhibited in Karakuri Odette, it’s nice to see Suzuki get a little goofy, even over the top at times. Her designs for the supernatural characters are great fun, particularly a visiting demonic dignitary Nanami tries to help. She’s a catfish priestess, of sorts, and Suzuki goes to town making her aristocratic, unnerving, and strangely adorable.

Kamisama Kiss is off to a very promising start. It’s got grumpy, likeable leads, a solid premise, and an endearing look to it.

The Josei Alphabet: A

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Welcome to the Josei Alphabet! For this installment, I’ve decided to focus on a small number of unlicensed titles, then try to list all of the titles that are available in English, along with Japanese magazines that start with that letter. As always, I hope you’ll mention your favorites that I’ve omitted, either licensed or not.

Some sites include yaoi titles in their josei listings. I’ve decided to exclude these for the simple reason that I may someday want to do a yaoi/boys’-love alphabet. So, while they’re often demographically targeted at adult women, I’ve decided to exclude them from this exercise. Now, without further ado…

“A” is for…

Abunazaka Hotel, written and illustrated by Moto Hagio, serialized in Shueisha’s You: A mysterious hotelier seems to specialize in guests in the midst of romantic transition or turmoil, challenging their current state of affairs. It’s by Hagio, so it’s instantly desirable, and it only ran for three volumes, so it seems within the realm of reasonable risk.

Ai wa Kassai ni Tsutsumarete, based on a novel by Metsy Hingle, adapted by Shin Kurokawa, published by Oozora Shuppan: It would be remiss of me to ignore the romance-novel end of the josei equation, particularly adaptations of popular Harlequin properties. This one is about a man trying to protect his brother from a fiancé he believes to be a gold-digger. My choices from this subcategory will probably be based on how much I like the covers, which I fully admit is lazy.

Akatsuki no Aria, written and illustrated by Michiyo Akaishi, serialized in Shogakukan’s flowers: This one’s about a beautiful young student pianist who may have supernatural connections. It’s ongoing and up to around the 11 volume point. Another of Akaishi’s josei titles, Amakusa 1637, ran for 12 volumes in Shogakukan’s flowers, and it’s about a high-school kendo champion who’s thrown back in time and uses her skills to protect persecuted Christians in Japan in the 1600s. No, seriously. It was published in French by Akiko.

Applause, written and illustrated by Kyoko Arisohi, serialized variously in Akita Shoten’s Princess, Margaret, and Elegance Eve. This classic yuri tale from the creator of Swan follows a Japanese transfer student from a Belgian boarding school to a career as an actress in New York City. Erica (Okazu) Friedman is on the case. The series ran for a total of seven volumes.

Aisuru Hito, written and illustrated by Yuki Yoshihara, serialized in Shogakukan’s Petit Comic. This smutty, four-volume comedy follows the dubious attempts of a broke college student to stay close to the professor she adores. This kind of story seems to be a specialty for Yoshihara, who also created Butterflies, Flowers (Viz).

Licensed josei:

  • All My Darling Daughters, written and illustrated by Fumi Yoshinaga, published by Viz, one volume, originally serialized in Hakusensha’s Melody.
  • Angel, written and illustrated by Erica Sakurazawa, published by Tokyopop, one volume, originally serialized by Shodensha. (I’m sure I’ll have occasion to mention this again, but Johanna Draper Carlson wrote a piece on Sakurazawa’s translated manga for The Comics Journal that she’s made available at Manga Worth Reading.)
  • Angel Nest, written and illustrated by Erica Sakurazawa, published by Tokyopop, one volume, originally serialized by Shodensha.
  • The Aromatic Bitters, written and illustrated by Erica Sakurazawa, published by Tokyopop, one volume, originally serialized by Shodensha.
  • Awabi, written and illustrated by Kan Takahama, is licensed for publication in English by Fanfare/Ponent Mon, but it’s on hold. These short stories originally ran in Yukagu Shorin’s Junkudo.

What starts with “A” in your Josei Alphabet?

Reader recommendations and reminders:

  • Anywhere But Here, written and illustrated by Moto Hagio, originally serialized in Shogakukan’s flowers, two volumes.
  • Ashita no Ousama, written and illustrated by Emiko Yachi, originally serialized in Shueisha’s Young You, 10 volumes.
  • Amatsuki, written and illustrated by Shinobu Takayama, currently serialized in Ichijinsha’s Comic Zero-Sum, 12 volumes at the time of this writing. due for publication in French by Kaze.
  • Amazoness no Matsue
  • Aru You de Nai Otoko, written and illustrated by Miho Obana, originally serialized in Shueisha’s Chorus, 1 volume.

Canada is just plain cooler

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The Toronto Comics Art Festival has scored a coup:

The Toronto Comic Arts Festival (TCAF) is excited to announce that internationally renowned manga creator Natsume Ono will make her first-ever North American public appearance as a Featured Guest at TCAF 2011. Hailing from Japan, Ono is one of the most exciting and unique women working in the medium today, and she will appear on panels and sign books in support of her English language works at Toronto Reference Library, May 7 and 8, 2011. Ono appears with the support of her English-language publisher VIZ Media.

Since I can’t resist praising Ono whenever her name comes up, I will happily repeat another paragraph from the press release:

“Ono’s fantastic work fits squarely into the ‘art comix’ idiom that’s at the core of the Festival,” enthuses Festival Director Christopher Butcher. “It’s the type of work we try to encourage. She’s a true auteur, working in a variety of styles and on different subjects, and her work is sure to find favour with fans of our other Featured Guests including Chris Ware, Jillian Tamaki, Mawil, and Adrian Tomine.”

You may recognize Mr. Butcher from his awesome blog or his work as manager of The Beguiling.

The cruelties of the calendar generally mean I can’t travel during the Festival, but I’m sure Ono’s appearances will be packed. I would certainly be elbowing people out of the way to get floor space, believe me. This is because I uniformly adore Ono’s work, going so far as to theoretically adore work that has yet to be published in English.

Other people who are excited by this news include Brigid (Robot 6) Alverson, Deb (About.Com) Aoki, and Heidi (The Beat) MacDonald. Erica (Okazu) Friedman and I were yammering on Twitter the other day about her concept of a “fifth genre” of manga that extends beyond, fuses, or ignores traditional demographic categories, and I only half jokingly suggested that you can identify a fifth-genre anthology by its serialization of work by Natsume Ono. Sure, she hasn’t had work run in Comic Beam, to my knowledge, but she’s all over IKKI, Manga Erotics F and Morning Two.

Upcoming 2/2/2011

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No one should be surprised by my Pick of the Week, should they? With that out of the way, I thought I’d take a look at two of the titles on this week’s crowded ComicList. (Okay, they aren’t confirmed on the list, but they’re probably already available through sources other than Diamond.)

I’ve had a pretty good track record with comics about yokai, diverse supernatural creatures of varying degrees of menace. It’s a fairly popular genre, though, so you’re bound to come across a mediocrity from time to time. This week, the middling yokai are brought by Hiroshi Shiibashi’s Nura: Rise of the Yokai Clan (Viz). It’s about a dull boy whose one-quarter yokai heritage puts him in line to be the big boss of a motley group of minor demons. He’s surrounded by fabulously rendered, energetic creatures who spend too much time in the background in favor of his stereotypical human classmates.

Rikuo wants to emphasize his human heritage rather than his yokai legacy. He objects to the anti-human meanness of his prospective subjects, and he struggles to conceal his weird home life when he’s at school. Dangerous circumstances occasionally draw the yokai part of Rikuo to the forefront, and he becomes an assertive butt-kicker who bears at least a passing resemblance to InuYasha. This only serves to remind you that there’s better folklore-based manga out there for your perusal.

Even with a sprawling cast of frequently charming monsters at his disposal, Shiibashi can’t seem to devote much attention to them. He’s more interested in Rikuo’s secret-identity shenanigans, his generically flinty female friend, and the idiot rival who develops a boy-crush on Rikuo’s forceful alter ego. They’re a predictable group, as are their escapades. I’d much rather see what was happening at Rikuo’s yokai-packed family manse than follow this shônen-ready Marilyn Munster around.

On a happier, though still decidedly gothic note, I like the second volume of Kaori Yuki’s Grand Guignol Orcheastra (Viz) better than I did the first. It inches closer to becoming a Yuki title that I can fully embrace, balancing melodrama, a dizzying aesthetic, and weird spikes of both humor and gore.

For those who have forgotten, it’s about a traveling group of magicians who battle the zombies that have overrun their sort-of period, kind-of European country. Their leader and vocalist, a guy named Lucille, has dark secrets and likes to dress in drag. Their pianist, a girl named Eles, has a tragic past and disguises herself as a boy. Their companions are seedy, and the government line on their efforts is ambivalent on the best days.

In the second volume, Yuki seems to find both a more assured narrative rhythm and more underlying heft to her story. The back story she reveals about Lucille adds necessary layers to the character without undermining his essential ridiculousness. It also provides a strong, underlying subplot to fuel future stories.

Yuki’s penchant for the absurd and just slightly perverse is still on unapologetic display. Our protagonists go undercover in a convent, looking for a sacred relic and investigating the grisly murders of young nuns. This mini-arc is shaping up to be both creepy and very funny, provided you find secretive nuns committing and subjected to unexpected violence funny, which, I assure you, I do.

Grand Guignol Orchestra is still a bit on the bubble for me, but it’s sliding off of it and onto firmer ground. It’s not a singular kind of story, but Yuki’s work is as coherent as I’ve seen it while still displaying the quirkiness that’s made her a sort of superstar.

(Comments are based on review copies provided by the publisher. Nura is currently running in Shueisha’s Weekly Shônen Jump, and it’s up to about 14 volumes, so maybe it gets better. Grand Guignol Orchestra ran for five volumes in Hakusensha’s Bessatsu Hana to Yume.)

As for books that will be available through Diamond, the highlight has to be the 13th volume of Osamu Tezuka’s medical melodrama, Black Jack (Vertical). In the perfectly understandable excitement over Vertical’s announcement of the licensing of Tezuka’s Princess Knight, we shouldn’t forget this often gruesome, frequently moving, creepily funny classic.

Another excellent arrival is the 22nd volume of Hikaru no Go (Viz), written by Yumi Hotta and illustrated by Takeshi (Death Note, Bakuman) Obata. This marvelous series about a young man who dreams of becoming a great Go player ends with volume 23, I think, but it’s worth starting from the beginning if you haven’t yet done so.

I haven’t read the first volume yet, but various enthusiastic reviews have persuaded me that I need to catch up with Yuuki Fujimoto’s The Stellar Six of Gingacho (Tokyopop), second volume due Wednesday, about a group of kids, all children of local shopkeepers, who try and reestablish their waning friendship. In my defense, Tokyopop’s marketing is often confusing to me, and I’m never sure if I’m going to get The Secret Notes of Lady Kanoko or KimiKiss.

PotW: Shounen Manga FTW!

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Though MJkicks off this week’s Picks with a new shoujo favorite, the theme of the week is resoundingly shounen, according to David, Kate, and special guest Michelle Smith!

From MJ: There’s quite a bit of new shoujo on Midtown Comics’ list this week, including favorites like Kimi ni Todoke and Seiho Boys’ High School! But the one I most consider an absolute must-read is volume two of previous Pick The Story of Saiunkoku, art by Kairi Yura, adapted from the novels by Sai Yukino. The series’ first volume charmed me completely with its smart, capable heroine and compelling palace intrigue, even earning itself a place on my list of Best Manga of 2010. Don’t believe me? Check out David’s recent review, fully as delightful a read as the book itself. A strong opening volume can be a tough act to follow, so I look forward to discovering what Yura and Yukino have in store.

From David: I’m going to take this opportunity to remind people of my abiding love for Eiichiro Oda’s One Piece and pick the 56th volume of this sprawling, hilarious pirate saga. It would probably not be wise to recommend that someone who has never picked up a volume of this series start with the 56th volume, unless that person is a fan of great action cartooning. Our hero, Luffy D. Monkey, is staging a massive jailbreak, battling sinister jailers and gathering an ever-larger gang of allies along the way. The chief joy in these giant set pieces is to see how Oda manages to combine wildly improbable action, comedy, and heart in a mad jumble that always seems on the verge of spinning out of control, but never does.

From Kate: My choice is Nura: Rise of the Yokai Clan, a new shonen series that VIZ has been promoting up a storm. The story focuses on a young teen whose grandfather leads a demon clan. Gramps wants Rikuo to follow in his footsteps, but there’s a catch: Rikuo is only one-quarter demon, and can’t control when or for how long he turns into a yokai. Not surprisingly, Rikuo’s iffy powers don’t inspire much confidence among the full-blooded yokai, and various factions try to prevent Rikuo from succeeding his grandfather. The story hasn’t quite found its groove: the comic relief scenes aren’t particularly funny, and the characters haven’t come into their own yet. But the pacing is smart and the yokai designs nifty (think Gegege no Kitaro meets the Hokusai Manga), so I think it’s worth pursuing, especially for readers who liked Kekkaishi and Natsume’s Book of Friends.

From Michelle: It’s another wallet-busting week for manga! I’m definitely excited about new volumes of some Shojo Beat favorites, as well as volume three of Bakuman, which I realize isn’t everyone’s cup of tea, but honestly, the one release on this list that has me going, “Eee!” more than any other is volume fourteen of Slam Dunk. Why? Because I’m allowed to read this one! You see, this is a series that benefits from being read in multiple-volume chunks, which occasionally requires me to bide my time and sit on some books until I have amassed enough to read them. I’ve been doing that with volume thirteen. Honestly, two volumes really aren’t enough to satisfy one’s appetite, but it’s better than nothing! And yes, I know, I know. I really should read Inoue’s REAL, which is, I’m sure, the better manga, but that doesn’t keep me from loving Slam Dunk whole-heartedly.

Amazon.com Widgets

So, readers, what is your must-buy manga this week?

Chatty types

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Here are a couple of links to recent conversations on comics in which I’ve been a participant:

First, Kate (The Manga Critic) Dacey and I talked over Nicolas de Crécy’s Salvatore, recently released by NBM.

Second, genial host Ed (Manga Worth Reading) Sizemore held a Manga Out Loud podcast on Felipe Smith’s edgy Peepo Choo (Vertical), and invited Erica (Okazu) Friedman, MJ(Manga Bookshelf) and me to join in.