Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

Katherine Dacey

Pick of the Week: Quality Assortment

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KATE: I think the best way to describe this week’s new arrivals is A Whole Lot of Stuff I’m Unlikely to Read. I will cop to being interested in Shuzo Oshimi’s Blood on the Tracks, though the part of me that read Flowers of Evil, Drifting Net Cafe, and Happiness wonders how many volumes I’ll read before it just gets too squicky for me.

ANNA: There’s a bunch of stuff coming out this week but I have to say what most interests me is the reissue of Saiyuki. You’ve got Jeeps! Monkey gods! Cigarettes! Guns! Pointy ears! Cranky Priests! Yokai! Is there a more 90s series than this? I don’t know, but I’m glad it is being released again.

SEAN: It’s definitely a Kodansha week for me – leaving aside Saiyuki, there’s also the debut of Sweat and Soap, and new volumes of In/Spectre and Magus of the Library. Kodansha is my pick!

MICHELLE: I’m intrigued by Blood on the Tracks, though I could not make it through Flowers of Evil, so perhaps that will happen again. And I’ll definitely be checking out Saiyuki and Kodansha’s latest digital shoujo debut, I Fell in Love After School. But what I am most excited about is a new volume of The Ancient Magus’ Bride. I love that series very, very much.

ASH: I love The Ancient Magus’ Bride, too! But this week my pick goes Magus of the Library – I’m really enjoying Mitsu Izumi’s fantasy take on librarianship and how surprisingly accurate it can be at times.

MJ: Even though I’ve still got my old copies of Saiyuki, I doubt I can turn down a chance to buy them again, especially in shiny, new hardcover editions. Though nothing will quell my longing for more of Minekura’s Wild Adapter, I’ll take what I can get. Bring me Saiyuki!

Pick of the Week: As Expected

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SEAN: A lot of diverse choices this week. The “prestige” title is clearly Downfall, but let’s face it it’s far too bleak for me. Instead, to no one’s surprise, I’ll go with Silver Spoon again. Because it is Silver Spoon, and because it is my heart.

MICHELLE: I am ashamed to admit I still haven’t read any Silver Spoon. I, too, am turning away from bleakness and toward my favorite genre, which means I am picking Shojo FIGHT! this week.

MJ: Silver Spoon. It is always Silver Spoon.

KATE: This week’s list is chock-full of great manga, from MB fave Silver Spoon to Drifting Dragons, one of the best-looking fantasy titles being published in English right now. (I reviewed the first two volumes back in 2018, if you’re curious.) My pick goes to another under-appreciated gem, however: O Maidens in Your Savage Season. If you were a nerdy teen girl—and I certainly was—Maidens should be on your list, as writer Mari Okada clearly remembers how hard it was to be horny, awkward, and VERY SERIOUS at fifteen. You’ll laugh and cry and cringe in equal measure.

ASH: So many great titles are being released this week, it’s hard to choose just one! I gladly join the chorus for Silver Spoon and all the other manga already mentioned, but the first volume of Nicola Traveling Around the Demons’ World was such a treat that the second gets my official pick.

A Man & His Cat, Vol. 1

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As someone who’s suffered a lifetime of embarrassment over my tendency to cry at movies and books about animals—even ones with happy outcomes—I realize that that my reaction to A Man and His Cat may not, in fact, be warranted by the quality of the storytelling or artwork. I should also disclose that I’m almost 50, so I’m hungry for stories about people old enough to have a few grey hairs and wrinkles. And I should probably mention that I live with two cats, one of whom is contentedly snoozing by my feet as I type.

Reader, I loved it.

There’s no real plot to speak of; the most dramatic event unfolds in the opening pages, when Fukumaru, a grumpy-faced cat, is adopted from the pet store where he’s spent a lonely year waiting for an owner. His knight in shining armor is Mr. Kanda, a middle-aged music teacher and empty nester who exudes an aura of sadness, despite his outward composure. Though Fukumaru frets that Kanda might suffer buyer’s remorse, Kanda is thoroughly smitten with Fukumaru, throwing himself into cat ownership with abandon, buying toys and collars, and taking selfies with Fukumaru. These scenes are engineered to elicit a strong, uncomplicated emotional response from the reader; Umi Sakurai doesn’t pluck or tug at the heartstrings so much as tear and rend them, giving Fukumaru a running interior monologue about his fears and hopes. And if seeing a cat worry about being returned to the pet store isn’t enough to make your lip tremble even a little, Fukumaru’s speech is peppered with feline-specific pronouns that underscore his plight in a shamelessly sentimental fashion: who but the most jaded reader could laugh at a chubby cat who worries that he might “go meowy whole life without a name?”

Fukumaru’s vulnerability is further amplified by Sakurai’s depiction of him as round and awkwardly proportioned, with an enormous face and stumpy legs. (One character helpfully describes him as “ugly-cute.”) Though Fukumaru’s penchant for tearing up is chalked up to his breed—the pet shop labels him a “short-haired exotic”—almost every kind gesture, separation, reunion, and potential setback makes Fukumaru’s eyes glisten with great, beady tears. Kanda, on the other hand, is drawn in a somewhat stiff, bland fashion with a few perfunctory laugh lines to suggest his age. The contrast between Fukumaru—who looks like the kind of off-brand stuffed animal you might win at a carnival—and his slim, be-suited owner is an interesting artistic choice, as it makes it easier for the reader to understand why Fukumaru initially feels such trepidation about Kanda. (It’s also a pretty amusing visual gag, too.)

By now, reader, you’re probably wondering, but would I like it? That’s a question I can’t really answer, since this manga’s wholesome sentimentality appealed to me against my better judgment. But if there’s a cat in your lap as you read this review, or you share your house with a pet you rescued from a shelter, I think you might appreciate the warm dynamic between Kanda and Fukumaru, as watching these two wounded souls revel in each other’s company is a genuinely heartwarming experience. Recommended.

Square Enix provided a review copy.

A MAN & HIS CAT, VOL. 1 • BY UMI SAKURAI • TRANSLATED BY TAYLOR ENGEL • SQUARE ENIX MANGA & BOOKS • 146 pp.

Pick of the Week: Cat Feud

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MICHELLE: There is so much good stuff coming out this week! My Androgynous Boyfriend and The Carp on the Chopping Block Jumps Twice are exciting enough, and then there was the surprise (to me) of a What’s Michael? reissue. What I’ve been looking forward to the most, though, is A Man and His Cat. In these trying times, the heartwarming tale of a kitty and an old dude who find each other sounds like balm for the soul.

SEAN: I am down for A Man and His Cat to be sure, as well as My Androgynous Boyfriend, plus my usual faves like Kase-san and Hayate. But I’m going to go with the What’s Michael? reissue here, because the original is one of the most iconic cat manga out there, because Makoto Kobayashi’s art is so unique, because it’s just so dang WEIRD, and because if it does well maybe we’ll get Club 9.

KATE: I was going to suggest we title this week’s column “Cat Scratch Fever,” but I thought better of it… Emoji I will say, however, that I’m 100% on board with the MB gang’s feline-friendly picks. I’m stoked for both What’s Michael? and A Man and His Cat.

MICHELLE: The Week of the Cat?

ANNA: I’m all in favor of cat manga, but my pick this week goes to the SubLime debut Given, which features music, cute boys, and plenty of angsty emotions. What else could one want?

ASH: I am thrilled that What’s Michael? is back in print (and I’ll likely be double-dipping, despite somehow managing to pull together a complete collection of the original trade release), and I’m very excited about the debut of a new publisher and A Man and His Cat, but I’m with Anna this week in making Given my official pick. (With My Androgynous Boyfriend coming in as a close second!)

MJ: I’m also very interested in Given, which I’m really hoping to love, but for my official pick I gotta go cat. I missed What’s Michael? the first time around, so I’m excited about that, too, but I think my top choice has to be A Man and His Cat.

Pick of the Week: Rose’s Turn

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ASH: Back in 1983, Frederik L. Schodt introduced Riyoko Ikeda’s highly-influential manga The Rose of Versailles to English-reading audiences when he provided and except of it in his work Manga! Manga!: The World of Japanese Comics. Since then the license was a seemingly unobtainable prize. Even after Udon Entertainment announced the rights to release a English translation of The Rose of Versailles, the series languished for years. I wasn’t going to believe it until I saw it, but my faith has been restored – in 2020, I am finally holding the first glorious hardcover volume in my hands. Everyone else should be, too.

ANNA: I am so excited for The Rose of Versailles. I’m waiting for my copy, but will have a mini-celebration when I have it in my hands. There could be no other pick of the week!

SEAN: It feels like the last thirty-odd years of mainstream manga in North American has led up to this moment. The Rose of Versailles is not only long-awaited, but its presentation shows it was worth the wait. It’s magical.

MICHELLE: I find I still can’t believe it, despite credible reports of its existence. When my copy comes, I just might cry.

KATE: My copy of Rose of Versailles just arrived, and it’s gorgeous! So many epaulets! So many galaxy eyes! So many tears! I’m already swooning and I haven’t finished chapter one. (I guess it’s my pick of the week, too.)

MJ: It’s hard to believe this time has finally come! I don’t have my copy of The Rose of Versailles yet, but when it arrives, like Michelle, I think there’s a good chance I’ll cry!

Pick of the Week: Househusbands

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SEAN: This week I’m torn between small children and yakuza husbands, so my pick is split between the 5th Ascendance of a Bookworm light novel and the second volume of The Way of the Househusband.

MICHELLE: I’m all in for The Way of the Househusband, personally, though I’m also intrigued by MabuSasa, the latest digital shoujo from Kodansha.

KATE: My pick is also The Way of the Househusband, a classic fish-out-of-water comedy that finds fresh ways to mine the gangster-goes-straight concept for laughs. Read it… or else!

ANNA: Way of the Househusband for me as well. The first volume was hilarious, looking forward to more of the same.

ASH: Who am I to argue with everyone else? The Way of the Househusband is unquestionably my pick this week, too.

MJ: Well, I’m certainly not going to be the one to destroy the consensus this week. The Way of the Househusband it is!

Saint Young Men, Vol. 1

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Saint Young Men sounds like the set-up for a George Carlin routine: Jesus and Buddha spend a “gap year” on Earth, sharing an apartment in present-day Tokyo while wrestling with the temptations and banalities of modern life. The manga’s prevailing tone, however, is more silly than satirical, focusing not on big theological or philosophical questions, but mundane ones: how to stretch a monthly budget, where to find the best souvenirs, how to fend off drunken commuters.

Most of the humor stems from Hikaru Nakamura’s portrayal of Jesus and Buddha as opposites, with Jesus as a cheerful spendthrift with a fondness for t-shirts and tschotkes, and Buddha as a frugal “big brother” who agonizes over every purchase. The two have a kind of Ernie-and-Bert dynamic in which Buddha frequently chastises Jesus for his impulsive behavior, whether Jesus has purchased a “shinsengumi set” or wants to wear a pair of Mickey Mouse ears in public. Though their bickering provides most of the series’ comic fodder, there are also jokes about walking on water and turning water into wine, as well as a few sly pokes at Osamu Tezuka’s Buddha.

Anyone hoping to be outraged by Saint Young Men will be sorely disappointed, since its most blasphemous idea is that even Jesus and Buddha can’t resist the temptations of social media and shopping for melon bread. Anyone hoping for more insight into the human condition will likewise be disappointed, as Nakamura settles for easy laughs in lieu of real insight or religious critique—a missed opportunity, I think, since her premise offers plenty of latitude to reflect on Buddhist and Christian teachings, or the perils of modern-day materialism. A few good sight gags land well, but the manga’s eagerness to please blunts the edge of its best ideas. Your mileage may vary.

SAINT YOUNG MEN, VOL. 1 • STORY AND ART BY HIKARU NAKAMURA • TRANSLATION BY ALTHEA AND ATHENA NIBLEY • KODANSHA COMICS • 152 pp.

 

Chainsaw Man

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There comes a moment in every manga reader’s journey when they’re no longer dazzled by the sheer variety of genres, styles, or outrageous storylines that an issue of Weekly Shonen Jump or Big Comic Spirits offers—the moment when a manga about killer goldfish or a warrior with lethal nose hair sounds more exhausting than awesome. I reached that milestone around the time I read The Qwaser of Stigmata, a manga so lewdly preposterous I felt uncomfortable even summarizing the plot in my review. So when I heard about Chainsaw Man, a series whose premise is pretty much summed up in the title, I was pretty sure I wasn’t interested in reading it. Then I saw this image:

My first thought was whoa. And then: cool. And so began my Chainsaw Man read-a-thon, an attempt to understand the appeal of this blood-and-testosterone-soaked battle manga.

The character atop the shark is Denji, who begins the story as an ordinary young man struggling to pay off his father’s gambling debts. His only friend is the sweet-faced Pochita, a dog demon with a chainsaw blade where his snout should be. After local mobsters brutally attack Denji, Pochita transfers his demonic powers to Denji, thus enabling Denji to transform from scrawny teen to chainsaw-wielding menace with the pull of a cord. His remarkable abilities attract the interest of Makima, a professional Devil Hunter who recognizes Denji’s potential value as a weapon. Through a mixture of flirtation, cajoling, and threats, Makima recruits Denji for the Public Safety Council, dispatching him to kill monsters.

Going into Chainsaw Man, I was fully prepared for carnage and mayhem and three-eyed sharks. What I didn’t expect were moments of genuine pathos. The interactions between Denji and Pochita, however, are sniffle-inducing, underscoring the poignancy of Pochita’s decision to sacrifice himself for Denji. Later chapters set up an interesting parallel between Denji’s relationship with Pochita and his relationship with Makima, who refers to him as her “dog.” When Denji chafes against the conditions Makima has imposed on their partnership, it spurs a moment of self-reflection about his own treatment of Pochita, making him realize just how much he took Pochita’s companionship for granted.

Of course, no one is reading Chainsaw Man for these kind of emotional beats; they’re hoping for outrageous displays of gore and violence, and on that front, Tatsuki Fujimoto does his utmost to push the boundaries of good taste. Every time Denji reverts to his demonic form, chainsaw blades burst through his chest and head with great clouds of arterial spray, a preview of the even bloodier manner in which he kills his enemies. Though some of the demons are uninspired—how’s a giant bat grab you?—Fujimoto’s most memorable creations are clearly designed to elicit an appreciative “ewww”; the first monster Denji kills, for example, is an enormous tomato devil who looks like something that’s been moldering in the crisper drawer for weeks.

Between the action scenes, Fujimoto peppers the script with crude jokes to remind us that Denji is a teenage boy whose primary motivation for fighting demons is to impress Makima and earn enough money to eat junk food. In that respect, Denji is a more honest shonen hero than the typical Jump lead; he thinks and acts like a real teenage boy, right down to his self-absorption and total objectification of women. (There’s even a chapter called “A Way to Touch Some Boobs.” Yes, really.) I can’t say I ever warmed to Denji as a lead character, but I finished my read-a-thon with a grudging respect for Fujimoto’s excessive, ridiculous creation, which entertained and repelled me in equal measure. Your mileage will vary.

Chapters 1-53 of Chainsaw Man are available at the VIZ website. 

CHAINSAW MAN • STORY AND ART BY TATSUKI FUJIMOTO • VIZ MEDIA

 

Pick of the Week: Sports and Wine

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MICHELLE: There are several volumes of sports manga coming out this week, which delights me to no end. I will happily read all of them, but my pick goes to the one with a premise slightly different from the rest. Giant Killing, that means you. In this seinen title, we’re dealing with a pro soccer club, not a high school team, and I’m loving it.

SEAN: Speaking of sports manga, will the race that can never end finally end in this Yowamushi Pedal? It’s my pick for this week.

KATE: We’re still six or so weeks out from Lent, so my pick is Liquor and Cigarettes.

ASH: As it appears Yowamushi Pedal is covered, I’ll make Legend of Zelda: Twilight Princess my pick this week. This adaptation has been a bit more involved than Himekawa’s other Zelda manga; I’ve been enjoying seeing the team’s skills applied to a longer series.

ANNA: There’s not a ton that appeals to me this week so I’m going to trust Kate’s manga instincts and pick Liquor and Cigarettes as well.

MJ: I’m pretty much exactly where Anna is this week, so I’ll also go along with Kate! Liquor and Cigarettes it is!

The Wize Wize Beasts of the Wizarding Wizdoms

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“Whimsical tales of anthropomorphic beasts in love”—or so the dust jacket of The Wize Wize Beasts of the Wizarding Wizdoms promises. The eight stories in this collection do feature a race of half-animal, half-human creatures who behave like boys at a British boarding school, forming intense friendships that sometimes cross the line into romance. I’m a little reluctant to call these stories “whimsical,” however, as that word implies a certain degree of playfulness that was lacking in most of the stories, some of which were intensely sincere, and some of which raised legitimate questions about boundaries and consent.

Wize Wize Beasts unfolds at a special academy “dedicated to the study of wizardry,” where demi-humans of every imaginable type peacefully co-exist as they learn the arts of potion-making, spell-casting, and alchemy. Each story centers on a pair of opposites: prey and predator, teacher and student, mammal and reptile, smart and average. Most of their relationships fall under the general heading of “unrequited love,” in which one demi-human pines for his opposite, but can’t muster the courage to say how he feels.

In the most enjoyable chapters—”Marley & Collette,” “Cromwell & Benjamin”—Nagabe explores the healthier side of attraction, showing how strong feelings of admiration and concern can bring out the best in friends, allowing for moments of tenderness, warmth, and emotional honesty even when the friendship remains platonic. My favorite, “Mauchly & Charles,” read like an irresistible mash-up of Winnie the Pooh and The Girl from the Other Side, focusing on a bear (Mauchly) and the human he rescued (Charles) from a dark, rainy forest. After Charles returns to his own world, he and Mauchly hold an annual reunion, using this ritual as an opportunity to reflect on what’s changed in the ensuing year. The emotional vulnerability and candor of their interactions is genuinely astonishing—not because men don’t have close friendships, but because the kind of physical intimacy and gentleness that defines Mauchly and Charles’ friendship is seldom depicted in popular culture.

The weakest stories in the collection, by contrast, often conflate possessive or coercive behavior with romantic attraction, justifying one character’s actions by suggesting his feelings were so intense that they compelled him to transgress social norms. In “Doug & Huey,” for example, a crow (Doug) carries a torch for his handsome friend Huey, who—natch—is a peacock. Though Huey spends most of his time chasing girls, Doug’s devotion to him is unwavering—so much so, in fact, that Doug sabotages Huey’s efforts to land a girlfriend so that Huey will “never be closer to someone else.” Huey, for his part, is so deeply narcissistic that he doesn’t recognize Doug’s controlling behavior, creating a deeply toxic bond between them that is presented as a simple case of unrequited love.

The issue of consent lingers over other chapters in Wize Wize Beasts as well. “Alan & Eddington,” for example, depicts the friendship between a brilliant Siamese (Alan) and a hardworking rabbit (Eddie) who’s dazzled by his classmate’s effortless mastery of complex subjects. Afraid that Alan will reject his advances, Eddie concocts and serves him a love potion. While under the influence of Alan’s spell, Eddie compels Alan to kiss him and profess his love for him—a scene that’s meant to be a little naughty, I think, but instead registers as squicky. Alan confronts Eddie about the incident, but then invites Eddie to “start over” without a magical aide, undercutting the power of his previous speech about Alan’s “cowardly” behavior.

If I was sometimes ambivalent about the content, I found Nagabe’s crisp illustrations thoroughly enchanting. His anthropomorphic character designs capture the essential animal natures of each character while retaining just enough human features for Nagabe to plausibly swathe them in flowing capes and tweedy trousers. Nagabe’s command of light, shadow, and line is superb, creating a strong sense of place without excessive reliance on screentone or tracing; his characters inhabit a well-defined world that has been vividly and imaginatively rendered on the page.

In the afterword to Wize Wize Beasts, Nagabe cheerfully jokes about “winning” readers over to his particular fandom. “I’d be deeply honored if this work exposes more people to non-human characters,” he notes. “And if you start to think, ‘Wow, non-human characters are awesome,’ go on. Get in there up to your neck.” I can’t say that Wize Wize Beasts made me a convert, but I did admire Nagabe’s creativity, sincerity, and honesty, as well as his willingness to take narrative risks that might not pay off with all readers. Your mileage may vary.

THE WIZE WIZE BEASTS OF WIZARDING WIZDOMS • STORY AND ART BY NAGABE • TRANSLATED BY ADRIENNE BECK • SEVEN SEAS • RATED TEEN • 228 pp.

Manga the Week of 1/15/20

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SEAN: Remember when January was the smallest month of the year? No more!

ASH: Ha!

SEAN: Ghost Ship gives us a 14th volume of To-Love-Ru Darkness.

J-Novel Club has three debuts, the first of their massive wave of Anime NYC licenses. The Economics of Prophecy (Yogen no Keizaigaku) is from Legend Novels, a Kodansha fantasy imprint. Can an ignored oracle and a reincarnated economist save the kingdom?

Kobold King is also from Legend Novels. A famous warrior who has become so powerful that everyone is too afraid of him tries to show a tribe of kobolds that he’s really a sweetie at heart.

ASH: I was previously unaware of Legend Novels, but with these two titles make the imprint seems like it could be a source with some potential.

ANNA: Ok, light novels featuring economists does sound amusing, but I am not a light novel person.

SEAN: The Underdog of the Eight Greater Tribes (Hachi Dai Shuzoku no Saijaku Kettousha) is from HJ Bunko, and is a battle fantasy, though apparently not involving literal magical academies this time.

Also from J-Novel is the 9th volume of If It’s For My Daughter, I’d Even Defeat a Demon Lord, Infinite Stratos 11 and Seirei Gensouki 8.

In print, Kodansha has Hitorijime My Hero 6, If I Could Reach You 3, and Yamada-kun and the Seven Witches 21-22.

ASH: I’ve been meaning to give If I Could Reach You a try at some point.

SEAN: Digitally, the debut is GE: Good Ending, which has been rumored to get a license over here since it began, but never did. Now it’s over, and we have a digital license. It’s by the creator of Domestic Girlfriend, ran in Weekly Shonen Magazine, and is a potboiler, just like its successor.

We also have digital volumes for 1122: For a Happy Marriage (4), Ace of the Diamond (24), Domestic Girlfriend (23), Ex-Enthusiasts: Motokare Mania (2), Farewell My Dear Cramer (6), and Giant Killing (18).

MICHELLE: So much sports manga! *rubs hands together in anticipation*

SEAN: One Peace Books has a 6th volume of Hinamatsuri.

ASH: I’m a few volumes behind, but this series continues to amuse me.

SEAN: Seven Seas gives us an 8th Himouto Umaru-chan, the 5th Mushoku Tensei novel digitally, and a 2nd volume of Uzaki-chan Wants to Hang Out!!.

Debuting from SuBLime is Liquor and Cigarettes, a title from Gentosha’s Lynx magazine. It’s by the author of Coyote. They smoke. They drink. They smoke and smoke and drink… OK, sorry.

Vertical has a 4th volume of the Knights of Sidonia Master Edition.

Viz has a debut title. You thrilled to Persona 3, you cried at Persona 4, now, at last, we see Persona 5! This runs in Shogakukan’s Ura Sunday, and (surprise!) adapts the game.

Viz also gives us Case Closed 73, The Legend of Zelda: Twilight Princess 6, Radiant 9, and Splatoon 8.

ASH: I’ve been enjoying the Twilight Princess adaptation!

SEAN: Lastly, Yen Press has a 2nd Do You Love Your Mom (and Her Two-Hit Multi-Target Attacks?) manga, and a 13th Yowamushi Pedal omnibus. I suspect Manga Bookshelf folks will have little trouble choosing between these two.

ASH: Yup. It’s definitely Yowamushi Pedal for me!

MICHELLE: See above re: anticipatory hands.

SEAN: Do you like any of these titles? Or do you not like manga at all, but read this column just for the hell of it?

KATE: I don’t like (much) manga, but I always enjoy this column. :D

Pick of the Week: Jump to the Beat

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SEAN: It’s Jump/Beat week, so we have an embarrassment of titles. I’ll pick the final Anonymous Noise, which is not quite as gripping now that it’s not showing its heroine screaming her song at the reader, but still a very good read.

MICHELLE: I’m definitely going to read the finale of Anonymous Noise, which won me over after the first few volumes but never quite captured my heart, but what I’m really jonesing for is a hit of some volleyball action in Haikyu!!.

KATE: Lest anyone accuse me of being predictable, I’m going to pick… actually, I’m going to stay on brand and choose volume 13 of The Promised Neverland. Why break my streak?!

ANNA: I’m never going to pass up a chance to highlight some josei, so my pick is An Incurable Case of Love Volume 2. The first volume featured a few twists on the workplace romance genre, so I’m curious to see what happens next.

ASH: This really is a good week for Viz releases! But to be contrary, and because I just finished reading and liked the first volume, I’m going to pick Animeta!.

MJ: It doesn’t seem like this should be a difficult week to come up with something, but I admit it’s been a struggle! But I have finally started getting into Snow White with the Red Hair, so I think I’ll toss my vote in for that. I need to read more manga in 2020!

Star Wars: Episode I – The Phantom Menace

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As The Rise of Skywalker brings the Star Wars saga to its official close, now seems like the right time to revisit the very first chapter in the series, The Phantom Menace. Episode I debuted in 1999, making the leap from screen to print the following year with Kia Asamiya providing the illustrations. Readers familiar with Asamiya’s Silent Möbius will immediately understand why he was tapped for this project: he has a penchant for drawing detailed space ships and cityscapes, two important qualifications for translating George Lucas’ vision into a compelling comic.

Alas, Asamiya was also saddled with Lucas’ original script, leaving him little room to make the story more interesting on the page than it was on the screen. Asamiya faithfully preserves the film’s most frustrating elements—the tin-eared dialogue, the unfortunate minstrelsy of JarJar Binks—as well as its surfeit of plot points, secondary characters, and clumsy discussions of Federation trade policy. To his credit, Asamiya’s version is brisk and streamlined in contrast with Lucas’, marching from one scene to the next with a sense of urgency that’s often lacking from the film. Some of the film’s most tedious scenes—the blockade of Naboo, the first interactions between Padme and Anakin, the Imperial Senate’s deliberations—have been telescoped, giving Asamiya room for more detailed treatments of chases, light saber fights, and space battles.

The artwork, on the other hand, is a hit-or-miss affair. Asamiya’s skill at drawing aliens, robots, space craft, and futuristic cities is unquestionable; his evocation of Otoh Gunga and Coruscant do justice to the complexity and specificity of Lucas’ original designs, while Asamiya’s establishing shots of Naboo convincingly evoke the planet’s lush jungles and Greco-Roman palaces without the added benefit of color. His ability to compress lengthy action sequences is likewise impressive; in just a few artfully constructed pages, for example, he captures the excitement and danger of Anakin Skywalker’s pod race, using panels-within-panels to juxtapose the racers’ progress with the crowd’s ecstatic reaction to the event:

Asamiya’s human characters, by contrast, are as expressionless as their big-screen counterparts—a key failing, as the characters register as pawns, not people, dutifully shuttled from one scenario to the next with almost no sense of how the violence and chaos they’ve encountered has affected them. Only the two principle non-human characters—JarJar Binks and C3PO—are drawn in an animated fashion, providing the series’ few moments of genuine emotion and surprise.

And that, in a nutshell, is why Asamiya’s take on The Phantom Menace is so frustrating: it improves on certain aspects of the source material while emphasizing its fatal flaws, making for an efficient but affectless gloss on Lucas’ original story that reads a lot like Cliff Notes. Not recommended.

STAR WARS: EPISODE I – THE PHANTOM MENACE, VOLS. 1-2 • ART BY KIA ASAMIYA • MARVEL COMICS • NO RATING (SUITABLE FOR READERS 10 AND UP)

Skull-Face Bookseller Honda-san, Vol. 1

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If you’ve ever worked a thankless retail job, you’ll appreciate Skull-Face Bookseller Honda-san, a candid, fitfully funny series about working in the customer service industry. The titular character works in the manga section of a large Tokyo bookstore, helping buyers find the perfect series, taking inventory, and meeting with representatives from major publishers.

Some of her adventures are genuinely amusing, as when a handsome male customer requests explicit doujinshi for his daughter, or an American fujoshi explains her penchant for a particular seme-uke dynamic; other chapters are more matter-of-fact, conveying the difficulties of keeping popular titles in stock, or documenting the social and professional interactions among the staff members. Though none of its is laugh-out-loud funny, the artwork is terrific, capturing Honda-san’s sweaty anxiety every time a customer or colleague makes an uncomfortable request of her—no mean feat, given that the artist has depicted herself with a skeleton head and androgynous, apron-clad body. (Her colleagues’ identities have been camouflaged in a similar fashion: one has a paper bag for a head, and another wears a gas mask.) Amanda Haley’s thoughtful translation complements Honda’s crisp illustrations, offering useful context for understanding the unique challenges of selling manga to the general public, and plenty of footnotes to decode the insider shop-talk.

Yet for all the craft with which Skull-Face Bookseller is written, I never fully succumbed to its charms. I found the pacing uneven and the publishing-focused chapters long-winded, especially when contrasted with the snappy staging of Honda-san’s encounter with the international BL brigade. I’m still curious about the series, but would put Skull-Face Bookseller in the same category as Saint Young Men: a comedy that’s better in principle than in practice. Your mileage may vary.

SKULL-FACE BOOKSELLER HONDA-SAN, VOL. 1 • STORY AND ART BY HONDA • TRANSLATION BY AMANDA HALEY • YEN PRESS • NO RATING • 166 pp.

Ms. Kozumi Loves Ramen Noodles, Vol. 1

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Ms. Kozumi Loves Ramen Noodles is pretty much what you’d expect from the title: a manga about a high school student whose interest in noodles crosses the line from simple enthusiasm into full-blown mania. While Kozumi’s peers go to the mall or the malt shop, she visits out-of-the-way restaurants to sample every conceivable type of ramen, from spicy to sour to sweet. Her passion is so extreme, in fact, that she ditches school for a 200-mile trip to Iwaki just to taste a local specialty: no-bake natto ramen. Though Kozumi is uninterested in socializing with her classmates, three girls—Yu, Misa, and Jun—find Kozumi’s reticence an irresistible challenge, and repeatedly seek her company outside of school. Yu, in particular, is one of those only-in-manga characters whose cheerfully inappropriate behavior would be considered creepy in almost any other context, as she follows Kozumi to ramen joints around Tokyo, copying Kozumi’s behavior and—more egregiously—her orders. When Yu’s pals befriend Kozumi before she does, she flies into a jealous tizzy, and doubles down on her efforts to show Kozumi that she, too, appreciates ramen.

These scenes are clearly intended to be funny, but the social dynamic among the four principal characters is too strained to elicit laughter, as it relies almost entirely on the characters behaving idiotically for effect. The artwork, too, leaves something to be desired, juxtaposing hyper-realistic drawings of food and condiments with ultra-cutesy character designs that seem ready-made for key chains and body pillows. The cuteness would be less off-putting if the characters weren’t frequently drawn in rapturous close-up, sucking down noodles while suggestive trickles of broth dangled from their lips—a potent reminder that Ms. Kozumi runs in a seinen magazine and not, say, Bessatsu Friend.

The shop talk, by contrast, is genuinely enlightening. If your primary experience with ramen has been limited to steaming bowls of noodles, scallions, and chicken broth, the sheer range of dishes will come as a revelation; in one sequence, for example, Kozumi describes a form of ice cream ramen, while in another, Jun discovers the savory pleasures of a salted pineapple ramen bowl. A solid translation by Ayumi Kato Blystone helps convey what’s distinctive about each dish, and offers good insight into how dishes are prepared—more so, in fact, than many ostensibly “serious” food manga. So on that front, at least, Ms. Kozumi succeeds in communicating why the title character likes ramen so much; too bad the reader has to soldier past so much resolutely unfunny slapstick to enjoy the tastiest bits. Your mileage may vary.

MS. KOZUMI LOVES RAMEN NOODLES, VOL. 1 • ART AND STORY BY NARU NARUMI • TRANSLATED BY AYUMI KATO BLYSTONE • DARK HORSE COMICS • 136 pp. • NO RATING