Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

Katherine Dacey

Pick of the Week: Centaurs & More

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It’s a sparse week at Midtown Comics, but there’s always something to buy. Check out the Battle Robot’s picks below!

MJ: Okay, I’ll just say it. There’s almost nothing shipping in to Midtown Comics this week. And though volume twelve of GTO: The Early Years is a strong choice by all accounts, I feel rather disingenuous picking it, since I haven’t yet read volume 11. Instead, I’m turning my attention to JManga, which has been putting out some pretty exciting releases lately, including two new volumes from one of my long-time favorites, est em, Apartments of Calle Feliz and Working Kentauros. Though Apartments is the volume *I* covered in yesterday’s Going Digital, the one I’ve really got my eye on now is Working Kentauros, described by Michelle as “Highly, highly recommended.” Salaryman centaurs? BL salaryman centaurs?? Sign me up!

MICHELLE: I suppose it goes without saying that, with an endorsement like that, Working Kentauros is my pick of the week, as well! It’s quirky, charming, and moving, just like one would expect from est em.

SEAN: Um, well. There’s two titles, and I don’t read one of them, so hey, it’s the other one! Admittedly, there’s a good chance I would have chosen GTO: The Early Years, Vol. 12 regardless. As with most of this series (and indeed GTO and 14 Days in Shonan, albeit from a different ‘perspective’, this is about life as a teenager, where you feel no one understands you, where your family is uncaring, where all you have are your friends. Admittedly, it’s still a shonen manga, so there are perhaps a few more drag races, violent punchouts, and moral messages than I recall in my own teenage years, but that’s because Eikichi and Ryuuji are more interesting than I was. It’s actually astonishing how retro this title now seems, given it ran in the early to mid 1990s. Old school is 1995 now? Really?

KATE: “The angst of being a teen. The thrill of being a boat!” So goes the tagline for Dave Roman’s latest project, Teen Boat. Like Astronaut Academy, the premise of Roman’s comic is neatly — one might even say baldly — encapsulated in the title. Teen Boat is a teen who can transform into… well, a boat. If that doesn’t sound like the most fruitful idea for a comic, never fear: Roman brings his trademark wit to the proceedings, poking fun at YA cliches, action-movie tropes, nautical lore, and whatever else pops into his head. John Green’s smart, stylish artwork is the perfect complement to Roman’s script, helping sell the Teen Boat idea at its most ludicrous. And really, how can you *not* like a comic about a boat who loves a girl named Nina Pinta Santa Maria?

Readers, what looks good to you this week?

MMF: An Introduction to the VIZ Signature Imprint

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If TOKYOPOP was the company that first embraced the teen market, licensing Sailor Moon and bringing manga to big chain stores, then VIZ was the company that first wooed adult readers, using distinctive packaging and punchy trade names to help older manga fans distinguish stories about boy ninjas from stories about disillusioned samurai. VIZ wasn’t the only company courting older fans, of course; Dark Horse has been synonymous with manly-man manga for most of its licensing history, while TOKYOPOP made several unsuccessful forays into ladies’ comics. VIZ, however, has done more than any major American publisher to create a market for titles like Oishinbo and 20th Century Boys, seinen works that appeal equally to male and female readers in their twenties, thirties, and beyond.

One of VIZ’s first branding experiments was its short-lived Spectrum Editions line (1990-91). VIZ published three seinen titles in a prestige format with vinyl dust jackets, high-quality paper, and a large trim size. Those titles — Natsuo Sekikawa and Jiro Taniguchi’s Hotel Harbour View, Yukinobu Hoshino’s Saber Tiger, and Yu Kinutani’s Shion: Blade of the Minstrel — didn’t make much of a splash in the market, but they anticipated some of the design choices that VIZ would make with its Editor’s Choice and Signature imprints a decade later.

Another important precedent for the VIZ Signature line was PULP: The Manga Magazine. First launched in 1997, VIZ billed its monthly anthology as “manga for grownups,” and featured edgier stories than its companion magazines Animerica and Manga Vizion. Titles such as Banana Fish, Bakune Young, Dance Til Tomorrow, Even a Monkey Can Draw Manga, Short Cuts, Strain, and Uzumaki debuted in PULP before they were collected into graphic novels that bore the magazine’s name.

After struggling to find an audience, PULP was canceled in 2002. The significance of PULP wasn’t lost on its editors, however; when the magazine ceased production, they issued the following statement, summarizing their achievement:

PULP was the first English-language magazine to run the kind of manga that make comics a mass medium for ordinary adults in Japan, from dynamic action narratives to avant-garde ventures, when it debuted in December 1997… PULP offered readers a Japanese comics contrast to both the superhero genre that typifies American comics and the stereotypical “anime-esque” manga often offered to U.S. readers.

After VIZ phased out the magazine, several PULP titles — Dance Til Tomorrow, No. 5 — found a home at the newly created Editor’s Choice imprint. Like PULP, the Editor’s Choice line was designed to appeal to older readers, featuring titles such as Maison Ikkoku, Nausicaa of the Valley of the Wind, Phoenix, and Saikano. The Editor’s Choice imprint had something else in common with PULP: it was short-lived. By 2006, VIZ had rebranded the catalog with the VIZ Signature name, using it to help adult readers distinguish Naoki Urasawa’s Monster from Naruto.

In its six years of existence, the VIZ Signature line has been steadily diversifying to serve a wider audience. Speaking to Publisher’s Weekly in 2009, VIZ Managing Editor Leyla Ayker explained that one of the goals of the line was “to create a balance between the more ‘literary’ works that would appeal to readers of Western graphic novels like Fun Home or Asterios Polyp and the more ‘action’ works that would appeal to readers of American superhero comics and genre fiction.” To that end, VIZ has been licensing a mixture of highbrow titles — All My Darling Daughters, Oishinbo A La Carte, Pluto: Urasawa x Tezuka — and pulp fiction for mature readers — Black Lagoon, Biomega, Dogs: Bullets and Carnage.

The Signature line was never tied to a print magazine, but in 2009, VIZ launched an ambitious collaboration with the Japanese anthology IKKI: select IKKI titles would be serialized online, allowing North American readers to read free monthly updates of series such as I’ll Give It My All… Tomorrow and Saturn Apartments. VIZ would then publish those series as part of its Signature line, with a special logo to distinguish the IKKI titles from other Signature manga. For a year and a half, the site flourished, offering readers a mixture of new comics and feature articles: an interview with Q Hayashida (Dorohedoro), a comic drawn by one of the VIZ designers. By the end of 2011, however, regular updates to the site had ceased, prompting speculation about the future of the project.

Whatever the future of SigIKKI, the project epitomizes what the VIZ Signature line does best: publishing high-quality manga that appeal to a wide spectrum of adult readers As Leyla Aker explained to Publisher’s Weekly:

The reason why IKKI and Signature are such a good fit is because their objectives are the same: to publish series that offer a diverse range of content but that are all marked by creative excellence. Another factor is that both lines are gender-neutral, so to speak; their content is aimed at both adult men and women, which is fairly unusual for manga.

And that, in a nutshell, is the VIZ Signature imprint: 43 titles that run the gamut from kitchen-sink drama (All My Darling Daughtes, Gente: The People of Ristorante Paradiso) to horror stories (Cat-Eyed Boy, Uzumaki), sword-and-sandal epics (Vagabond), science fiction (Bokurano: Ours, Saturn Apartments), thrillers (Black Lagoon, Monster), romances (Ristorante Paradiso), mysteries (not simple, Sexy Voice and Robo), and fantasies (Dorohedoro, GoGo Monster).

N.B. VIZ began designing a new Signature website which remains unfinished as of 4/22/12. In the comments below, reader Eric Rupe notes that VIZ doesn’t seem to have made much progress on the site; links redirect the reader to an empty product page at viz.com.

* * * * *

The goal of this month’s Manga Movable Feast is to create a place where grown-ups can discuss their favorite — or least favorite — VIZ Signature manga. Anyone can contribute: all you need to do is send me a link to an essay, podcast, or review about a VIZ Signature title, and I’ll feature it in one of my daily round-ups. (Email or Twitter are the best way to submit links; Twitter submissions should be directed to @manga_critic.) Note that the feast runs from today (Sunday, April 22nd) through Saturday (April 28th). For more information, please visit the VIZ Signature MMF archive.

An Introduction to the VIZ Signature Imprint

by

If TOKYOPOP was the company that first embraced the teen market, licensing Sailor Moon and bringing manga to big chain stores, then VIZ was the company that first wooed adult readers, using distinctive packaging and punchy trade names to help older manga fans distinguish stories about boy ninjas from stories about disillusioned samurai. VIZ wasn’t the only company courting older fans, of course; Dark Horse has been synonymous with manly-man manga for most of its licensing history, while TOKYOPOP made several unsuccessful forays into ladies’ comics. VIZ, however, has done more than any major American publisher to create a market for titles like Oishinbo and 20th Century Boys, seinen works that appeal equally to male and female readers in their twenties, thirties, and beyond.

One of VIZ’s first branding experiments was its short-lived Spectrum Editions line (1990-91). VIZ published three seinen titles in a prestige format with vinyl dust jackets, high-quality paper, and a large trim size. Those titles — Natsuo Sekikawa and Jiro Taniguchi’s Hotel Harbour View, Yukinobu Hoshino’s Saber Tiger, and Yu Kinutani’s Shion: Blade of the Minstrel — didn’t make much of a splash in the market, but they anticipated some of the design choices that VIZ would make with its Editor’s Choice and Signature imprints a decade later.

Another important precedent for the VIZ Signature line was PULP: The Manga Magazine. First launched in 1997, VIZ billed its monthly anthology as “manga for grownups,” and featured edgier stories than its companion magazines Animerica and Manga Vizion. Titles such as Banana Fish, Bakune Young, Dance Til Tomorrow, Even a Monkey Can Draw Manga, Short Cuts, Strain, and Uzumaki debuted in PULP before they were collected into graphic novels that bore the magazine’s name.

After struggling to find an audience, PULP was canceled in 2002. The significance of PULP wasn’t lost on its editors, however; when the magazine ceased production, they issued the following statement, summarizing their achievement:

PULP was the first English-language magazine to run the kind of manga that make comics a mass medium for ordinary adults in Japan, from dynamic action narratives to avant-garde ventures, when it debuted in December 1997… PULP offered readers a Japanese comics contrast to both the superhero genre that typifies American comics and the stereotypical “anime-esque” manga often offered to U.S. readers.

After VIZ phased out the magazine, several PULP titles — Dance Til Tomorrow, No. 5 — found a home at the newly created Editor’s Choice imprint. Like PULP, the Editor’s Choice line was designed to appeal to older readers, featuring titles such as Maison Ikkoku, Nausicaa of the Valley of the Wind, Phoenix, and Saikano. The Editor’s Choice imprint had something else in common with PULP: it was short-lived. By 2006, VIZ had rebranded the catalog with the VIZ Signature name, using it to help adult readers distinguish Naoki Urasawa’s Monster from Naruto.

In its six years of existence, the VIZ Signature line has been steadily diversifying to serve a wider audience. Speaking to Publisher’s Weekly in 2009, VIZ Managing Editor Leyla Ayker explained that one of the goals of the line was “to create a balance between the more ‘literary’ works that would appeal to readers of Western graphic novels like Fun Home or Asterios Polyp and the more ‘action’ works that would appeal to readers of American superhero comics and genre fiction.” To that end, VIZ has been licensing a mixture of highbrow titles — All My Darling Daughters, Oishinbo A La Carte, Pluto: Urasawa x Tezuka — and pulp fiction for mature readers — Black Lagoon, Biomega, Dogs: Bullets and Carnage.

The Signature line was never tied to a print magazine, but in 2009, VIZ launched an ambitious collaboration with the Japanese anthology IKKI: select IKKI titles would be serialized online, allowing North American readers to read free monthly updates of series such as I’ll Give It My All… Tomorrow and Saturn Apartments. VIZ would then publish those series as part of its Signature line, with a special logo to distinguish the IKKI titles from other Signature manga. For a year and a half, the site flourished, offering readers a mixture of new comics and feature articles: an interview with Q Hayashida (Dorohedoro), a comic drawn by one of the VIZ designers. By the end of 2011, however, regular updates to the site had ceased, prompting speculation about the future of the project.

Whatever the future of SigIKKI, the project epitomizes what the VIZ Signature line does best: publishing high-quality manga that appeal to a wide spectrum of adult readers As Leyla Aker explained to Publisher’s Weekly:

The reason why IKKI and Signature are such a good fit is because their objectives are the same: to publish series that offer a diverse range of content but that are all marked by creative excellence. Another factor is that both lines are gender-neutral, so to speak; their content is aimed at both adult men and women, which is fairly unusual for manga.

And that, in a nutshell, is the VIZ Signature imprint: 43 titles that run the gamut from kitchen-sink drama (All My Darling Daughtes, Gente: The People of Ristorante Paradiso) to horror stories (Cat-Eyed Boy, Uzumaki), sword-and-sandal epics (Vagabond), science fiction (Bokurano: Ours, Saturn Apartments), thrillers (Black Lagoon, Monster), romances (Ristorante Paradiso), mysteries (not simple, Sexy Voice and Robo), and fantasies (Dorohedoro, GoGo Monster).

N.B. VIZ began designing a new Signature website which remains unfinished as of 4/22/12. In the comments below, reader Eric Rupe notes that VIZ doesn’t seem to have made much progress on the site; links redirect the reader to an empty product page at viz.com.

* * * * *

The goal of this month’s Manga Movable Feast is to create a place where grown-ups can discuss their favorite — or least favorite — VIZ Signature manga. Anyone can contribute: all you need to do is send me a link to an essay, podcast, or review about a VIZ Signature title, and I’ll feature it in one of my daily round-ups. (Email or Twitter are the best way to submit links; Twitter submissions should be directed to @manga_critic.) Note that the feast runs from today (Sunday, April 22nd) through Saturday (April 28th). For more information, please visit the VIZ Signature MMF archive.

Manga Artifacts: Love Song

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Back in the 1990s, Matt Thorn labored hard to make Keiko Nishi a household name among American manga readers, translating six of her stories for VIZ. Two appeared in Four Shojo Stories alongside work by Moto Hagio and Shio Sato, and four appeared in a stand-alone volume called Love Song.

VIZ made a conscious effort to present Nishi’s work not just as comics, but as literature. Love Song boasted fancy endpapers — the kind you might find in the Everyman’s edition of Middlemarch — and a back cover blurb that defined shojo manga as “a literary genre of Japanese comics in which the relationships between characters are as meticulously crafted as the story’s action.” Lest the reader interpreted that statement to mean, “Here be romance comics,” the editor optimistically declared that shojo manga was “created by women for everyone!”

Though Nishi didn’t catch on with Western readers, it’s easy to see why Thorn championed her work: she’s a terrific, versatile storyteller, equally capable of writing light-hearted fantasies and character studies of deeply damaged people. Of the four stories that appear in Love Song, two are standouts: “Jewels of the Seaside,” a black comedy about three sisters who compete for the same man’s affection, with disastrous results, and “The Skin of Her Heart,” a sci-fi tale about a young woman torn between what she wants and what her mother wants for her. The other two stories — “Love Song” and “The Signal Goes Blink, Blink” — are also strong, if more conventional. “Love Song” focuses on an angry young woman who dominates her saintly boyfriend, while “The Signal Goes Blink, Blink” explores how fame transforms the life of a bullied teen.

Common to all four stories is a palpable sense of longing. The characters desperately seek human connection, but face genuine obstacles to their happiness. Yoshio Yamada, hero of “Signal,” is a perfect example: he’s the kind of small, quiet person whose shyness makes him a natural target for other kids’ scorn. (Even his own family detests him for his weakness.) When his newly discovered healing abilities land him television appearances, he worries what will happen if his powers fail him — not because he fears the stigma of being discredited, but because he fears being alone. “I’m afraid that if I lose this power, I’ll just go back to being a nobody again,” he tells his agent. “Are those people going to play with me? Will they come to school with me?”

The female protagonists of “Love Song” and “Skin of Her Heart” are also dissatisfied, though neither can fully articulate what they want. Saki, the heroine of “Love Song,” is perplexed by the intensity of her anger; though she readily admits that she was scarred by her first romantic experience, that alone cannot explain the cruel delight she takes in manipulating her current boyfriend. Lin-Lin, protagonist of “Skin,” also has difficulty pinpointing the source of her frustration, rejecting a suitor who could solve all of her financial and family problems. Only in the final pages of the story does she realize that moving to another space colony might change her life in ways that would help her “learn to open my heart to someone.”

Even the “Seaside” sisters are prisoners of their own desires. All three fancy their cousin Daniel, a handsome, polite young man, but each secretly worries that she compares unfavorably with her siblings. Their desperation is played for macabre laughs — poison factors into the narrative — but each sister’s pain and fear of rejection is very real; the punchline of the story is simultaneously amusing and horrifying, as we realize the true cost of their insecurities.

Nishi’s artwork is the perfect vehicle for such nuanced character studies, at times precise, elegant, and naturalistic, and at times loose and sketchy, with the white of the page playing an important role in underscoring the emotional distance between her characters. Her minimalist approach won’t be to every shojo fan’s liking, but she demonstrates that it’s perfectly possible to convey the interior lives of her characters without resorting to the kind of visual shorthands — flowers, sweatdrops, nosebleeds — that have been overused in contemporary shojo manga.

Readers wishing to track down a copy of Love Song should know that the title is officially out of print. (You won’t find it listed anywhere on the VIZ website.) Unlike Four Shojo Stories or A, A’, however, Love Song is still relatively easy to obtain through online retailers like Amazon, Barnes and Noble, and eBay. Highly recommended.

Manga Artifacts is a monthly feature exploring older, out-of-print manga published in the 1980s and 1990s. For a fuller description of the series’ purpose, see the inaugural column.

LOVE SONG • BY KEIKO NISHI • VIZ • 208 pp. • NO RATING

Manga Artifacts: Love Song

by

Back in the 1990s, Rachel Thorn labored hard to make Keiko Nishi a household name among American manga readers, translating six of her stories for VIZ. Two appeared in Four Shojo Stories alongside work by Moto Hagio and Shio Sato, and four appeared in a stand-alone volume called Love Song.

VIZ made a conscious effort to present Nishi’s work not just as comics, but as literature. Love Song boasted fancy endpapers — the kind you might find in the Everyman’s edition of Middlemarch — and a back cover blurb that defined shojo manga as “a literary genre of Japanese comics in which the relationships between characters are as meticulously crafted as the story’s action.” Lest the reader interpreted that statement to mean, “Here be romance comics,” the editor optimistically declared that shojo manga was “created by women for everyone!”

Though Nishi didn’t catch on with Western readers, it’s easy to see why Thorn championed her work: she’s a terrific, versatile storyteller, equally capable of writing light-hearted fantasies and character studies of deeply damaged people. Of the four stories that appear in Love Song, two are standouts: “Jewels of the Seaside,” a black comedy about three sisters who compete for the same man’s affection, with disastrous results, and “The Skin of Her Heart,” a sci-fi tale about a young woman torn between what she wants and what her mother wants for her. The other two stories — “Love Song” and “The Signal Goes Blink, Blink” — are also strong, if more conventional. “Love Song” focuses on an angry young woman who dominates her saintly boyfriend, while “The Signal Goes Blink, Blink” explores how fame transforms the life of a bullied teen.

Common to all four stories is a palpable sense of longing. The characters desperately seek human connection, but face genuine obstacles to their happiness. Yoshio Yamada, hero of “Signal,” is a perfect example: he’s the kind of small, quiet person whose shyness makes him a natural target for other kids’ scorn. (Even his own family detests him for his weakness.) When his newly discovered healing abilities land him television appearances, he worries what will happen if his powers fail him — not because he fears the stigma of being discredited, but because he fears being alone. “I’m afraid that if I lose this power, I’ll just go back to being a nobody again,” he tells his agent. “Are those people going to play with me? Will they come to school with me?”

The female protagonists of “Love Song” and “Skin of Her Heart” are also dissatisfied, though neither can fully articulate what they want. Saki, the heroine of “Love Song,” is perplexed by the intensity of her anger; though she readily admits that she was scarred by her first romantic experience, that alone cannot explain the cruel delight she takes in manipulating her current boyfriend. Lin-Lin, protagonist of “Skin,” also has difficulty pinpointing the source of her frustration, rejecting a suitor who could solve all of her financial and family problems. Only in the final pages of the story does she realize that moving to another space colony might change her life in ways that would help her “learn to open my heart to someone.”

Even the “Seaside” sisters are prisoners of their own desires. All three fancy their cousin Daniel, a handsome, polite young man, but each secretly worries that she compares unfavorably with her siblings. Their desperation is played for macabre laughs — poison factors into the narrative — but each sister’s pain and fear of rejection is very real; the punchline of the story is simultaneously amusing and horrifying, as we realize the true cost of their insecurities.

Nishi’s artwork is the perfect vehicle for such nuanced character studies, at times precise, elegant, and naturalistic, and at times loose and sketchy, with the white of the page playing an important role in underscoring the emotional distance between her characters. Her minimalist approach won’t be to every shojo fan’s liking, but she demonstrates that it’s perfectly possible to convey the interior lives of her characters without resorting to the kind of visual shorthands — flowers, sweatdrops, nosebleeds — that have been overused in contemporary shojo manga.

Readers wishing to track down a copy of Love Song should know that the title is officially out of print. (You won’t find it listed anywhere on the VIZ website.) Unlike Four Shojo Stories or A, A’, however, Love Song is still relatively easy to obtain through online retailers like Amazon, Barnes and Noble, and eBay. Highly recommended.

Manga Artifacts is a monthly feature exploring older, out-of-print manga published in the 1980s and 1990s. For a fuller description of the series’ purpose, see the inaugural column.

LOVE SONG • BY KEIKO NISHI • VIZ • 208 pp. • NO RATING

The Apartments of Calle Feliz

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The Apartments of Calle Feliz begins with a scene cribbed from an Audrey Tatou flick. Luca, a struggling writer, has a terrible day: he breaks up with his boyfriend, then fights with his editor, who chastises him for writing “dark” endings. (“Nobody wants to read your sad story during a recession,” he tells Luca.) Desperate for a new place to live, Luca answers an ad in the paper for an apartment on — irony alert! — Calle Feliz (a.k.a. Happy Street), in a building affectionately known as “Final Feliz,” or “Happy End.” Javi, the landlord, offers Luca a couch, rent-free, until Luca can get back on his feet. At Javi’s urging, Luca decides to pen a novel about the other tenants.

Somewhere in the middle of the prologue, my Geiger counter began registering dangerous levels of whimsy: impossible coincidences! unnatural and impulsive behavior! a character who wants to fix other people’s lives! It’s a measure of just how much I like est em that I continued reading; she’s one of a handful of authors I trust to turn such a cutesy premise into a compelling story.

What follows is a series of vignettes about Luca’s new neighbors. In the first story, for example, we meet Dino, a designer, and Salvador, his boyfriend, who are slowly drifting apart, thanks to Salvador’s eccentric behavior: he declines all social invitations, preferring instead to wander around their apartment in the nude. Though they have maintained an uneasy truce for years, an upcoming business trip threatens to destroy their relationship. Dino and Salvador’s inevitable confrontation is heartbreaking; as silly as the plot may be — doesn’t Salvador ever get cold? what about crumbs? — Salvador’s pain is real, as is Dino’s inability to understand Salvador’s unusual strategy for coping with fear of loss and change.

Other stories illustrate similar themes of loss and estrangement. In chapter four, for example, Pepe, a dollmaker, befriends Matias, a lonely teen. Matias has become painfully self-conscious about his voice; once a source of pride, the onset of puberty has lowered and coarsened it, making him ashamed to sing in public. Only his visits to Pepe give him a sense of purpose, as Pepe’s dolls provide Matias an outlet for ventriloquizing his feelings about his mother’s recent death, and about the changes to his voice.

These stories succeed in spite of their art-movie preciousness largely on the strength of est em’s artwork. Like many boys’ love artists, she draws characters with sharp features and lean, angular bodies. est em softens those shapes with energetic, scribbly linework that helps individualize her characters, whether she’s adding a bump to a long nose or deepening the circles under an older man’s eyes. These subtle imperfections help make the characters’ interior states more accessible to the reader, helping us understand how each character inhabits his skin; when Pepe or Dino stares into the distance, we can practically see what they’re thinking. Even when we’re asked to accept an outlandish premise — a man who falls in love with identical twins, a transvestite who lives with a troupe of noisy circus musicians — the characters’ reactions to one another register as true to life; we appreciate the degree to which routine, silence, and complacency erode human connection and exact a toll on the body and spirit.

est em demonstrates a similar talent for resolving her stories in a nuanced fashion. Some endings are sad, some funny; some are surprising, while others seem inevitable. Whatever happens at the end of each story feels right for the characters and their situations, however; there’s never a moment of sitcom cuteness or sentimentality.

So if you can tolerate a bit of forced whimsy, The Apartments of Calle Feliz offers bountiful rewards: elegant artwork, memorable characters, and happy endings that are neither predictable nor pat. Recommended.

THE APARTMENTS OF CALLE FELIZ • EST EM • CITRON COMICS/JMANGA • 190 pp. • NO RATING (BEST FOR MATURE READERS)

Pick of the Week: Dorohedoro, Durarara!!, X

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There’s quite a bit to choose from this week at Midtown Comics. What will the Battle Robot be buying this week? See below!

SEAN: There are many, many worthy titles this week, which is why I’m glad we have multiple folks picking them out. For myself, I will go with the 6th volume of Dorohedoro, Viz’s comedic fantasy action mystery manga thing. As you might guess by that description, this is an Ikki title. This volume promises to finally give us some answers regarding Nikaido and her sorcery, as well as more insight on En. And of course I’m expecting more of what I love about Dorohedoro: complicated artwork that I love to revisit; crackling dialogue with lots of Pulp Fiction-esque conversations. And Shin and Noi, who would merit a fantastic manga if it was only them, but here are merely part of a cast of great characters. Also, this volume has all new never-before-on-the-web chapters! (OK, that’s because SigIkki seems to be dead, but hey…)

KATE: I only have eyes for one title this week: X. Of all CLAMP’s early works, X has held up the best, even if the artwork is pure 1990s, with cascades of feathers and shoulder pads worthy of Crystal Carrington. One of the things I like best about X is its moral ambiguity; I’m never entirely certain who I’m supposed to be rooting for: Kamui? Fuma? The Earth? The other thing I like about X is the elegant way in which CLAMP uses the visual language of shojo manga to tell a story that could just as easily be at home in a shonen or seinen magazine. The new VIZ edition is a marked improvement over the last; the oversized trim and full-color plates give CLAMP’s elaborate battle scenes more room to breathe.

MJ: Though I’m not quite with Kate on CLAMP’s early works (I’m still a much bigger fan of Tokyo Babylon, and likely always will be), I’m completely with her on X as this week’s must-buy manga. As I mentioned back in November, though Viz’s new-and-improved omnibus release hasn’t quite yet made me *love* X, it’s definitely given me a deeper appreciation for it, in a way that suggests that true love could be on the horizon. In any case, I’m determined to find out. This week, it’s X all the way.

MICHELLE: I’m going with the second volume of Durarara!!, from Yen Press. “Weird but intriguing” was my verdict for the first volume, which managed to convey a lot of information without overwhelming the reader. I still feel like I know next to nothing about the series, and am really looking forward to seeing where it goes from here.

Readers, what looks good to you this week?

Bookshelf Briefs 4/16/12

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

Bakuman, Vol. 10 | By Tsugumi Ohba & Takeshi Obata | VIZ Media – Tension is high as this volume begins, with Mashiro and Takagi’s career on the line—or at least their future with Weekly Shonen Jump. Developing their latest series for a win-or-die serialization meeting dominates the bulk of this volume, and the overwhelming intensity Ohba and Obata are able to bring to this process is a prime example of Bakuman at its best. Volume ten is irresistibly compelling, in exactly the way its protagonists are struggling to achieve with their own work, making it pretty much the perfect meta-manga. Even its personal relationships—usually the series’ weak point—hold up fairly well in this volume, especially those between the two protagonists and their rivaling editors, Miura and Hattori. I’ve had some shaky moments with this series, but even I couldn’t put this volume down. Rock on, Bakuman, rock on. – MJ

Itsuwaribito, Vol. 5 | By Yuuki Iinuma | VIZ Media – Oh, Itsuwaribito, you had such promise! Your hero travels in appealing company. He tangles with villains of every stripe, using verbal acrobatics to defeat them. And he has a compelling reason for using his unique verbal gifts. Unfortunately, Utsuho’s story has proved oddly unengaging; as the fifth volume of Itsuwaribito demonstrates, author Yuuki Iinuma has a tin ear and terrible sense of pacing. These tendencies come to the fore whenever he introduces a new character: Iinuma can’t resist giving every villain, hero, and traveling companion a Tragic Past that needs to be explained in excruciating detail. The result is a story that’s fitfully engaging, roaring to life only when Utsuho and his companions stumble into a new situation. – Katherine Dacey

Kimi ni Todoke: From Me to You, Vol. 13 | By Karuho Shiina | VIZ Media – As much as it has been truly wonderful to see Sawako and Kazehaya finally become a couple, I’ve lately become fascinated by Sawako’s friend, Ayane Yano, and wanted to know more about her. I seem to be getting my wish, as volume thirteen finds Ayane agreeing to date a boy she wasn’t even previously aware of, partly to have fun on the school trip to Okinawa and partly, perhaps, in hopes of making a connection that isn’t as easy for her to make as it is for others. Her reaction when Sawako assumes she must’ve liked the boy for a long time is priceless and highlights how different she is from her friends and many shoujo heroines. Ayane isn’t openly emotional and pure-hearted. Instead, she’s private and considers herself to be calculating, even though she acts in her friends’ best interests time and time again. You’ve got to love a series with such a complicated secondary character! – Michelle Smith

Negima! Magister Negi Magi Omnibus, Vol. 4 | By Ken Akamatsu | Kodansha Comics – These three volumes of Negima – Vols. 10-12 – are when fandom really began to explode in North America, and it’s not hard to see why. The school festival is where everything starts to come together – the tournament shows off Akamatsu’s desire for shonen fighting, there’s still plenty of cute girls being nearly naked all the time for his old-school fans, and the plot kicks into overdrive with Asuna’s past, the appearance of “Ku:nel Sanders”, and most of all the revelation of Chao as this arc’s big villain. Plus it has the return of Chisame, who is my second favorite character, doing what she does best – boggling in disbelief that everyone is accepting this. A terrific read, provided as always you don’t mind Akamatsu getting his “fanservice” chapters in every once in a while. –Sean Gaffney

Tegami Bachi: Letter Bee, Vol. 9 | By Hiroyuki Asada | VIZ Media – I stand by initial assessment of Tegami Bachi: it’s one of the best-looking titles in the Shonen Jump line, even if the story isn’t on par with, say, One Piece. The latest volume introduces a conspiracy theory that adds a badly needed element of complexity to the central narrative. As Lag is dismayed to learn, his old hero Gauche Suede has become an outlaw and adopted a new name. Lag rescues Gauche, only to discover that the government is intent on removing Gauche from Letter Bee headquarters. The battle scenes that follow are beautifully staged, striking a fine balance between action and reflection; only Niche’s aversion to underpants spoils the mood. After several ho-hum volumes, volume nine reaffirms the promise of the very first chapters — a fancy way of saying that I’m officially hooked on Tegami Bachi again. -Katherine Dacey

Toradora!, Vol. 4 | By Yuyuko Takemiya and Zekkyo | Seven Seas – I have to hand it to the authors, they really know how to take Taiga’s frustratoin and ramp it up to eleven. Everything that she’s dealing with goes wrong here – her issues with her small, undeveloped body; her growing feelings for Ryuuji (“RYUUJI IS MINE!”) and jealousy of Ami wanting to ‘take him’; and of course her ability to be angry at everything, whether deserved or not. It’s a miracle that she’s sympathetic, but of course she is, and that’s what gives this manga its heart. There’s less Minori this time around (except for a priceless final gag regarding underwear choice), but I can deal with that. The only downside continues to be Ryuuji’s mother, who is meant to be a stereotypical ‘blonde bimbo’, but is so utterly stereotypical that she gets on your nerves – and not in the good way that Taiga does. –Sean Gaffney

Toriko, Vol. 9 | By Mitsutoshi Shimabukuro | VIZ Media – In terms of plot, this is an entire volume of shonen battle. Of course, this being Toriko, half of the ‘battle’ is against thee environment – it’s rather startling how many deaths we see here just form the cold conditions. Of course, that’s not to say there’s no fighting at all. Tommyrod and Bogie are possibly the creepiest villains we’ve seen yet, and the artist is determined to make you squirm, especially if body horror is not your thing. Of course, this is still a Jump title, so there’s plenty of humor as well – the new guy, whoever he may be, is a stitch when talking to himself – and even a cute mascot of sorts as Komatsu bonds with a baby penguin. Still, overall this volume was very much ‘get closer to goal while stopping to fight people who want to stop us getting to goal’, like many well-done shonen manga. I wonder if we’ll reach the goal next time? –Sean Gaffney

Pick of the Week: Cross Game & More

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There’s plenty to choose from at Midtown Comics this week. Check out the Battle Robot’s picks below!

MICHELLE: Decisions, decisions. I will definitely be picking up the latest volumes of Arisa and Itazura Na Kiss, and I’m tempted by the second volume of Countdown 7 Days, as well. But really, the one absolutely can’t miss release for next week is volume seven of Cross Game. This, the penultimate volume of VIZ two-in-one release, contains volumes fourteen and fifteen of the original series, and is sure to be chock full of baseball and slice-of-life relationship goodness. I shamelessly implore everyone to buy Cross Game so that we may see more Adachi released here in future!

SEAN: For those of you who might have been living in a cave for the past couple of years, I will tell you that my pick this week is Volume 23 of Rikdo Koshi’s bubble economy sentai satire Excel Saga. It only comes out once a year now (and the liner notes indicates that isn’t going to change even now that it’s done in Japan, as it says “see you in 2013”), but that just makes it an event, and in the past few volumes we’ve seen the author pull out all the stops and keep developing the actual plot he’s had going. (Yes, anime fans, the manga has a plot. I realize that may be off-putting to you.) An incredibly underrated series, buy it today and make Carl Horn smile. You want to see Carl smile, right?

KATE: I heartily second all of Michelle’s selections, but ultimately cast my vote for Rohan at the Louvre. Like Glacial Period, Sky Over the Louvre, and On the Odd Hours, this manga takes the famous museum’s immense collection as its starting point, building a story around a mysterious, 200-year-old painting. The author is Hirohiko Araki — he of JoJo’s Bizarre Adventure — and the lead character a minor character from the JoJo universe. From the summary at the NBM site, I don’t think prior knowledge of JoJo is a prerequisite for enjoying the story, which makes this a great, commitment-free way to get acquainted with Araki’s work.

MJ: I’ll admit that my top choice this week is probably the same as Kate’s, Rohan at the Louvre, and my second is Michelle’s, Cross Game (and yes, I do want to see Carl Horn smile), but since these have already been praised, I have the chance to throw my vote elsewhere. So with that in mind, I’ll name volume two of Dark Horse’s omnibus edition of Magic Knight Rayearth. Though I’m certainly a CLAMP fan, I’ll admit this is one series I’ve never actually read, and with the CLAMP MMF looming up in July, it’s time for me to study up! The fact that Kate chose this edition as a runner-up in her Best Manga of 2011 gives me a lot of confidence that catching up with Magic Knight Rayearth will be worth my while. I look forward to discussing it in July!

Readers, what looks good to you this week?

Bookshelf Briefs 4/9/12

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This week, Sean, Michelle, and Kate look at recent releases from JManga, Viz Media, Dark Horse, and Vertical, Inc.

Ekiben Hitoritabi, Vol. 2 | By Jun Hayase | JManga – If you read volume one of Ekiben Hitoritabi, then you know what to expect from volume two. In this volume, middle-aged bento shop proprietor Daisuke Nakahara continues to travel around Japan by rail, acquiring two new companions who are initially reserved but eventually succumb to his relentless enthusiasm for railway facts and train station bentos. It’s fairly formulaic, but the panoramic vistas and detailed food drawings are still enjoyable, and dialogue like, “This whole shrimp is pretty lavish! It’s large and filling” inspires indulgent amusement rather than mean-spirited snickering. I even got a little verklempt during the chapters where Daisuke takes a boy on the train journey promised by his now-deceased father. It may not be the most exciting manga ever published, but it’s certainly got its own unique, leisurely charm. Thank you, JManga! – Michelle Smith

GTO: 14 Days in Shonan, Vol. 2 | By Toru Fujisawa | Vertical, Inc. – After unexpectedly enjoying the first volume of GTO: 14 Days in Shonan, I was really looking forward to the second. Happily, it did not disappoint. In fact, I liked it even better than the first as, aside from a gag wherein our protagonist’s nether-regions are the target of a swarm of ants, it’s more serious, focusing on Onizuka’s attempts to not only rescue Miki Katsuragi, the rebellious teen who’s caused him so much trouble, from a kidnapper but to get her police chief dad to realize that she’s been acting out in a desperate bid for his attention. Because we are privy to Onizuka’s more bumbling moments, his clear-eyed, rule-defying pursuit seems even more impressive and heroic by comparison. Okay, maybe there’s a little blatant heartstring-pulling here, with the whole “all of us worked as one” search party, but you know what? I don’t care. It’s effective. Bring on volume three! – Michelle Smith

GTO: 14 Days in Shonan, Vol. 2 | By Toru Fujisawa | Vertical, Inc. – For all that GTO can be moralistic in its “life isn’t as bad as you think it is” ways, there’s no denying that it shows life can be pretty damn bad. These kids aren’t just cynical teenagers with no worries – they deal with abuse, gang culture, and as we see here, kidnappers drugging them into online prostitution. That said, the basic theme of “children act up as the adults have abandoned them” reappears here, and we see how “The Girl Who Cried Wolf” isn’t as much fun when taken seriously. Luckily we have Onizuka, who can be a complete idiot much of the time but has the strength to back it up, both physically and mentally. Gang culture is so omnipresent in Onizuka’s world as it’s the closest thing to family for most of these kids, and seeing that family rally to save one of their own is heartwarming. Plus, car chases! –Sean Gaffney

Kamisama Kiss, Vol. 8 | By Julietta Suzuki | Viz Media – The beauty of Karakuri Odette was twofold: it was a medium length series of six volumes, and its romantic focus was small. These end up being a weakness, unfortunately in her new series. Much of the recent volumes of Kamisama Kiss have been taken up with wondering how long we can drag out the on-again, off-again romance/servant relationship between Nanami and Tomoe. It can be frustrating. On the up side, we do see Nanami’s cleverness here in escaping the World of the Dead, and she has improved greatly as a God. The big emotional drama in this volume, though, is saved for the end, where Nanami meets Mikage once more, who shows us why Tomoe has gaps in his memory – and why he wants Nanami to fill them. If you accept this is taking forever, it’s a good fantasy romance series.-Sean Gaffney

Kurosagi Corpse Delivery Service, Vol. 12 | Story by Eiji Otsuka, Art by Housui Yamazaki | Dark Horse – In the latest volume of KCDS, the Embalming Gang — as I like to call them — enter Second Life in search of a corpse, match wits with a girl who can leave her own body, and help a dollmaker say good-bye to the sister he lost during the 1945 Tokyo Fire Raids. The first story is the weakest of the three. Though Eiji Otsuka makes a game effort to explain how the gang’s powers work in virtual reality, the material never gels; the story feels like an grab bag of plot points from The Matrix, Invasion of the Body Snatchers, and a furry snuff film. The other two, however, are more successful, offering just the right mixture of morbid jokes, spooky surprises, and poignant moments between the living and the dead. As always, Carl Horn’s exhaustive editorial notes are a boon to the curious reader, explaining cultural references, in-jokes, and sound effects in detail. –Katherine Dacey

The Story of Saiunkoku, Vol. 6 | By Kairi Yura and Sai Yukino | Viz Media – As you would expect, just because Shurei has passed the exam to become a civil servant (which she does, in a quickly elided few pages) doesn’t mean that she gets accepted by one and all. Resented for being female, she is quickly assigned to the worst tasks in the ministry go to her (we’re talking cleaning the toilets here), and those who were bullied in school may find this volume disquieting. Like most Japanese manga dealing with bullying, it rides a fine line between “she must get stronger on her own” and “why aren’t we stopping this?”. On the bright side, I like the relationship between her and the Emperor more and more, and his sneaking off to ‘be her bodyguard’ is very clever – especially since it’s becoming harder and harder to see her otherwise. With this series, the long, drawn-out romance is justified by history and events.-Sean Gaffney

Show Us Your Stuff: Morgan’s Reading Rainbow

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Apologies for the late posting — yesterday was very hectic! This week’s featured collector is Morgan, a.k.a. ZepysGirl, a manga lover whose tastes run the gamut from CLAMP to Akira Toriyama. She attributes the size of her impressive library to her nose for deals; as she explains below, she rarely spends more than $5.40 on a volume of manga, even though she usually buys her books new or slightly used. Read on for her excellent shopping and organizational tips! – Katherine Dacey

Hi! I’m Morgan, aka ZepysGirl, and this is my manga collection. I’m a senior in college, planning to graduate soon and enter the industry. I’m kind of “in it” already: I work as a typesetter for the Digital Manga Guild group Purple Prose Killers. I would really love to spend all of my days surrounded by manga, and that’s reflected in my room. When we moved into this house, I declared that I would have a “Manga Wall” — and now I have two! My favorite genres are definitely fantasy and comedy, and I tend to skew more toward shojo than anything else.

How long have you been collecting manga?
I’ve been collecting since near the end of my freshman year in high school, so that would make it spring of 2005. So, about seven years! And everyone thought I would grow out of it…

What was the first manga you bought?
I was somewhere online when I came across a picture of the main characters from DN Angel. I couldn’t get the picture or the name out of my head, so I went on the hunt. At that point in time, I had no idea what manga or even anime was (I knew I liked Digimon, but had no idea it came from Japan. The search for DN Angel led me to a Waldenbooks, where I found a whole wall of manga! I bought up everything of DN Angel that was out at the time, then started moving through other series. I was so cute in those days; for a while, I honestly believed the only place you could buy manga was Waldenbooks!

There’s something ironic about the first series I ever started being one of the ones least likely to actually finish here any time soon…

How big is your collection?
I’m over 2,000 volumes; I’m edging into the territory where I just say “a lot” whenever people ask me.

What is the rarest item in your collection?
I tend to avoid looking up my out-of-print series on Amazon, but it’s probably a volume from one of those. I’d rather not know how expensive a book is on the secondary market, because I have no intention of selling any of them. The ones I like, I want to keep. Oh, and it’s not manga, but the “rarest” item is probably an art book I have for RG Veda. It’s a really nice hardcover book — complete with obi! — and it’s all in Japanese. I looked it up on Amazon once and it was going for $80. I bought it at a Half Price Books for $20!

What is the weirdest item in your collection?
Probably my German edition of Wild Rock. I honestly didn’t know it was German when I ordered it (you have to watch out for that with The Book Depository), and so the first time I opened it was quite a shock. A hilarious shock. I can’t even be annoyed with myself, it’s so entertaining.

How has your taste in manga evolved since you started your collection?
Not much. The series that I loved when I was younger are still some of my favorites now. One thing I have noticed, though, is that I tend to be more discriminating when deciding whether or not to continue/pick up a series (I know it might not seem like it, but it’s true!). A big factor of this is that I know my own tastes better now, and I’ve broken myself of the “But I already have the first volume… maybe it gets better!” mindset. Back in the beginning, I was buying almost at random because I was in love with the medium. Nowadays, I know the difference between “I like it” and “it’s okay” and adjust my buying habits accordingly.

Who are your favorite comic artists?
So many! So first, the people with their own shelves: Fumi Yoshinaga (love her stories!), You Higuri (love her art!), and CLAMP (love the stories AND art!).

There’s also Matsuri Hino, Yoshihiro Togashi, Sakura Tsukuba, Julietta Suzuki, Mizuho Kusanagi, Kaori Yuki (who really should have her own shelf), Karakara Kemuri, Matsuri Akino, Natsuki Takaya, Nari Kusakawa, Bisco Hatori, Yun Koga, Kyousuke Motomi, Svetlana Chmakova, Wann, Arina Tanemura, Usamaru Furuya, and Kazuya Minekura!

Okay! I… I think that’s all of them? You can see why I end up with so much manga, when I have so many manga-ka that I like…

What series are you actively collecting right now?
Ah heck, this is going to be even longer than the last list. Get ready, y’all: 13th Boy, Air Gear, Alice in the Country of Hearts/Clover, Arata: The Legend, Arisa, Black Butler, Blue Exorcist, Bride of the Water God, Countdown 7 Days, D.Gray-man, Dawn of the Arcana, Dengeki Daisy, The Drops of God, Fairy Tail, Fushigi Yugi: Genbu Kaiden, Gate 7, Goong, Hunter x Hunter, the InuYasha VIZBIGs, Itsuwaribito, Jack Frost, Kamisama Kiss, Kekkaishi, Kimi ni Todoke, La Corda d’Oro, Loveless, Maoh: Juvenile Remix, Mardock Scramble, the Maximum Ride manga, Naruto, Natsume’s Book of Friends, Nura: Rise of the Yokai Clan, Oresama Teacher, Ouran High School Host Club, Pandora Hearts, Psyren, Replica, Sailor Moon, Sakura Hime, Shugo Chara Chan, Skip Beat!, Soul Eater, Tegami Bachi, Tenjo Tenge, The Melancholy of Haruhi Suzumiya, The Story of Saiunkoku, Vampire Knight, and The Wallflower.

So… around 50 series? And that’s not counting the new series I’m most likely going to start (A Devil & Her Love Song, Durarara!!, etc…) or the older ones I’m finishing up (The Antique Gift Shop, Gimmick!). See, this is the main reason why I have this many manga: I like too many series!

Out of all that I’m collecting at the moment, my favorites are Skip Beat, Dengeki Daisy, and Oresama Teacher! I read new volumes of those as soon as I get them, which is unusual for me; normally I wait until I have a big chunk before diving back in. My favorite “new” series (well, new to ME) is Gimmick! — and no, that’s not Hot Gimmick. Gimmick! is the type of series that I want to throw at anyone and everyone! It’s rare that I get this in love with a series, but I am definitely in the honeymoon stage with Gimmick! I can’t even think about it critically because my brain just keeps stuttering “WOW. I did not even KNOW I wanted this!” Yes, boys and girls, read Gimmick!: it will reduce you to a blathering fangirl/fanboy in the best possible way. I dare you not to squee.

Do you have any tips for fellow collectors (e.g. how to organize a collection, where to find rare books, where to score the best deals on new manga)?
Oh gosh, I could talk forever about how to find the cheap stuff!

Finding good deals on manga is what I live for. It’s almost to the point where I’ve been thinking about asking to guest-blog somewhere about how to shop for manga. More people should know the tricks to getting $2 manga, I say! Seriously, though: I only have so many manga because I’m very good at shopping for them. My average price per volume is $4.50, so it’s no joke when I say I’d only have half of what I do if I’d paid full price. Sales and coupons are very important, young Manga Padawan.

This is entirely too abbreviated, but:

  • General Organization & Deals: Amazon.com
  • Used Manga: GoHastings.com (sometimes Amazon as well)
  • New Manga: Right Stuf & Midtown Comics (and GoHastings, but only if there’s a book I have to have RIGHT THIS SECOND!)
  • Yaoi: Akadot Retail
  • Honorable Mentions: PaperbackSwap.com, The Book Depository

As far as rare books go, I’ve actually had some success finding them in physical stores, so check out your local half-price bookstore or comic shop. The comic shops ESPECIALLY because those guys never seem to realize what they have! As far as online shops go, I’ve had some luck finding OOP books at both The Book Depository and Midtown Comics.

And for organizing… there are many ways to organize, so just choose what works best for you. My manga are currently alpha-by-title, with a few exceptions. CLAMP is separate to ease lending those books out to other people. I’ve met a lot of people who have only read the popular CLAMP series and haven’t even heard of some of the shorter stuff. The yaoi is off by itself because most of them are one-shots and would get lost in the library otherwise. Oversized books get their own shelf because they simply don’t fit on half of the shelves (the wall-shelves are custom designed for normal manga size). And Fumi Yoshinaga and You Higuri only got their own space because I am severely lacking room in the over-sized bookshelf. I kind of have a shelf of what I need to read next, but that gets oft neglected and I end up reading something completely different. Also: rainbow-order looks really awesome, but you can’t find anything that way. It was short-lived.

To view Morgan’s entire album of pictures, click here.

Show Us Your Stuff is a regular column in which readers share pictures of their manga collections and discuss their favorite series. If you’d like to see your manga library featured here, please follow the directions on this page.

The Earl & The Fairy, Vol. 1

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Meet Lydia Carlton: she’s a so-called “fairy doctor,” a healer who acts as an intermediary between the spirit and human worlds. The rapid advance of technology in Victorian England has made Lydia’s job obsolete; most people no longer seek magical remedies for their ailments, and view Lydia as a relic of a less enlightened time, someone who steadfastly clings to the belief that she can see and talk to these mischievous folk. Lydia knows better: not only are fairies real, but they continue to wreak havoc with humans, even in an age of railroads, telegraphs, and steam-powered ships.

Lydia’s predicament would make a swell basis for a manga, but her abilities are more a plot contrivance than a central element of the drama — at least in volume one of The Earl & The Fairy. The initial chapters focus on Lydia’s fraught relationship with Edgar Ashenbert, a dashing young man who claims to be descended from the Blue Knight, a legendary warrior. Edgar enlists kidnaps Lydia because he needs someone to help him find the Blue Knight’s sword, the location of which is inscribed on a coin that can only be read by a fairy doctor.

If you’ve read more than five or six shojo manga — or, for that matter, five or six Harlequin romances — you can guess what sort of chap Edgar is: he’s handsome, possessive, and smug, with a tender side that the heroine’s beauty and decency helps reveal. Lydia is a similarly predictable character: she’s feisty and conflicted, simultaneously drawn to and repelled by her captor. Lydia also happens to be one of the duller knives in the Shojo Beat drawer, placing her trust in anyone who approaches her; she’s kidnapped not once but twice in the very first chapter of the story.

For a grumpy old lady like me, stale, silly lead characters would usually be a deal-breaker. The lively supporting cast and lovely artwork, however, drew me into the story, even when Edgar and Lydia’s conversations inspired eyeball rolling and hair pulling. (In later chapters, Edgar narrates his tortured personal history in comic detail — it’s courtship by information dump.)

The best character in The Earl & The Fairy — so far, at least — is Nico, a magical being who assumes the form of a fussy talking cat. On one level, Nico is a standard animal sidekick, providing much-needed comic relief: in one running joke, for example, he bristles with indignation every time he’s served a bowl of milk. (He prefers wine.) On another level, however, Nico is a reader stand-in, giving voice to our frustration with Lydia’s naivete; in essence, it’s like watching a horror movie in which one of the characters says, “Don’t open that door, dude, the killer’s in there.” You don’t say.

Ermine and Raven, a sister-brother duo in Edgar’s employ, also add depth to the cast. Their backstory is pure manga: both were enslaved by a wicked “prince” working out of the sewers of an unnamed American city. After Edgar rescued them, Ermine and Raven became his most devoted servants, waiting on him hand and foot, defending him against enemies, and wooing Lydia on his behalf. To be sure, henchmen/servants are a standard manga type, but Ermine and Raven have enough idiosyncrasies to make them interesting; Ermine, in particular, is an unusual figure, a melancholy cross-dresser who seems caught between the male and female worlds.

The Earl & The Fairy‘s other saving grace is the artwork. The character designs are crisply executed; though none of the characters are especially distinguished looking, artist Ayuko draws elegant, well-proportioned figures that are pleasing to the eye. The settings are rendered with even greater care, capturing the technology and landscapes of mid-nineteenth century England in convincing detail. (Well, minus the ships: when viewed from a distance, they appear to be eighteenth-century sailing vessels, while their interiors suggest a Cunard ocean liner.) Ayuko pays similar attention to lighting; in several nocturnal scenes, she does a fine job of suggesting the meager, irregular quality of candlelight, using delicate crosshatching to mark the boundary between light and shadow.

If the parts of Earl are greater than the whole, it’s still an entertaining series. I don’t know if moody landscapes and talking cats are enough to justify my investment in all four volumes, but I’m certainly willing to read another before declaring this nice-looking romance a dud.

THE EARL & THE FAIRY, VOL. 1 • STORY AND ART BY AYUKO, ORIGINAL CONCEPT BY MIZUE TANI • VIZ MEDIA • 186 pp. • RATING: TEEN (13+)

The Earl & The Fairy, Vol. 1

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Meet Lydia Carlton: she’s a so-called “fairy doctor,” a healer who acts as an intermediary between the spirit and human worlds. The rapid advance of technology in Victorian England has made Lydia’s job obsolete; most people no longer seek magical remedies for their ailments, and view Lydia as a relic of a less enlightened time, someone who steadfastly clings to the belief that she can see and talk to these mischievous folk. Lydia knows better: not only are fairies real, but they continue to wreak havoc with humans, even in an age of railroads, telegraphs, and steam-powered ships.

Lydia’s predicament would make a swell basis for a manga, but her abilities are more a plot contrivance than a central element of the drama — at least in volume one of The Earl & The Fairy. The initial chapters focus on Lydia’s fraught relationship with Edgar Ashenbert, a dashing young man who claims to be descended from the Blue Knight, a legendary warrior. Edgar enlists kidnaps Lydia because he needs someone to help him find the Blue Knight’s sword, the location of which is inscribed on a coin that can only be read by a fairy doctor.

If you’ve read more than five or six shojo manga — or, for that matter, five or six Harlequin romances — you can guess what sort of chap Edgar is: he’s handsome, possessive, and smug, with a tender side that the heroine’s beauty and decency helps reveal. Lydia is a similarly predictable character: she’s feisty and conflicted, simultaneously drawn to and repelled by her captor. Lydia also happens to be one of the duller knives in the Shojo Beat drawer, placing her trust in anyone who approaches her; she’s kidnapped not once but twice in the very first chapter of the story.

For a grumpy old lady like me, stale, silly lead characters would usually be a deal-breaker. The lively supporting cast and lovely artwork, however, drew me into the story, even when Edgar and Lydia’s conversations inspired eyeball rolling and hair pulling. (In later chapters, Edgar narrates his tortured personal history in comic detail — it’s courtship by information dump.)

The best character in The Earl & The Fairy — so far, at least — is Nico, a magical being who assumes the form of a fussy talking cat. On one level, Nico is a standard animal sidekick, providing much-needed comic relief: in one running joke, for example, he bristles with indignation every time he’s served a bowl of milk. (He prefers wine.) On another level, however, Nico is a reader stand-in, giving voice to our frustration with Lydia’s naivete; in essence, it’s like watching a horror movie in which one of the characters says, “Don’t open that door, dude, the killer’s in there.” You don’t say.

Ermine and Raven, a sister-brother duo in Edgar’s employ, also add depth to the cast. Their backstory is pure manga: both were enslaved by a wicked “prince” working out of the sewers of an unnamed American city. After Edgar rescued them, Ermine and Raven became his most devoted servants, waiting on him hand and foot, defending him against enemies, and wooing Lydia on his behalf. To be sure, henchmen/servants are a standard manga type, but Ermine and Raven have enough idiosyncrasies to make them interesting; Ermine, in particular, is an unusual figure, a melancholy cross-dresser who seems caught between the male and female worlds.

The Earl & The Fairy‘s other saving grace is the artwork. The character designs are crisply executed; though none of the characters are especially distinguished looking, artist Ayuko draws elegant, well-proportioned figures that are pleasing to the eye. The settings are rendered with even greater care, capturing the technology and landscapes of mid-nineteenth century England in convincing detail. (Well, minus the ships: when viewed from a distance, they appear to be eighteenth-century sailing vessels, while their interiors suggest a Cunard ocean liner.) Ayuko pays similar attention to lighting; in several nocturnal scenes, she does a fine job of suggesting the meager, irregular quality of candlelight, using delicate crosshatching to mark the boundary between light and shadow.

If the parts of Earl are greater than the whole, it’s still an entertaining series. I don’t know if moody landscapes and talking cats are enough to justify my investment in all four volumes, but I’m certainly willing to read another before declaring this nice-looking romance a dud.

THE EARL & THE FAIRY, VOL. 1 • STORY AND ART BY AYUKO, ORIGINAL CONCEPT BY MIZUE TANI • VIZ MEDIA • 186 pp. • RATING: TEEN (13+)

Pick of the Week: Drops, Devil, & more

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The selection of new manga is wide at Midtown Comics this week. See the Battle Robot’s picks below!

KATE: My liver and I agree: this week’s must-read manga is volume three of The Drops of God. The genius of Drops is that it reads like a shonen tournament manga but has the soul of a Food Network show. Each volume manages to impart information about the world’s finest and rarest wines while delivering plenty of drama and adventure; it’s as if someone crossed Naruto with Oishinbo, and the results are totally, utterly entertaining, even if the characters spend a lot of time waxing rhapsodic about terroir and vintage. Really, what’s not to like about a series that dares to compare a 2001 Chateau Mont-Perac with Freddie Mercury’s singing?

SEAN: My pick this time is the 2nd volume of A Devil And Her Love Song, Viz’s new shoujo series for those of us who like our heroines with bite. However, leaving Maria aside, I’m also enjoying the way that the manga is giving us the traditional shoujo cliche of the happy blond guy and his more serious brunet friend. Maria manages to deconstruct the two of them almost right out of the box, and I look forward to seeing whether they plan to develop beyond the cliche. (I do expect the cliche to stay the same in one, way – serious guy is going to win the girl.) And, as ever with series where the girl is hated by her female classmates but surrounded by hot guy friends, there’s a hope for other sympathetic females.

MICHELLE: Oh man, this is a difficult week! I am definitely eager to read both Drops of God volume three and A Devil and Her Love Song volume two, but Kate and Sean advocated for them so eloquently that I’ve nothing left to add! I think, therefore, that I’ll go for volume two of GTO: 14 Days in Shonan. I knew nothing about the series going in, yet found it easy to follow and though it does have a little too much gross-out humor for my taste, it’s also got a lot of heart. It’s nice reading about a generally goofy protagonist who is also legitimately good at something. Recommended.

MJ: I’m anxious to read both the second volume of A Devil And Her Love Song and The Drops of God (I’m behind on GTO), but since these have already been mentioned, I’ll give my nod to the third volume of Rei Toma’s Dawn of the Arcana. Though at its core, it is a pretty typical shoujo love triangle, volume three finally manages to make the heroine’s supernatural ability interesting and introduces a new, fairly intriguing character as well. Even the political angles of the story are finally taking on some real heft. Though my enthusiasm for this series is still in-progress, this is beginning to look like a series I’ll enjoy following to completion. If you haven’t already, I’d say now is the right time to pick it up!

Readers, what looks good to you this week?

Show Us Your Stuff: Sara Christina Barcelona

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Hola, manga lovers! As you might guess from my salutation, this week’s featured contributor hails from Spain — Barcelona, to be exact — and she has a collection that will make American readers green with envy. Sara owns a little bit of everything: Riyoko Ikeda’s The Window of Orpheus, Sanpei Shirato’s The Legend of Kamui, Asao Takamori and Tetsuya Chiba’s Ashita no Joe, Naoko Takeuchi’s Codename: Sailor V, and Takashi Murakami’s Stargazing Dog are just a few of the manga gracing her bookshelves. Like our previous European contributors, Sara is multilingual, collecting manga in Catalan, Spanish, French, Italian, and English. – Katherine Dacey

Hi, everybody! I’m a girl from Barcelona and a passionate manga fan. I also love singing, having promenades, and speaking with friends. If possible, I buy manga in Catalan, but if the volumes I want aren’t available in this language, I don’t mind buying them in Spanish, English, French, or Italian (or other languages I haven’t had the opportunity to learn yet). I also own some Japanese editions, just to collect them, because I can’t understand them.

How long have you been collecting manga?
Eight and a half years, more or less. I think my parents have already assumed that I’ll be a manga fan for the rest of my life!

What was the first manga you bought?
Technically speaking, I have three “first” mangas:

  • Sailor Moon, Vol. 16: This was the very first manga volume I bought. I didn’t like it at all because translation was horrible. I had watched the anime, so for me it wasn’t a problem to follow the story.
  • Fushigi Yugi, Vol. 1: My first unflipped manga!
  • Tsubasa Reservoir Chronicle: Although I now hate this series, it was the first one I collected seriously.

How big is your collection?
Right now, my collection is between 300 and 400 volumes. It’s quite small considering the number of years I have been collecting manga, but I can’t afford to buy more volumes and I don’t count mangas I’m trying to sell.

What is the rarest item in your collection?
Let me see… I own the French edition of Devilman Vol. 1, many volumes of the Catalan edition of Doraemon, Spanish editions of The Legend of Kamui: The Island of Sugaru and Baoh, and some older Spanish editions of Kaikisen, Barefoot Gen, and Promise. I have many other OOP Spanish editions, but they aren’t particularly rare. Finally, I don’t know if it’s rare, but I own the animal encyclopedia of the Nod·d·a·ringniche Island, which is magnificent, even if I can’t read it.

What is the weirdest item in your collection?
This one is easy: DDT and New National Kid. Both of them are quite similar: short stories by Suehiro Maruo, as weird as they are disgusting.

How has your taste in manga evolved since you started your collection?
As I started collecting Tsubasa, I became curious about CLAMPS’s work. Most of the manga I bought then was by CLAMP since I loved their style; when I tried something that wasn’t by CLAMP, I usually didn’t like it. (Shop assistants didn’t give me good advice!) I enjoyed Shin Shun Kaden’s story even if it wasn’t complete, I laughed like a mad with Miyuki-chan in the Wonderland, I was nostalgic with Shirahime-Syo and was traumatized by RG Veda.

When I passed volume 22 of Tsubasa, I started to dislike it and I didn’t find other mangas that satisfied me. This was my crisis manga period. Then one day I randomly borrowed the first volume of Rose of Versailles from a library… and it was so fascinating I couldn’t stop reading. I had to return to the library and take the other volumes the sooner the better. My manga crisis was over.

I’m still angry with CLAMP – so angry, in fact, that I didn’t try Kobato or Gate7 and didn’t finish xxxHolic. I think they have evolved, in both art and scripts. That said, I still like their ’90 mangas such as Tokyo Babylon and X.

Right now, I like well-constructed stories and dramas but I also enjoy good comedies. Even if the genres I read the most are shôjo, seinen and josei, I try to taste a bit of all (except from lolicon and shotacon, which I consider aberrations). Ah! And I love older mangas, especially the ones from the seventies, a decade when many masterpieces were conceived.



Who are your favorite comic artists?
Nowadays, my favorite one is Riyoko Ikeda: I love her dramas and the way her stories develop. Even though the Rose of Versailles Gaiden is horrible and I would have preferred that she hadn’t drawn it.

My favorite slice-of-life mangaka is Fumiyo Kôno: her drawings and scripts are so lovely. When I read her works I feel like floating. My favorite artist is Macoto Takahashi: his fairy tales landscapes are just breathtaking.

What is your favorite series?
This one is pretty difficult. I have many and I can’t just choose one. I’ll try not to name more than one manga per author: Oniisama e… (Riyoko Ikeda), Nagai Michi (Fumiyo Kôno), Coo no Sekai plus its sequel A Patch of Dreams (Hideji Oda), Tokyo Babylon (CLAMP), Fruits Basket (Natsuki Takaya), Ikkyû (Hisashi Sakaguchi), Sand Chronicles (Hinako Ashihara), The Willow Tree (Moto Hagio), Blue (Kiriko Nananan), Red Colored Elegy (Seiichi Hayashi), Calling You (Otsuichi & Hiro Kiyohara), Lovely Complex (Aya Nakahara), Gakuen Alice (Tachibana Higuchi), Uzumaki (Junji Ito) and Stargazing Dog (Takashi Murakami). Of course, they may change in the future as my own tastes evolve and I discover new works.

I suppose that I can’t choose because I haven’t found yet a manga I feel it’s been created just for me. Maybe someday I will.

What series are you actively collecting right now?
Just Gakuen Alice. In fact, I would like to collect actively more series, but I can’t afford it, so I just try to buy second hand books or special offers. There are a few series that I would like to finish/continue; if I can’t find someone selling them at a good price, I’ll buy them at comic shop. They are Ashita no Joe, Last Quarter and Lovely Complex.

I would buy more first-hand comics if the prices were lower. However, Spanish people prefer better-quality editions, and are willing to pay more for manga, even if translation is abominable.

Do you have any tips for fellow collectors (e.g. how to organize a collection, where to find rare books, where to score the best deals on new manga)?
Organization. I organize my manga collection by themed shelves, drawers, and boxes which can change as my collection grows. I also build my own manga boxes. It requires some time but I enjoy making them.

Bargain hunting. I buy a lot of second-hand manga and take advantage of special offers from shops. This is great way to find rare, OOP comics (and sometimes not so expensive, if you’re lucky) and to save money.

For second-hand books, I visit Spanish forums with a second-hand market section. I also visit Barcelona’s Newton shop and Barcelona’s Mercat de Sant Antoni, an old book, comic and videogame market which takes place every Sunday. I also try to find good second hand-offers in big manga/comic conventions, such as the Saló del Manga de Barcelona and Saló Internacional del Còmic de Barcelona.

For special offers, I often visit comic shops and check their promotional displays.

Collection purging. Sell items you don’t like! The best option is through forums or sites such as eBay, because if you try to sell them in a comic shop they’ll pay you nearly nothing. Sometimes, if I bought something really, really cheap I could even earn some money.

Mangas published in other countries. Sites such as Book Depository and Deastore are quite useful for people who know foreign languages but don’t plan to buy a lot of products. (The shipping costs are always free.) If you buy in bulk, you should compare the prices with Amazon, then, because the shipping costs are free if you spend meet a certain minimum. (Editor’s note: That minimum varies by country; in the United States, orders over $25.00 qualify for the free shipping promotion.)

Sara prepared a comprehensive list of her collection; you can view that list by clicking here to download a PDF version.

Show Us Your Stuff is a regular column in which readers share pictures of their manga collections and discuss their favorite series. If you’d like to see your manga library featured here, please follow the directions on this page.