Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

Katherine Dacey

Give My Regards to Black Jack, Vols. 1-2

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Give My Regards to Black Jack tells a familiar story: a newly-minted professional enters his field, convinced that he has chosen the True Path. He soon discovers, however, that many of his colleagues have chosen profit over passion, forcing him to decide whether to follow their example or fight the system.

Eijiro Saito, the hero, is a graduate of a top medical school, brimming with energy and enthusiasm. Though Saito lands a plum internship at Eiroku University’s teaching hospital, his pay is meager; he supplements his income by moonlighting at a woefully understaffed emergency room. At both institutions, Saito encounters crooked doctors who demand bribes from patients; arrogant doctors who belittle poor patients; and money-minded doctors who care only about the hospital’s bottom line. For all the challenges to Saito’s idealism, however, he clings tenaciously to the belief that candor and sincerity are a doctor’s greatest assets.

As agit-prop, Give My Regards to Black Jack succeeds. Author Shuho Sato makes a convincing case that billing practices encourage Japanese hospitals to treat patients as cash cows, rather than people in need of medical care. Sato also offers a blistering critique of doctor training, showing us the toll that long hours, poor pay, and workplace bullying exact on residents.

As drama, however, Give My Regards to Black Jack is too tidy to be moving. True, Saito’s despair at his own futility seems genuine. Early in volume one, for example, Saito finds himself alone in the operating room with a motorcycle accident victim. Fearful of killing the patient, Saito does nothing; only the last-minute intervention of a more experienced surgeon prevents the victim from dying on the table. In a moment of self-hatred, Saito dissolves into tears, castigating himself for his paralysis — a scene that intuitively and emotionally feels right, given where he is in his residency.

Where the story falters is in its portrayal of the senior doctors at Eiroku Hospital: they’re haughty and deceitful, primarily concerned with asserting their authority over patients and junior staff members. Even when their words ring with truth, their advice is framed as a cynical and self-serving pose. Not all of the doctors fit this mold: the repulsively drawn Ushida, who toils in the Seido emergency room, is a wiser and more compassionate soul than his wolfish face or feral demeanor might suggest. So is Saburo Kita, a maverick heart surgeon who loves karaoke and paisley shirts; Kita cuts a flamboyant figure, but is humble when discussing his work. These characters are few and far between, however, with many more doctors acting like graduates of the Snidely Whiplash School of Medical Malpractice.

The series’ other shortcoming is the artwork. Though Sato shows a Tezukian flair for close-ups of mangled flesh and pulsating organs, his character designs lack Tezuka’s finesse. Tezuka’s Black Jack might be a cartoonish figure with his cloak and Frankensutures, but those design elements are fundamental to establishing Black Jack’s personality; a reader could dive into any Black Jack story and immediately understand who he is. Moreover, all of the characters in Black Jack are crafted with similar care, each assigned a few simple but telling details that communicate their role in the drama.

By contrast, Ushida looks like he stepped out of Toriko, with his bug eyes, lantern-jaw, and perma-sneer. Since none of the other characters are rendered in such a grotesque fashion, one could make the argument that Ushida’s ugliness must serve a dramatic purpose, symbolizing the corrosive effect of his working conditions. We never spend enough time with Ushida, however, to know how much he sacrificed his ideals for a steady career, nor do we see enough of his behavior with patients to rationalize his appearance. It seems perverse to draw only one character in such a distorted fashion; say what you will about Tezuka’s caricatures, but there was always a unifying aesthetic in Black Jack that made it possible for the reader to view Dr. Kiriko, Pinoko, and Biwamaru as inhabitants of the same universe.

What Sato’s work has in common with Tezuka’s is a fierce conviction that the Japanese medical establishment is bloated, ineffective, and indifferent to real human suffering. Sato addresses these shortcomings in a more explicit fashion than Tezuka did in Black Jack — or Ode to Kirihito, for that matter — using real medical procedures and real administrative dilemmas as plot fodder. Yet Sato’s stories are often unmoving, as his hero’s idealism compels him to take simplistic stands on complex issues. Tezuka, on the other hand, focused more on entertaining audiences than on educating them about Japanese health care, building his stories around a character whose subversive, self-interested behavior never prevented him from treating the genuinely deserving. Tezuka’s stories might be more formulaic and absurd than Sato’s, but they’re never so earnestly dull that they read like anti-JMA propaganda. Call me crazy, but I’ll take killer whale surgery and teratoid cystomas over a hectoring medical procedural any day.

GIVE MY REGARDS TO BLACK JACK, VOLS. 1-2 • BY SHUHO SATO • SELF-PUBLISHED (AVAILABLE THROUGH AMAZON’S KINDLE STORE)

Pick of the Week: Saiunkoku, GTO, Skip Beat!

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KATE: It’s VIZ dump week, in which a large and random assortment of VIZ titles arrive at Midtown Comics. Although there are several great titles to choose from—Skip Beat!, Slam Dunk, A Devil and Her Love Song—my vote goes to volume eight of The Story of Saiunkoku. The volume is worth it just for the scene of Minister Ko’s unmasking, but there’s plenty more going on as well: sexual discrimination, clan intrigue, and romance. (Remember the emperor? He factors into the story in a more prominent way in this volume.) Frustratingly tidy as Saiunkoku can be, it’s still fun to read; I’m irresistibly reminded of Yentl and Mulan every time I sit down with a new volume.

MJ: While the VIZ dump certainly has a lot to offer, I admit I’m leaning in Vertical’s direction. Arrivals this week at Midtown include my pick from last week, Paradise Kiss, but also the fifth volume of GTO: 14 Days in Shonan, one of my least expected current favorites. Though nothing about the premise suggests that this series would be something I’d fall in love with, the fact is, I have, and I can’t help looking forward to each new volume. It’s definitely a GTO week for me!

SEAN: I also went with ParaKiss last week, so I’ll dip into the Viz Blitz this week and pick Vol. 29 of Skip Beat!. First of all, that cover is pure Barbara Cartland, even if no actual hot hot seduction will be happening within the actual pages. What we’ll get instead, I suspect, is more acting angst, more of Ren brooding, Kyoko freaking out about something at least once, and hopefully a shot or two of humor. At 29 volumes and counting, this is one of the longest shoujo series to be published over here, and I’ glad that it still seems to sell well. Mostly as Kyoko is simply fun to read about.

MICHELLE: I think I am going to have to go with Skip Beat!, too. It’s a special series that still makes me go, “Oh, yay! New Skip Beat!” even when we’re talking about volume 29. I could probably love this series at volume 79, actually. It’s that good, and the characters that endearing.

Readers, what looks good to you this week?

Bookshelf Briefs 10/1/12

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This week, Sean, Kate, MJ, and Michelle look at recent releases from VIZ Media, Yen Press, and Vertical, Inc.

Arata: The Legend, Vol. 11 | By Yuu Watase | VIZ Media – The last time I wrote about Arata, I described it as consistently entertaining. Alas, I haven’t really been feeling these two most recent volumes. So much seems to be repeating the same pattern—Arata encounters a hostile bishounen shinsho and employs his shoujo-heroine-in-a-shounen-manga mojo to discover the fellow’s true feelings, which he soothes before the two become allies—that when important things do happen, like the revelation that a pair of characters changed places (between modern Japan and Amawakuni) in their infancy, it fails to register any sort of impact. Things begin to look up slightly towards the end of the volume, though, as the group heads into the territory of the most hostile bishounen of them all: Akachi. Somehow I doubt he’s going to want to talk about his feelings for, oh, at least two volumes. – Michelle Smith

The Drops of God: New World | By Tadashi Agi and Shu Okimoto | Vertical, Inc. – If Drops of God had sold better, this would be half of Vol. 11 and half of 12, and we’d be reading it a couple years from now. As it is, this is the last planned volume, and I understand the publisher in Japan asked that it jump ahead to focus on American (and Australian) wines. Honestly, there isn’t that much missed – the biggest change is that Loulan, Issei’s hookup from Vol. 4, is now in Japan and acting as his Miyabi. (It’s unclear if they’re married, still lovers, or what have you.) And Issei is the one who clearly has gotten the most character development – he almost seems like a 2nd protagonist than a rival by now, and has mellowed out considerably. Shizuku, on the other hand, still feels as if he’s lagging behind and unable to progress. Which, to be honest, is true – he’s much the same as he was in V. 1-4. I do hope we eventually see more of this. -Sean Gaffney

Fushigi Yugi Genbu Kaiden, Vol. 10 | By Yuu Watase | VIZ Media – In my experience, a long wait between volumes of a manga series can be either a blessing or a curse—maybe even both. On one hand, anticipation is undoubtedly sweet, and a wait of nearly three years certainly provides plenty of that. On the other hand, anticipation can shift quickly to expectation, and after nearly three years… well, you get the idea. Fortunately, Fushigi Yugi Genbu Kaiden delivers, at least where it most counts. Despite the long wait, Watase’s well-paced storytelling and energetic artwork pull us right back into the story (and its awesomely giddy primary romance), as though no time has passed at all. On the downside (or is it?), the volume’s final pages are likely to throw readers right back into the clutches of sweet (and painful!) anticipation once again. – MJ

GTO: 14 Days in Shonan, Vol. 5 | By Toru Fujisawa | Vertical, Inc. – One of the main reasons we enjoy reading GTO is to see Onizuka kick the crap out of people as he tells them how they’re screwing things up. That said, he is meant to be a teacher, and pass on his example to others. This volume doesn’t have quite as much Onizuka in person, but it has him leading by inspiration – including a long mid-volume sequence starring Uchiyamada, the antagonistic vice-principal from the GTO series proper. It’s easy to see Onizuka dealing with young, impressionable teens. But just because folks are adults doesn’t mean they’re wise and all-knowing, or that their problems go away. So seeing Uchiyamada preparing to confront 50 gang members, or Ayame beating the crap out of a yakuza in order to confront the twins behind all this, is just as awesome as Onizuka himself. -Sean Gaffney

Spice & Wolf, Vol. 6 | Story by Isuna Kasekua, Art by Keito Koume, Character Design by Jyuu Ayakura | Yen Press – Here are eight words I never thought I’d type: I liked volume six of Spice & Wolf. Yes, there was some gratuitous nudity, and yes, there was some limp flirtation between Holo and Lawrence, but on balance, volume six delivered enough action to erase the memory of all those Economics for Dummies speeches in previous volumes. Better still, Holo spent most of the volume as a wisewolf, inflicting bodily harm on soldiers, extracting confessions from enemies, and menacing her (perceived) romantic rival Norah. I’ll take Holo in her feral form any day; she’s funny and fierce, using her physical strength, rather than her feminine wiles, to get the job done. I’m not sure that a handful of decent chapters are enough to make me revisit earlier volumes, but they did, at last, help me understand why this series has been such a phenomenon among American otaku. – Katherine Dacey

The Story of Saiunkoku, Vol. 8 | Art by Kairi Yura, Story by Sai Yukino | VIZ Media – Never underestimate the power of Cover Girl — that’s my takeaway from volume eight, in which Shurei decides her only chance of claiming her rightful position as a civil servant is to show her male peers she’s 100% woman… by donning makeup. The resolution of that conflict is a little too tidy, relying on narration rather than dramatization to show us how Shurei establishes her civil servant credentials. On the whole, however, volume eight is a solid installment in this period soap opera, serving up an appealing mixture of comedy, drama, intrigue, and romance, and ending with the kind of cliffhanger that promises to advance the story in a new and meaningful direction. Still recommended. – Katherine Dacey

Yotsuba&!, Vol. 11 | By Kiyohiko Azuma | Yen Press – It’s been nearly a year since I last read any Yotsuba&!. I didn’t realize how much I’d missed it until I started to read and the first chapter, in which Yotsuba invites herself into the kitchen of an udon shop to watch how it’s made, completely reminded me of everything that is great about this series. Seriously, this is the kind of manga where you suddenly realize you’re smiling and wonder how long you’ve been sitting there, doing that. Pizza, bubbles, cameras… these are a few of the things that fill Yotsuba with wonder in these pages, but the last page of the volume is the one that really made me laugh out loud and get verklempt all at the same time. Is this praise copious enough? If you haven’t read Yotsuba&!, what are you waiting for? Jeez, man. Get with it! – Michelle Smith

Limit, Vol. 1

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“The world doesn’t suffer fools or fugly people” — so says Sakura, the most popular student in class 2-4. Sakura is a classic Alpha Girl: pretty, manipulative, and confident that at fifteen, she’s discovered the secret to being successful. (“Both studies and make-up. They’re real important for enjoying life, you know?” she informs her pal Konno.) Though Sakura’s friends may not like her, they recognize her power and follow her example; when Sakura declares that the awkward, quiet Arisa Morishige should “die,” Sakura’s friends are all too quick to agree.

The dynamic between Sakura’s clique and Morishige is dramatically reversed, however, on an annual school trip to “exchange camp,” where second-year students spend a week roughing it in a rural setting. En route to camp, a bus accident kills most of the class, leaving a handful of survivors stranded in the wilderness. The remaining members of Sakura’s clique soon discover that their nasty antics have demoted them from the A-list to the D — a demotion that, in their new, desperate circumstances, has potentially deadly consequences.

In a more cynical frame of mind, I might describe Limit as “Lord of the Flies with chicks,” but that cheeky brush-off doesn’t quite do justice to Keiko Suenobo’s story. Her principal characters are just as concerned with survival as William Golding’s private-school boys were, but the girls’ internal power struggles are less a exploration of Hobbesian philosophy than an extreme dramatization of the cliquish behavior found in Japanese high schools. In other words, it’s Mean Girls… with weapons.

Entertaining as that sounds, Limit suffers from a crucial flaw: Konno, the narrator, isn’t very interesting, as her primary role is to be an inoffensive reader surrogate. Konno is pretty and smart enough to be a member of Sakura’s clique, but passive enough that her behavior won’t elicit criticism from most readers; Konno is never portrayed as a ringleader or enthusiastic participant in Morishige’s degradation, though she clearly joined Sakura in harassing Morishige. That’s a mistake, I think, because it permits the reader to side too readily with Konno when the tables are turned, ignoring the fact that Morishige’s rage stems from being bullied on a daily basis by Sakura and Konno.

The other survivors are a more compelling lot, even if each neatly slots into a well-established role: The Principled Outsider, The Timid Girl, The Frenemy. That Suenobo endows each of these girls with more humanity than those roles require is testament to her skill as a writer. Volume one’s most moving scene, for example, belongs to Ichinose, Sakura’s best friend. Though she and Konno have moved in the same social circles, the bus accident reveals that Ichinose views Konno as a rival for Sakura’s friendship. Ichinose’s desperation at being “traded in” for the smarter, prettier Konno is palpable, and the rawness of her angry confession is one of the few moments in the script that doesn’t feel like a rote portrayal of mean-girl politics.

Perhaps the strongest element of Limit is the artwork. Suenobo’s meticulous efforts to dramatize her characters’ inner turmoil reminds the reader that Limit ran in Bessatsu Friend, not Weekly Shonen Magazine. Konno and Ichinose scream and cry as lustily as any character in Cage of Eden, but Limit‘s characters register a much fuller range of emotions than just fear of being lost or eaten; Konno and her fellow survivors are by turns angry, jealous, gleeful, miserable, spiteful, bitter, remorseful, and fearful — of one another. By far the most dramatic example is Morishige, who morphs from cringing, sweaty scapegoat to demonic avenger; her once dull, shark-like eyes are suddenly animated with a fierce, nasty sense of purpose, and she moves with a speed and deliberation that surprise her classmates.

Suenobo also demonstrates a flair for staging action scenes. The bus accident is depicted in a brief but effective sequence that makes creative use of camera angles to suggest the severity of the crash. Likewise, Suenobo firmly establishes how desperate the girls’ situation really is; in a few carefully drawn panels, the reader readily grasps the geographic obstacles to rescue, from sheer cliff walls to impenetrable woods. That no one’s cell phone works feels like an unnecessary touch, given the care with which Suenobo sketches out the crash site and its environs.

If the story is, at times, a little uneven, or ungenerous to Morishige, Limit still shows considerable promise. Suenobo makes good use of her teen-survivor premise to explore the politics of bullying without being too mawkish. At the same time, however, Suenobo manages to write a scary thriller that’s sophisticated and suspenseful enough to sustain an adult’s interest; the story’s occasional Grand Guignol touches add a welcome dash of camp, preventing the story from sinking under the weight of its Very Important Message. I can’t imagine what will happen in volume two, but I’m looking forward to reading it… with the lights on. Recommended.

Review copy provided by Vertical, Inc. Volume one will be released on October 9, 2012.

LIMIT, VOL. 1 • BY KEIKO SUENOBO • VERTICAL, INC. • 176 pp.

Limit, Vol. 1

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“The world doesn’t suffer fools or fugly people” — so says Sakura, the most popular student in class 2-4. Sakura is a classic Alpha Girl: pretty, manipulative, and confident that at fifteen, she’s discovered the secret to being successful. (“Both studies and make-up. They’re real important for enjoying life, you know?” she informs her pal Konno.) Though Sakura’s friends may not like her, they recognize her power and follow her example; when Sakura declares that the awkward, quiet Arisa Morishige should “die,” Sakura’s friends are all too quick to agree.

The dynamic between Sakura’s clique and Morishige is dramatically reversed, however, on an annual school trip to “exchange camp,” where second-year students spend a week roughing it in a rural setting. En route to camp, a bus accident kills most of the class, leaving a handful of survivors stranded in the wilderness. The remaining members of Sakura’s clique soon discover that their nasty antics have demoted them from the A-list to the D — a demotion that, in their new, desperate circumstances, has potentially deadly consequences.

In a more cynical frame of mind, I might describe Limit as “Lord of the Flies with chicks,” but that cheeky brush-off doesn’t quite do justice to Keiko Suenobo’s story. Her principal characters are just as concerned with survival as William Golding’s private-school boys were, but the girls’ internal power struggles are less a exploration of Hobbesian philosophy than an extreme dramatization of the cliquish behavior found in Japanese high schools. In other words, it’s Mean Girls… with weapons.

Entertaining as that sounds, Limit suffers from a crucial flaw: Konno, the narrator, isn’t very interesting, as her primary role is to be an inoffensive reader surrogate. Konno is pretty and smart enough to be a member of Sakura’s clique, but passive enough that her behavior won’t elicit criticism from most readers; Konno is never portrayed as a ringleader or enthusiastic participant in Morishige’s degradation, though she clearly joined Sakura in harassing Morishige. That’s a mistake, I think, because it permits the reader to side too readily with Konno when the tables are turned, ignoring the fact that Morishige’s rage stems from being bullied on a daily basis by Sakura and Konno.

The other survivors are a more compelling lot, even if each neatly slots into a well-established role: The Principled Outsider, The Timid Girl, The Frenemy. That Suenobo endows each of these girls with more humanity than those roles require is testament to her skill as a writer. Volume one’s most moving scene, for example, belongs to Ichinose, Sakura’s best friend. Though she and Konno have moved in the same social circles, the bus accident reveals that Ichinose views Konno as a rival for Sakura’s friendship. Ichinose’s desperation at being “traded in” for the smarter, prettier Konno is palpable, and the rawness of her angry confession is one of the few moments in the script that doesn’t feel like a rote portrayal of mean-girl politics.

Perhaps the strongest element of Limit is the artwork. Suenobo’s meticulous efforts to dramatize her characters’ inner turmoil reminds the reader that Limit ran in Bessatsu Friend, not Weekly Shonen Magazine. Konno and Ichinose scream and cry as lustily as any character in Cage of Eden, but Limit‘s characters register a much fuller range of emotions than just fear of being lost or eaten; Konno and her fellow survivors are by turns angry, jealous, gleeful, miserable, spiteful, bitter, remorseful, and fearful — of one another. By far the most dramatic example is Morishige, who morphs from cringing, sweaty scapegoat to demonic avenger; her once dull, shark-like eyes are suddenly animated with a fierce, nasty sense of purpose, and she moves with a speed and deliberation that surprise her classmates.

Suenobo also demonstrates a flair for staging action scenes. The bus accident is depicted in a brief but effective sequence that makes creative use of camera angles to suggest the severity of the crash. Likewise, Suenobo firmly establishes how desperate the girls’ situation really is; in a few carefully drawn panels, the reader readily grasps the geographic obstacles to rescue, from sheer cliff walls to impenetrable woods. That no one’s cell phone works feels like an unnecessary touch, given the care with which Suenobo sketches out the crash site and its environs.

If the story is, at times, a little uneven, or ungenerous to Morishige, Limit still shows considerable promise. Suenobo makes good use of her teen-survivor premise to explore the politics of bullying without being too mawkish. At the same time, however, Suenobo manages to write a scary thriller that’s sophisticated and suspenseful enough to sustain an adult’s interest; the story’s occasional Grand Guignol touches add a welcome dash of camp, preventing the story from sinking under the weight of its Very Important Message. I can’t imagine what will happen in volume two, but I’m looking forward to reading it… with the lights on. Recommended.

Review copy provided by Vertical, Inc. Volume one will be released on October 9, 2012.

LIMIT, VOL. 1 • BY KEIKO SUENOBO • VERTICAL, INC. • 176 pp.

Pick of the Week: Barbara & More!

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KATE: Once again, you could count this week’s new arrivals on one hand. But, oh, those arrivals! DMP’s long-awaited edition of Barbara is now available through traditional retail outlets. Like most of Osamu Tezuka’s mature fiction of the 1970s, it’s equally fascinating and infuriating, with passages of sublime beauty and passages of sheer, WTF?! ridiculousness. I’m not sure I “liked” it exactly; a simple “good/bad” rating really doesn’t capture Barbara‘s weirdness, or its ambition, or its compulsive readability. Perhaps the best compliment I can pay Barbara is to say that it elicited a very strong response from me every time I’ve read it—and that’s not something I can say about 98% of the manga I review.

MICHELLE: It’s not on Midtown’s list, but Amazon shows that the latest volume of Vertical’s wine-tasting/sports manga, Drops of God, is due out this Tuesday. Subtitled “New World,” this installment jumps ahead in the storyline to a segment focusing on Napa Valley wines, which should be pretty interesting and which will hopefully garner enough interest to fill in the missing volumes in the near future!

SEAN: If we’ve decided to go rogue and pick stuff in bookstores but not comic shops this week, I think I will go with the first omnibus edition of Ai Yazawa’s Paradise Kiss. A semi-sequel to a shoujo manga from Ribon (as yet unlicensed), this features a young high school girl running into a group of eccentric young fashion designers and finding that she has talent as a model… but is the world of modeling really the safest choice? Pure soap opera, with riveting characters, this was most people’s introduction to Yazawa in North America back in the Tokyopop days, and paved the way for Nana to be an even bigger hit. Glad to see Vertical putting it back in print so it can get the attention it deserves.

MJ: I’ll just chime in here to say that I’m with Sean! I’m all about Paradise Kiss this week!

BRIGID: I never finished the first run of Genshiken, so I think I’d spring for the second volume of the Genshiken omnibus from Kodansha. It is an otaku’s otaku story, filled with all sorts of in-jokes, but the basic premise is universal, and I’ll learn a lot from the translator’s notes.

Readers, what looks good to you this week?

Bookshelf Briefs 9/24/12

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This week, Sean and Kate look at recent releases from Kodansha Comics, VIZ Media, and Yen Press.

Attack on Titan, Vol. 2 | By Hajime Isayama | Kodansha Comics – This grim and downbeat story continues to intrigue almost despite itself, as we see humanity battle against the seemingly unstoppable titans. Luckily, they are helped out this time by a mysterious titan who turns against its own, tearing them apart in messy ways. The revelation of the titan’s identity is not as much of a surprise as the author wants, I think, but still well done – particularly Mikasa’s reaction. The main problem with this series, though, continues to be the artwork – I simply can’t tell many of the characters apart, and their being soldiers in the same uniform isn’t helping. At one point I thought I saw one of the soldiers we knew shoot himself in the head, only for it to turn out to be another, similar crew-cut soldier. A character guide at the front of the volume is no help – it only has the three leads. -Sean Gaffney

Blue Exorcist, Vol. 7 | By Kazue Kato | VIZ Media – One of the things that never ceases to amaze me about Blue Exorcist is Kazue Kato’s ability to tell an intricate story while still providing enough points of entry that a newcomer can follow what’s happening. In volume seven, for example, we learn more about Mamushi and Todo’s true purpose in stealing the Impure King’s eyes. Though these scenes are more emotionally engaging for a well-informed reader, a newbie can readily grasp the basics: Kyoto will be toast if the Impure King’s seal is broken. You don’t need to know much else to appreciate Kato’s smart pacing, crisp artwork, and flair for the grotesque; the Impure King looks like the unholy love child of InuYasha‘s Naraku and AKIRA‘s Tetsuo, and haunted me for several days after I’d finished the volume. Still highly recommended. -Katherine Dacey

Durarara!!, Vol. 3 | Created by Ryohgo Narita, Character Design by Suzuhito Yasuda, and Art by Akiyo Satorigi | Yen Press – Durarara!! is 50% great, and 50% irritating. The good parts involve Celty, a headless Irish spirit who rides through Tokyo on a sleek motorcycle; Celty is tough, funny, and more human than the high school students, thugs, and evil scientists who also inhabit her world. Her quest to be reunited with her head provides the story’s best comic and dramatic moments, including an agonizing scene in which she must decide whether to reclaim it from its new owner. The not-so-good parts involve the rest of the cast, none of whom behave like real human beings. The worst offender is Namie Yagiri, whose obsessive interest in her younger brother crosses the line between eccentric and just plain icky. More frustrating still is how labored these scenes feel; a judicious trimming of secondary characters and subplots would make Durarara!! a more consistently entertaining series. -Katherine Dacey

Miles Edgeworth: Ace Attorney Investigations, Vol. 2 | By Kenji Kuroda & Kazuo Maekawa | Kodansha Comics – As with Volume One of this series, the only regulars from the games are Miles and Detective Gumshoe, which makes me sad. Things are simply less silly here, as Miles doesn’t have everything go wrong as much as Phoenix does. The first case is fairly straightforward and obvious, though I loved Miles casually pointing his finger and saying ‘Objection” to an officer, as if he uses it in conversation all the time. The second case is stronger, with a better gimmick – the so-called Gentlemen Thieves. It also has a Maya/Kay surrogate in Monet Kreskin, and a very clever solution – I had figured out half the mystery, but not the other half, and the revelation was quite well done. Mystery fans will enjoy this as a quick, non-filling read.-Sean Gaffney

Yotsuba&!, Vol. 11 | By Kiyohiko Azuma | Yen Press – One thing I’ve always loved about the Yotsuba series is that the title character is not presented as a weirdo in a world of normal people. Yotsuba can do strange things, yes, but less so as the series has gone by – she’s no longer prone to climbing telephone poles, and is content to buzz around the neighborhood with a camera. Likewise, the adults and teens all have quirks of their own, from Fuuka’s strange sense of humor (which also seems to drive her relationship with Shimau – sorry, Miss Stake) to Yotsuba’s father’s tendency towards overacting. I’ve even grown to tolerate Yanda, their annoying friend, who is growing more tolerant of everyone messing with him – and in fact seems bothered by Yotsuba’s inability to do so because of depression. Lastly, Asagi is the best big sister ever. That is all.-Sean Gaffney

A Devil and Her Love Song, Vol. 4

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A Devil and Her Love Song has been one of 2012’s best surprises. Though the series uneven — and sometimes a little silly — its heroine is one of the most memorable in the Shojo Beat canon. Maria Kawai looks like a mean girl on the surface: she’s pretty and unsparingly blunt, pointing out her classmates’ insecurities with all the delicacy of Dr. Phil. Yet Maria’s bull-in-a-china-shop demeanor reflects her own uncertainty about how to be the kind of person who’s liked for who she is, not the kind of person who’s admired for telling unpleasant truths. And that makes her interesting.

Early in volume four, for example, Maria confronts queen bee Ayu in the bathroom, where she finds Ayu primping for the television cameras. When Maria questions Ayu’s behavior — “But you look the same,” she tells Ayu — Ayu is furious. Maria, however, persists — not because she wants the embarrass a rival, but because she wants to share a hard-won piece of advice. “If someone likes you, or wants to get to know you, it’s not because of how you look,” she tells Ayu. “It’s because you show them how you feel.”

Ayu’s subsequent behavior, however, points to one of the series’ weaknesses: characters have epiphanies with whiplash-inducing frequency. (Saul would never have made it to Damascus if he fell off his donkey as many times as Maria’s classmates do.) Though some of these epiphanies feel genuine, many are contrived: would an alpha girl suddenly confess her feelings to a cute boy in front of all her friends, risking public rejection? Or the class darling admit that she’s actually a nasty manipulator, risking her popularity? Those are nice fantasies, but not very plausible ones; Tomori is working too hard to convince us that Maria’s classmates secretly wish they could be more like her, and not giving group-think and fear enough due.

The series also relies heavily on shopworn gimmicks to advance the plot. The arrival of a television crew in volume three, for example, serves no useful purpose; they disappear for long stretches at a home, only to materialize when the plot demands that someone bear witness to the class’ antics. Maria’s long-running feud with her teacher, too, feels more like an editor’s suggestion than an original idea. To be sure, a student as outspoken as Maria might infuriate a certain kind of adult, but her teacher’s cartoonish behavior renders him ineffective; his actions seem too obvious, too ripe for exposure, for him to pose a real threat to Maria.

Where A Devil and Her Love Song shines is in Maria’s one-on-one interactions with other students. These scenes remind us that everyone is wearing a mask in high school — even Maria, whose sharp comments are as much a pose as Hana’s forced cheerfulness. Though Tomori nails the mean-girl dynamic in all its exquisite awfulness, the best of these exchanges belong to Maria and Shin. Their will-they-won’t-they tension is certainly an effective narrative hook, but what makes these scenes compelling is their honesty. Tomori captures her characters’ body language and fitful conversations, which unfold in fragments, silences, and sudden bursts of feeling, rather than eloquent declarations.

I don’t know about you, but that’s how I remember high school, as a time when I had flashes of insight and bravery, but a lot more moments of cringe-inducing stupidity, cowardice, or tongue-tied helplessness. That Tomori captures adolescence in all its discomfort while still writing a romance that’s fun, readable, and sometimes endearingly silly, is proof of her skill. Now if she could just ditch the television crew and the evil teacher…

Review copy provided by VIZ Media.

A DEVIL AND HER LONG SONG • BY MIYOSHI TOMORI • VIZ MEDIA • 200 pp. • RATING: TEEN (13+)

A Devil and Her Love Song, Vol. 4

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A Devil and Her Love Song has been one of 2012’s best surprises. Though the series uneven — and sometimes a little silly — its heroine is one of the most memorable in the Shojo Beat canon. Maria Kawai looks like a mean girl on the surface: she’s pretty and unsparingly blunt, pointing out her classmates’ insecurities with all the delicacy of Dr. Phil. Yet Maria’s bull-in-a-china-shop demeanor reflects her own uncertainty about how to be the kind of person who’s liked for who she is, not the kind of person who’s admired for telling unpleasant truths. And that makes her interesting.

Early in volume four, for example, Maria confronts queen bee Ayu in the bathroom, where she finds Ayu primping for the television cameras. When Maria questions Ayu’s behavior — “But you look the same,” she tells Ayu — Ayu is furious. Maria, however, persists — not because she wants the embarrass a rival, but because she wants to share a hard-won piece of advice. “If someone likes you, or wants to get to know you, it’s not because of how you look,” she tells Ayu. “It’s because you show them how you feel.”

Ayu’s subsequent behavior, however, points to one of the series’ weaknesses: characters have epiphanies with whiplash-inducing frequency. (Saul would never have made it to Damascus if he fell off his donkey as many times as Maria’s classmates do.) Though some of these epiphanies feel genuine, many are contrived: would an alpha girl suddenly confess her feelings to a cute boy in front of all her friends, risking public rejection? Or the class darling admit that she’s actually a nasty manipulator, risking her popularity? Those are nice fantasies, but not very plausible ones; Tomori is working too hard to convince us that Maria’s classmates secretly wish they could be more like her, and not giving group-think and fear enough due.

The series also relies heavily on shopworn gimmicks to advance the plot. The arrival of a television crew in volume three, for example, serves no useful purpose; they disappear for long stretches at a home, only to materialize when the plot demands that someone bear witness to the class’ antics. Maria’s long-running feud with her teacher, too, feels more like an editor’s suggestion than an original idea. To be sure, a student as outspoken as Maria might infuriate a certain kind of adult, but her teacher’s cartoonish behavior renders him ineffective; his actions seem too obvious, too ripe for exposure, for him to pose a real threat to Maria.

Where A Devil and Her Love Song shines is in Maria’s one-on-one interactions with other students. These scenes remind us that everyone is wearing a mask in high school — even Maria, whose sharp comments are as much a pose as Hana’s forced cheerfulness. Though Tomori nails the mean-girl dynamic in all its exquisite awfulness, the best of these exchanges belong to Maria and Shin. Their will-they-won’t-they tension is certainly an effective narrative hook, but what makes these scenes compelling is their honesty. Tomori captures her characters’ body language and fitful conversations, which unfold in fragments, silences, and sudden bursts of feeling, rather than eloquent declarations.

I don’t know about you, but that’s how I remember high school, as a time when I had flashes of insight and bravery, but a lot more moments of cringe-inducing stupidity, cowardice, or tongue-tied helplessness. That Tomori captures adolescence in all its discomfort while still writing a romance that’s fun, readable, and sometimes endearingly silly, is proof of her skill. Now if she could just ditch the television crew and the evil teacher…

Review copy provided by VIZ Media.

A DEVIL AND HER LONG SONG • BY MIYOSHI TOMORI • VIZ MEDIA • 200 pp. • RATING: TEEN (13+)

Pick of the Week: Magical Girls, Massacres, & More

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MJ: This week’s list at Midtown Comics may look a bit short, but it’s got some pretty compelling offerings, including new volumes of popular favorites like 20th Century Boys, Sailor Moon, and Yotsuba&!, and the second volume of the relatively intriguing Attack On Titan. But my heart belongs to the Dark Horse’s final omnibus edition of CLAMP’s Cardcaptor Sakura. Wanna know why? Well, I wrote a rather giddy essay about it for the CLAMP MMF. Dark Horse’s large-format editions are beautiful enough to make this a must-buy even for fans who already own the TOKYOPOP books, and it’s certainly a must-buy for me.

MICHELLE: I’m going to cast my vote for the second volume of Until Death Do Us Part, from Yen Press. I wasn’t at all sure what to expect from this story about a precognitive girl and the blind swordsman she enlists to protect her, but it turned out to be really interesting, especially the civilian vigilante network that funds the swordsman’s efforts. True, the premise is sustaining me more at this point than the characters, but I’m definitely eager to read more.

SEAN: If you’ve been following Higurashi‘s manga from arc to arc, you’ve begun to see how the lead characters are starting, almost unconsciously, to learn from their past mistakes, mistrust and paranoia and to rely on each other and the Power Of Friendship. We now start the penultimate arc, which is not going to solve everything (it is titled the Massacre Arc, after all), but is starting to have the heartwarming, feel-good moments outweigh the horror and despair. Plus, given it’s now in 2-volume omnibus volumes, it’s getting here faster!

KATE: And my vote goes to Berserk… not! Actually, I’m interested in another Dark Horse title: volume one of CLAMP’s Angelic Layer, a shonen tournament manga that was originally released by Tokyopop in 2002. I have vague memories of reading one or two volumes and judging them harshly against soap opera theatrics of X/1999 and Tokyo Babylon, so I’m curious to see how I feel about Angelic Layer now. Even if the story turns out to be a dud, I know the book itself will be handsomely produced and well translated, so I won’t feel quite so sore about spending the money on it.

Readers, what looks good to you this week?

Bookshelf Briefs 9/16/12

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This week, Sean, Kate, and Michelle look at recent releases from Viz Media, Kodansha Comics, and Seven Seas.

The Earl & The Fairy, Vol. 3 | By Ayuko & Mizue Tani | Viz Media – I’m afraid that Edgar and Lydia are not helping their causes when it comes to making me not want to strangle them. Edgar continues to be the sort of hero who hides everything that he does, no matter the reason, because it’s just his way. (To be fair, his upbringing likely invited this.) And Lydia keeps looking for reasons to mistrust him, and finding them, of course, as one does in a series like this. Also, despite the appearance of a bogey-beast partway through this volume, there was a lot less fantasy and a lot more romantic angst. The villain being a typical spoiled brat is also not helping its cause. I’m sure things will get more involved in the 4th (and final?) volume, but nothing in this one convinced me it shouldn’t have ended nicely with two. -Sean Gaffney

Itsuwaribito, Vol. 6 | By Yuuki Iinuma | Viz Media – Volume six of Itsuwaribito reads a lot like an early story line from InuYasha: there are killer dolls, a spider-like villain with eight arms, and a brother-sister pair who would give Kohaku and Sango a run for their money in the pathos department. Alas, that’s where the similarities between these two titles end. Though Rumiko Takahashi did a good job of allowing her story to unfold without too much authorial intervention, Yuuki Iinuma saddles his characters with info-dump dialogue and thought balloons filled with excruciatingly obvious observations. The result is a curiously unengaging story, devoid of suspense or shock; only the most inattentive reader will be surprised by the outcome of Utsusho, Yakuma, Neya, and Pochi’s battle with Naraku the deadly spider demon. -Katherine Dacey

Lizzie Newton: Victorian Mysteries, Vol. 1 | By Hey-jin Jeon and Ki-ha Lee | Seven Seas – A new manhwa series! And a mystery series, at that! As if that weren’t enough to entice me, we’ve also got an intelligent, clear-headed, marriage-averse young Victorian lady sleuth as a protagonist, and while that role might be rather cliché nowadays, it’s still a type that I enjoy reading about. Set in London in 1864, Lizzie Newton begins with the titular heroine attending a social function during which the hostess’ despondent brother turns up dead. Lizzie declares the feat a murder, though the obvious signs point to suicide, and then—with the help of her barrister suitor turned family steward, Edgar—conducts her own chemical experiments to confirm the evidence before calmly giving her testimony to an astounded Inspector who comes to call. Again, this kind of story isn’t exactly new, but it’s sort of… invigorating, all the same. I look forward to volume two! – Michelle Smith

Pretty Guardian Sailor Moon, Vol. 7 | By Naoko Takeuchi | Kodansha Comics – This volume comprises the meat of the “S” arc, the details of which are quite a bit different in the manga than they are in the anime. What’s not different, though, is the dramatic goodness supplied by two groups of Sailor Guardians with opposing missions. Usagi is determined that everyone ought to fight as one, but the older and more powerful “outer” Guardians are equally resolved to save the world at any cost, even if it means taking the life of an innocent girl with the potential to bring ruin and destruction. There are Guardian awakenings, Guardian revelations, and Guardian power-ups in this volume, plus a healthy dose of Haruka awesomeness. (I’m especially fond of her obvious affection for Usagi.) Chalk it up to fangirl enthusiasm if you will, but after the somewhat yawn-inducing “R” arc, it’s nice to be excited about the series again. – Michelle Smith

Psyren, Vol. 6 | By Toshiaki Iwashiro | Viz Media – Having killed off the extremely likeable Elmore Wood kids easily in the previous volume, this one (now back in the past before that happens) gets to show off how they’re all actually really talented, so that it looks more impressive. Also impressive was seeing Ageha, up[on finding out that someone is going to die, immediately trying to change the future by telling them. He gets beaten up for this and told, essentially, “You can’t break the rules”, but I liked his moxie. If there’s a drawback here, it’s that this volume, which serves to develop the ‘normal’ world and show how folks can abuse psi powers, doesn’t really tie into the main plotline, leaving everything hanging a bit, Also, Sakurako’s barely in it. Still, if the excuse is ‘broadening the scope of the manga’s worldview’, it’s a good one.-Sean Gaffney

Toradora!, Vol. 5 | By Yuyuko Tamemiya & Zekkyo | Seven Seas – I’d mentioned that I loved this manga for Minori’s goofy moments, so imagine my surprise when it’s Kitamura who proves to be the complete whackjob here, showing us far more of himself than anyone wanted to see. In fact, Minori actually gets some angst here, as we’re starting to see that her outward personality hides some self-doubt and melancholy. Ryuuji’s advice to her is pitch-perfect, and shows who he’s still a harem lead even though he and Taiga are the obvious end couple. Speaking of Taiga, she’s mostly herself here, but gets a lovely moment when Ami and company go out for a girl’s day out, and Taiga comes along. For once everyone manages to have fun, and Taiga’s thanks is heartfelt – even Ami realizes it. This is a cliched title, but works as the characters are simply so likeable. -Sean Gaffney

Pick of the Week: Toradora! & more

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SEAN: As always after a week where 30+ titles ship all at once, this 2nd week of the month feels like a bit of a letdown. That said, there are a few interesting items. My pick of the week goes to the 5th volume of Toradora!, Seven Seas’ romantic comedy about a tiny girl with a hot temper and her not-boyfriend, a sensitive guy with the face of a gangster. Generally speaking, ‘tsundere girl who looks 8 years old but is 16 and will beat up the guy she likes’ is a overdone theme in Japanese anime and manga, but Taiga has managed to be less irritating than, say, Louise or Shana, and the cast of characters is also more appealing to me. Especially Minori, Taiga’s best friend, who needs to cross over with Bleach so that she and Orihime can be weird together.

KATE: Them’s some meager offerings! Click over to the graphic novel list, however, and you’ll find a worthy pick of the week: Madeline Rosca’s Clockwork Sky. If Rosca’s name sounds familiar, that’s because she was one of the first people to win the International Manga Award for Hollow Fields, a story set at an academy for mad scientists. Like Hollow Fields, Clockwork Sky has a heavy element of steampunk: the story unfolds in a technologically advanced version of Victorian England, complete with automated factories and robot detectives. The description promises an abundance of plotlines, from class warfare to rogue robots, so I’m optimistic that Clockwork Sky will be a fun read.

MJ: I admit I’m finding this week’s offerings at Midtown less than enticing. Fortunately, there are other places to turn for new manga these days, and by “other” I mean “digital”! Right now, I’m racing over to JManga to pick up the third volume of Setona Mizushiro’s Dousei Ai. As a big fan of Mizushiro’s After School Nightmare I’d long waited for some of her BL work to finally be translated into English, and this series’ first two volumes did not disappoint. If you’re looking for epic, complex BL, Dousei Ai is a must-read. I only wish it was available in print!

MICHELLE: Meager, indeed! According to Amazon, though, the seventh volume of Sailor Moon (my personal pick) is due on Tuesday, so you will likely be able to find it at your local comic store, provided that store isn’t Midtown!

Readers, what looks good to you this week?

Bookshelf Briefs 9/10/12

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This week, Sean, Kate, and Michelle look at recent releases from Seven Seas, Yen Press, VIZ Media, and Vertical, Inc.

Alice in the Country of Clover: Cheshire Cat Waltz, Vol. 2 | By QuinRose and Mamenosuke Fujimaru | Seven Seas – Ace, the cheery yet sociopathic character who’s quickly become my favorite in this series, tells Alice he finds her most attractive when she’s upset and stressed, as the conflict makes her pretty. That’s sort of how I feel about this series as a whole. When it’s talking about whether Alice and Boris will get over their fight and become closer and maybe even move in together, it’s just another generic reverse harem title. When it’s analyzing the mechanics of the world, putting Alice on a high wire act and pitting her friends against each other, and showing why leaving Wonderland and going back continues to possibly be horrible, it’s fascinating. Hence my favorite part of the book – Boris shooting at Alice’s vial and failing to even crack it, to his annoyance. -Sean Gaffney

Bamboo Blade, Vol. 14 | By Masahiro Totsuka and Aguri Igarashi | Yen Press – I was underwhelmed by the initial volumes of Bamboo Blade: I found the one-note characters and slapstick humor too familiar to be compelling. As the series unfolded, however, the artist’s ability to draw kendo matches improved steadily, yielding fight scenes that were fun to read and advanced the plot in a meaningful fashion. The final volume resolves the individual characters’ conflicts first, then features a lengthy, 100+ page epilogue in which we see the girls strut their stuff at a Burnish Academy tournament. It’s not brilliant by any means, but the matches are expertly staged, and the final pages of the story suggest that even Toraji is capable of growing up. -Katherine Dacey

The Flowers of Evil, Vol. 2 | By Shuzo Oshimi | Vertical, Inc. – Quite often I agree with MJ on matters of manga, but this series is one where our opinions differ wildly. She liked it and found the leads sympathetic; I pretty much hated it and found no one to sympathize with except Saeki, the innocent (though idealized) girl who has agreed to date Kasuga, a middle-schooler who’s being manipulated by a female classmate (Nakamura) into acknowledging his inner perversion. I know I probably should applaud the depiction of teenage sexuality and pretention, but this series is just so not my cup of tea that I can’t find anything good to say about it. It’s very disturbing to me that what Saeki believes is a sweet, if awkward, first date with Kasuga is in reality tainted by the fact that he’s been forced to wear her stolen gym clothes beneath his own. She’s being duped. To his credit, Kasuga hates himself for the ruse and the final moments of the volume find him on the verge of telling the truth in a horrible, messy way, but ugh, I just can’t see myself picking up volume three to see what happens next. – Michelle Smith

Is This a Zombie?, Vol. 2 | Comic by Sacchi, Character Design by Kobuichi • Muririn, Original Concept by Shinichi Kimura | Yen Press – Is This a Zombie? has the dubious distinction of being the worst comic I’ve read this year. The artwork is lousy, the jokes unfunny, the fanservice unrelenting, and the plot so nonsensical it often seems as if the characters themselves are confused by the rapid turn of events. In volume two, for example, there’s an extraordinarily silly fight scene in which we learn the identity of Ayumu’s killer. There are so many reversals and reveals packed into that chapter, however, that it reads more like something a six-year-old brainstormed than the work of a professional script writer. Add an unnecessary episode in which the characters go to the beach and participate in a food-eating contest, and presto! you have a recipe for a Manga Hall of Shame nomination. – Katherine Dacey

Library Wars: Love & War, Vol. 8 | By Kiiro Yumi and Hiro Arikawa | VIZ Media – And now, at last, after eight volumes, we get some resolution, as Tezuka’s horribly smug brother jogs Iku’s memory and forces her to realize who her prince is. And so now she’s freaking out, which is fun and yet also a bit predictable. Hopefully they’ll talk about it next volume after dealing with a molester who haunts libraries. What really impressed me, though, is Shibazaki’s plot thread. There’s lots of revelations here, some of which I found rather unpleasaant – but then that was the point – and you hope that someone (coughTezukacough) is able to take a hold of her and get her out of this ‘no one can ever really love me for who I am’ spiral she seems to be in. In comparison, Iku has it easier, but then Iku is a less complex person – as Shibazaki knows and envies. Good shoujo fluff. – Sean Gaffney

Oresama Teacher, Vol. 10 | By Izumi Tsubaki | VIZ Media – Longtime readers should now by now how much I love the humor in this title, and how I think it’s at its best when everyone is being as thick as planks. That said, I was surprised that my favorite moments in this volume were the more emotional ones. Hojo, the new Student Council member introduced here (another female character? How did that happen?) is comparatively ‘normal’, and thus we empathize even more with her obsession/frustration with Yui, who continues to vacillate between being cool and intelligent and being the dumbest, most clueless guy ever. As for our heroine, Mafuyu’s reaction to Takaomi reaching around to tie up her hair shows that, despite Western fandom’s dislike of student/teacher relationships, she’s still got it bad for him. All this, plus the return of SUPER BUN! – Sean Gaffney

Manga Artifacts: The Unauthorized Astro Boy Comic

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In 1963, NBC acquired the rights to broadcast Tetsuwan Atomu, or Mighty Atom, an animated children’s show that had been a hit on Japanese television earlier that year. NBC executives renamed it Astro Boy and began airing it in September on WNEW, NBC’s New York City affiliate. Astro Boy proved a success with young viewers, prompting NBC to order fifty-two more episodes from Mushi Studios and syndicate the show nationally (Schodt 88).

Two years later, NBC licensed the Astro Boy character rights to Gold Key Comics . Gold Key was a brand-new subsidiary of Western Publishers, best known to consumers for titles like The Poky Little Puppy and The Saggy Baggy Elephant. The company had considerable experience selling its Little Golden Books through non-traditional outlets — supermarkets, drug stores — and wanted to apply that knowledge to the newsstand comics market, then dominated by companies such as Dell Comics.

Without the knowledge or approval of Mushi Studios or Osamu Tezuka, Gold Key hired an artist to adapt the Astro Boy show into a comic. (No artist is credited for Astro Boy #1.) The result was a four-color, two-story issue that used Osamu Tezuka’s characters but bore little to no resemblance to the comic that had been running in Shonen magazine since 1952.

“Gangor the Monster,” the first of the two stories, is based on an episode of the Astro Boy show. The plot is simple: Gangor, a centipede-like robot, terrorizes the passengers aboard an ocean liner on which Astro and Professor Ochanomizu (called Dr. Packadermus J. Elefun in the English version) are traveling. Astro Boy soon discovers Gangor’s secret — Gangor is actually comprised of forty-seven identical robots — and quickly defeats it in a battle that unfolds underwater and in the air. As in many Silver Age comics, word balloons carry the burden of the storytelling; though we see several panels of Gangor in action, most of what we learn about Gangor is revealed in conversations between the main characters:

The second story, “Attack of the Mud People” is original, with no obvious precedent in the the show. In terms of tone and plot, it reads like a rejected DC Comics script: a pair of evil scientists unleash a horde of mud monsters on an unsuspecting city, demanding five million dollars in ransom. (Better still: the scientists have mustaches. They also happen to be identical twins. It’s a trifecta of villainy!) Astro Boy is nearly defeated by the monsters, as their dirt clogs his joints, preventing him from flying. In a flash of inspiration, he realizes the best way to stop the monsters is to make it rain — a feat he accomplishes with the aid of a little dry ice. As in “Gangor,” very little actually happens; most of the story consists of characters’ reaction shots as they flee in terror, or watch Astro Boy go mano-a-mano with the monsters.

As the page above demonstrates, both stories look more like generic Silver Age products than shonen manga; small wonder Tezuka deplored it as a cheap knock-off of his work. Yet for all their flaws, both stories offer a fascinating window into the American comics industry in the 1960s.

For one thing, they attest to the the growing importance of television as source material for comics publishers. A quick glance at Gold Key’s catalog turns up comics based on The Addams Family, Dark Shadows, Lost in Space, My Favorite Martian, Star Trek, and The Twilight Zone. Animated shows were an important part of the Gold Key catalog as well. In the 1960s and early 1970s, Gold Key had a partnership with Hanna-Barbera Studios, cranking out comic book versions of The Amazing Chan and the Chan Clan, The Flintstones, The Pink Panther, and Scooby Doo. As former Gold Key writer Mark Evanier explains, there was a standard procedure for taking a new show and turning it into a comic. The first few stories would faithfully reproduce early episodes; after that, the artist was given greater creative freedom to do as he saw fit with the characters:

Chase [Craig, the editor] handed me a pile of storyboards and told me to read them all to get a feel for the property but to write an adaptation of one in particular… Anyway, I was assigned to adapt it and later on if the comic continued, there would be original stories conceived fresh for the comics. As Chase explained to me, he preferred to launch a new H-B book in this manner. The studio had approval rights and the people there could get pointlessly picky about the material…but they rarely bothered looking at any issue after the first few. Therefore, it simplified the procedure to do the first issue as an adaptation and maybe the second. They couldn’t very well complain that a plot taken from the show was inappropriate.

We can see this process at work in the Astro Boy comic as well, with one story based on the show and one story drawn from the artist’s imagination. Of course, no one from Mushi Studios was reviewing the work, as in the model that Evanier describes above; the primary reason for re-telling “Gigantor,” presumably, was to cement the connection between the show and the comic.

These stories also attest to a powerful Western arrogance about the source material; every effort was made to conceal its Japanese origins, from renaming the characters to adding color. More telling still was that Tezuka himself was never identified as Astro Boy‘s creator; NBC was listed as the copyright holder (Schodt 88-89). It never occurred to anyone at either NBC or Gold Key that the very foreignness of the original material — the action-driven storytelling, the frank presentation of difficult issues — might appeal more to kids than a bowdlerized version in which every conflict was neatly resolved in sixteen pages, and no one ever died. For that version of Astro Boy, American readers would have to wait another thirty-seven years.

Works Cited

Evanier, Mark. “Goodbye, Charlie!” News From Me. N.p., 25 Apr. 2006. Web. 07 Sept. 2012. <http://www.newsfromme.com/archives/2006_04_25.html>.

“Gold Key Astro Boy #1 – Attack of the Mud People.” Magic Carpet Burn. N.p., 23 Mar. 2009. Web. 07 Sept. 2012. <http://magiccarpetburn.blogspot.com/2009/03/gold-key-astro-boy-1-attack-of-mud.html>.

“Gold Key Astro Boy #1 – Attack of the Mud People (Conclusion).” Magic Carpet Burn. N.p., 24 Mar. 2009. Web. 07 Sept. 2012. <http://magiccarpetburn.blogspot.com/2009/03/gold-key-astro-boy-1-attack-of-mud_24.html>.

“Gold Key Astro Boy #1 – Gangor the Monster Pt One.” Magic Carpet Burn. N.p., 21 Mar. 2009. Web. 07 Sept. 2012. <http://magiccarpetburn.blogspot.com/2009/03/gold-key-astro-boy-1-gangor-monster-pt.html>.

“Gold Key Astro Boy #1 – Gangor the Monster Pt Two.” Magic Carpet Burn. N.p., 22 Mar. 2009. Web. 07 Sept. 2012. <http://magiccarpetburn.blogspot.com/2009/03/gold-key-astro-boy-1-gangor-monster-pt_22.html>.

Schodt, Frederik L. The Astro Boy Essays: Osamu Tezuka, Mighty Atom, and the Manga/Anime Revolution. Berkeley: Stone Bridge Press, 2007. Print.

Pick of the Week: September Bounty

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KATE: After several lean weeks, the Midtown Comics list is bursting at the seams with great titles. I have no doubt that at least one of my fellow Battle Robot members will bang the drum for Osamu Tezuka’s Message to Adolf, which Vertical is re-issuing in a splendid, two-volume hardcover edition, so I’ll plug another Vertical title: volume nine of Chi’s Sweet Home. I adored Chi before I became a cat owner last November — c’mon, what’s not to like about cute kitten antics? — but I’ve developed an even deeper appreciation for the series after living with Francesca. Kanata Konami does a great job of showing the pet-owning experience from both the pet and the person’s point of view, never avoiding those moments that test an owner’s patience: barf, shredded toilet paper, pilfered food, accidents. In the last few volumes, Konami’s done a nice job of expanding Chi’s horizons beyond the confines of her apartment, preventing the story from becoming too cutely claustrophobic or repetitive. Best of all, Chi is one of those rare manga that I could hand to just about anyone — a six-year-old, my mom, a grumpy subway commuter — and know that they’d enjoy it.

SEAN: Tempted as I am to go with one of my many light, fluffy comfort manga which will no doubt make me smile more, I have to admit that the pick of the week is going to be Message to Adolf, the new Tezuka release from Vertical. I never did read the first release of this when Viz put it out back in the day, so am looking forward to seeing what late-period, mature Tezuka can be like. The premise alone sounds good – examining the life of three people named Adolf, one of whom you probably know – but the artwork is also more advanced and detailed, and the book’s design is gorgeous. At about 1200 pages total between the two volumes, this tome is a big investment, but I sense that it’s going to be worth it.

MICHELLE: I am completely on board with both Chi’s Sweet Home and Message to Adolf—I was fortunate enough to be able to read the old VIZ editions via inter-library loan a couple years ago—but I would be remiss if I did not voice my squee at a new volume of Yuu Watase’s Fushigi Yûgi: Genbu Kaiden appearing on this list! It’s been nearly three years since we’ve had a new installment in this series, which finds Watase revisiting the world of Fushigi Yûgi as a more experienced storyteller. I can’t wait to get caught up, and it makes me even happier that volume eleven isn’t too far behind!

MJ: After all that, I hardly know what to choose! I’ll be anxiously digging in to all three of my colleagues’ picks as soon as I can get my grubby little hands on them, but with such a bounty shipping in this week, I feel I should take the opportunity to spotlight another title. So in the end, I’ll give my nod to volume eight of Natsume Ono’s House of Five Leaves. I’ve made it a habit to champion this title whenever I have the chance, so why stop now? This series really shows off all of Ono’s greatest strengths—subtle relationships, nuanced characterization, complicated morality, and her lovely, distinctive artwork. Even in the midst of a very hectic week, when I sit down with a new volume of House of Five Leaves, I simply have to savor it, page by page. It’s an enduring favorite.

Readers, what looks good to you this week?