Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

Katherine Dacey

Bookshelf Briefs 1/9/12

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This week, MJ, Michelle, Kate, & Sean take a look at new releases from Vertical Inc., Viz Media, Kodansha Comics, and Dark Horse.

Chi’s Sweet Home, Vol. 7 | By Konami Kanata | Vertical, Inc. – One might imagine that a manga series about the life of a cute cat would eventually become… boring. Fortunately, the appeal of Chi’s Sweet Home endures, adding to the internet’s growing body of evidence suggesting that the human fascination with feline behavior is essentially endless. In volume seven, Chi spends some time out of the house with stray cat Cocchi, who introduces her to the neighborhood’s best food sources, for better or worse. This series remains as fresh and charming as ever, and also stands as one of the few currently-running manga that can be successfully picked up at pretty much any point. This volume works as well as a stand-alone set of cute cat comics as it does as part of a heart-warming series, so there’s no excuse for passing on it, even if you’ve missed what’s come before. Still recommended. -MJ

Chi’s Sweet Home, Vol. 7 | By Konami Kanata | Vertical, Inc. – As a cat owner, I read Chi with a certain amount of sympathy for all parties concerned. This is especially true in this volume, wherein Chi eats something strange while exploring outside and ends up being whisked to the vet for treatment by her frantic owners. (Barf is such a ubiquitous part of cat ownership I’m actually pretty amazed that it took until chapter 127 for Kanata to get around to depicting it!) True, sometimes her owners still do very unwise things (like bring a new goldfish into their home), but Yohei continues to be adorable, as do Chi’s outdoor pals. I’m especially fond of Cocchi, a kitten without a home who plays gruff but secretly enjoys cuddling with Chi. His sad story—and Chi’s brush with danger—also serve to show that this series doesn’t need to rely on cuteness to affect its audience. Perennially recommended. – Michelle Smith

No Longer Human, Vol. 2 | Based on the novel by Osamu Dazai, Adapted by Usamaru Furuya | Vertical, Inc. – I’m of two minds about No Longer Human. On the one hand, Usamaru Furuya’s sense of pacing and narrative has never been stronger; working from Osamu Dazai’s text, Furuya has crafted a grim but compelling story about a young man’s fall from grace. On the other hand, Furuya’s interpretation of the lead character, Yozo, is less nuanced than Dazai’s; Yozo has been transformed a young man paralyzed by his own self awareness to a garden-variety narcissist who thinks only of himself. That small but important change gives the material a bitter aftertaste, making No Longer Human a difficult manga to read — not because bad things happen, but because the hero’s apathy makes him seem like more of a jerk than a wounded soul. An uneven but worthy introduction to Dazai’s work. -Katherine Dacey

Negima! Magister Negi Magi Omnibus, Vol. 3 | By Ken Akamatsu | Kodansha Comics. – This third omnibus, containing Vols. 7-9 of Negima, sees Akamatsu shuffle plot points into position, dot i’s and cross t’s, and generally prepare for the next big arc, the fighting tournament. Most of Vol. 7 is taken up with a fight between Negi and Asuna, who is at her most Naru-esque here, a trait she’ll lose as the series goes on. Vol. 8 reintroduces Kotaro, but on Negi’s side and becoming a much needed “male friend”. The translation by the Nibleys had less to alter here – Trish Ledoux was not as free as Peter David was – so it’s not as absolutely necessary a buy as 1 and 2 were. Still, those re-reading will enjoy the foreshadowing of things that happened years later Akamatsu throws in here, as well as casually dropping in his first big villain – one of Negi’s own students! There’s also less service here (though still quite a bit), leading me to think this is where Akamatsu gained control over Kodansha’s editors.-Sean Gaffney

Oh My Goddess, Vol. 40 | By Kosuke Fujishima | Dark Horse Comics. – If you skip to the Letters column of this very short volume, you’ll see Carl apologizing – it was only 112 pages in Japan as well, for unknown reasons. It’s supposed to be a one-time thing. Still, we do get some action in these 5 chapters, as Keiichi and the three goddesses begin their journey into Hell to battle Hild’s usurpers. Keiichi’s place in the group is brought up a few times, and we get a few good reasons why he’s there – he’s genuinely good at strategy and thinking on his feet, something we’ve seen before but tend to forget because it’s balanced with so much of him waffling and not shtupping Belldandy. Speaking of whom, Bell’s jealousy is really starting to get lampshaded in these chapters – Hild’s farewell kiss causes Bell to lose control of her powers, and when a demon threatens Keiichi, she’s quick to break in with a pointed threat. Those who have read the series all along will still enjoy this volume, small though it may be.-Sean Gaffney

Psyren, Vol. 2 | By Toshiaki Iwashiro | Viz Media – The second volume of Psyren is a minor improvement on the first, thanks in large part to the introduction of a second memorable female character, Matsuri Yagumo, a motorcycle-riding concert pianist who also wields a mean kitana. Though we’re treated to a few moments of Matsuri strutting her stuff, her primary role — in this volume, at least — is to explain the rules of Psyren to newcomers Ageha and Hiryu. Those exposition-dense passages dominate the volume, slowing the narrative to a crawl while Matsuri lectures the boys on how to use their psionic powers and what they can expect to see within the game. With the basic groundwork for the story laid, one can only hope that the talk-to-action ratio in volume three will cant more strongly towards the latter. -Katherine Dacey

Fluffy, Fluffy Cinnamoroll, Vol. 1

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Critic proof: that’s my two-word assessment of Fluffy, Fluffy Cinnamoroll, a new all-ages manga starring one of Sanrio’s lesser-known characters. The story is a mixture of sincere sentiment and calculated product placement that’s been carefully designed to appeal to the under-ten crowd; an adult can practically hear the cha-ching of the cash register every time a new character or magical object is introduced.

The Cinnamaroll of the title is described in the introduction as a “boy puppy” with a tail like a bun. Unhappy among his litter mates — all of whom are big, puffy clouds — he finds his calling at a terrestrial bakery that specializes in breakfast treats. There he befriends an assortment of other dogs: Mocha, a “stylish chatterbox” who accessorizes with ribbons and flowers; Cappuccino, an easygoing pup who likes to nap and eat; Chiffon, a high-energy dog with ears that faintly resemble a chiffon cake; Espresso, a talented know-it-all who boasts a “distinguished Mozart hairstyle”; and Milk, a baby whose entire vocabulary consists of the all-purpose word “baboo.”

Volume one features a dozen or so stories involving picnics, treasure maps, trips to the beach, and letters to Santa Claus. Though there’s a strong element of fantasy in the gang’s adventures, there’s an even stronger whiff of didacticism: in one chapter, for example, Cinnamoroll must set aside his fear of the dark to rescue his friends, who are being held captive in a haunted house, while in another, Cinnamoroll learns to embrace the fact he’s different from the other “cloud kids.” Every conflict is neatly resolved in a few pages, with Cinnamoroll learning an important lesson about friendship, loyalty, or selflessness; only Cavity, a dark cloud with a devil’s tail, seems impervious to the other characters’ warmth and energy.

As an adult reader, it’s impossible not to feel a little jaded reading Fluffy, Fluffy Cinnamoroll. The stories have predictable scripts that have been carefully designed to stimulate the reader’s awwwww reflex at regular intervals. The artwork, too, lacks personality; though no one would deny its fundamental cuteness, the art looks prefabricated, as if each character had been assembled from interchangeable parts from the Sanrio plant. More puzzling still is that none of the pups look particularly canine; the artist could easily have described all of them as long-eared rabbits without compromising the story.

Yet for all the cynicism a project like Fluffy, Fluffy Cinnamoroll might inspire, I also understand its appeal: it looks like someone took the contents of my childhood sticker album and turned it into a story featuring puppies, unicorns, sweets, and rainbows. The stories, like the character designs, have a definite child logic to them, as the plots touch on a variety of pre-teen fantasies: being rich and famous, eating a diet of sweets, spending all your time playing with friends (no one goes to school), and learning that yes, indeed, you were born into the wrong family. If those stories aren’t executed with the grace or imagination of the best kids’ comics, they’ll still please the under-ten crowd with their whimsical settings and earnest characters. Just don’t be surprised when they ask the inevitable question: where can I get a Cinnamoroll doll?

Review copy provided by VIZ Media, LLC.

FLUFFY, FLUFFY CINNAMOROLL, VOL. 1 • STORY AND ART BY YUMI TSUKIRINO, ORIGINAL CONCEPT BY CHISATO SEKI • VIZ MEDIA • 160 pp. • RATING: ALL AGES

 

Fluffy, Fluffy Cinnamoroll, Vol. 1

by

Critic proof: that’s my two-word assessment of Fluffy, Fluffy Cinnamoroll, a new all-ages manga starring one of Sanrio’s lesser-known characters. The story is a mixture of sincere sentiment and calculated product placement that’s been carefully designed to appeal to the under-ten crowd; an adult can practically hear the cha-ching of the cash register every time a new character or magical object is introduced.

The Cinnamaroll of the title is described in the introduction as a “boy puppy” with a tail like a bun. Unhappy among his litter mates — all of whom are big, puffy clouds — he finds his calling at a terrestrial bakery that specializes in breakfast treats. There he befriends an assortment of other dogs: Mocha, a “stylish chatterbox” who accessorizes with ribbons and flowers; Cappuccino, an easygoing pup who likes to nap and eat; Chiffon, a high-energy dog with ears that faintly resemble a chiffon cake; Espresso, a talented know-it-all who boasts a “distinguished Mozart hairstyle”; and Milk, a baby whose entire vocabulary consists of the all-purpose word “baboo.”

Volume one features a dozen or so stories involving picnics, treasure maps, trips to the beach, and letters to Santa Claus. Though there’s a strong element of fantasy in the gang’s adventures, there’s an even stronger whiff of didacticism: in one chapter, for example, Cinnamoroll must set aside his fear of the dark to rescue his friends, who are being held captive in a haunted house, while in another, Cinnamoroll learns to embrace the fact he’s different from the other “cloud kids.” Every conflict is neatly resolved in a few pages, with Cinnamoroll learning an important lesson about friendship, loyalty, or selflessness; only Cavity, a dark cloud with a devil’s tail, seems impervious to the other characters’ warmth and energy.

As an adult reader, it’s impossible not to feel a little jaded reading Fluffy, Fluffy Cinnamoroll. The stories have predictable scripts that have been carefully designed to stimulate the reader’s awwwww reflex at regular intervals. The artwork, too, lacks personality; though no one would deny its fundamental cuteness, the art looks prefabricated, as if each character had been assembled from interchangeable parts from the Sanrio plant. More puzzling still is that none of the pups look particularly canine; the artist could easily have described all of them as long-eared rabbits without compromising the story.

Yet for all the cynicism a project like Fluffy, Fluffy Cinnamoroll might inspire, I also understand its appeal: it looks like someone took the contents of my childhood sticker album and turned it into a story featuring puppies, unicorns, sweets, and rainbows. The stories, like the character designs, have a definite child logic to them, as the plots touch on a variety of pre-teen fantasies: being rich and famous, eating a diet of sweets, spending all your time playing with friends (no one goes to school), and learning that yes, indeed, you were born into the wrong family. If those stories aren’t executed with the grace or imagination of the best kids’ comics, they’ll still please the under-ten crowd with their whimsical settings and earnest characters. Just don’t be surprised when they ask the inevitable question: where can I get a Cinnamoroll doll?

Review copy provided by VIZ Media, LLC.

FLUFFY, FLUFFY CINNAMOROLL, VOL. 1 • STORY AND ART BY YUMI TSUKIRINO, ORIGINAL CONCEPT BY CHISATO SEKI • VIZ MEDIA • 160 pp. • RATING: ALL AGES

 

Pick of the Week: Manga & More

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It’s a new year, and Midtown Comics gets things started with a hefty shipment of new manga. See what Michelle, Sean, Kate, and MJare looking forward to this week!

MICHELLE: It’s the first pick of the new year! There are actually several likely candidates on the list of manga due to arrive this week, including Kimi ni Todoke, One Piece, and Oresama Teacher. But I am going to have to award my pick to a shoujo manga that I continue to love even as it approaches its 30th volume: Skip Beat!. In practically any other series, the fact that the heroine, Kyoko, is still oblivious to the hero’s feelings for her would be series-droppingly annoying by this point, but somehow, Skip Beat! makes it work. It helps that Kyoko is spirited, determined, and focused on her career, and the funny moments (pretty much any time Kyoko wears a chicken costume) are also worth the price of admission.

KATE: I’m just getting up to speed with Skip Beat!, so my vote goes to Government Issue: Comics for the People, 1940s – 2000s. This anthology has actually been available for a couple of months, so it’s a little surprising to see it appear on the Midtown Comics list this week. But if you missed it when it was originally released in November, now’s your chance to see how the American government has harnessed the comics medium to educate its constituents about a range of topics, from nuclear war to AIDS. The book is divided into four sections: comics about the military; comics about employment and economics; comics about civil defense, safety, and health; and comics about landscapes and lifestyles. Though the contextual essays are a little too brief to be truly revelatory, the comics speak for themselves, offering readers a fascinating window into twentieth-century history.

SEAN: It’s getting so that every new volume of Oresama Teacher is making me even happier than the last. The author has a flair for writing very dumb characters in such a way that you not only like them but root for them, and yet at the same time your jaw drops every time they miss the blatantly obvious. It also manages to ride a very fine line, not quite being supportive of young teenagers being in gangs, but at the same time showing the deep bonds of friendship that exist within such structures. As for Mafuyu’s various relationships with the various males in the series, I can honestly say I have absolutely no idea who she’ll end up with, if anyone. Which is a rarity for most manga both shonen and shoujo, where the end pairing always seems set in stone from the very beginning. And she kicks everyone’s ass as well. Fantastic series.

MJ: Though this week is chock full of (mostly Viz) goodness, I find myself drifting to a book I picked up from last week’s list, volume two of Takako Shimura’s Wandering Son from Fantagraphics. I absolutely loved the first volume of this series, and I was thrilled to see this pop up a couple of weeks ahead of what I’d thought was its official release date. This is one of those highly-anticipated series that turned out to be even better than I expected, which is a pretty rare treat. Though its beautiful hardcover presentation puts it in a higher price bracket than most manga, it’s required reading as far as I’m concerned, deserving of a nice, long shelf life. Definitely worth saving up for.

Readers, what looks good to you this week?

The Best Manga of 2011: The Manga Critic’s Picks

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The usual gambit for introducing a year-end list is to remark on the abundance of good titles, acknowledge the difficulty in choosing just ten (or five, or three), and comment on the overall state of the industry. And while I certainly debated what to include on my list, I’ll be honest: 2011 yielded fewer contenders for Best Manga than any other year I’ve covered. The dearth of new titles was attributable to publishers’ financial prudence; companies released fewer books, licensed fewer series, and focused on repackaging older content for budget-conscious consumers. And though I selfishly wish that more new material had been released this year, I think manga publishers have done an excellent job of responding to their biggest challenges: a sluggish economy, digital piracy, and Borders’ bankruptcy.

So what titles made my 2011 list? My top ten are below, along with my list of favorite continuing series, favorite finales, and favorite guilty pleasures.

10. BREATHE DEEPLY (Yamaaki Doton; One Peace Books)

Part sci-fi thriller, part coming-of-age story, this engrossing drama examines the relationship between two young men: Sei, who grew up in a world of privilege, and Oishi, a boy from the wrong side of the tracks. Both Sei and Oishi fall in love with Yuko, a sickly girl whose incurable illness inspires her suitors to become medical researchers. In less capable hands, Breathe Deeply might have been a mawkish paean to the purity of young love, but the husband-and-wife team of Yamaaki Doton have a keen ear for dialogue; the interactions between Yuko and her two suitors are tinged with an authentic mixture of adolescent anxiety, sexual longing, and braggadocio. Clean, expressive artwork and well-rounded characters help sell the story, especially in its final pages. One of 2011’s best surprises.

9. THE SECRET NOTES OF LADY KANOKO (Ririko Tsujita; Tokyopop)

Kanoko, the sardonic heroine of The Secret Notes of Lady Kanoko, is a student of human behavior, gleefully filling her notebooks with detailed observations about her classmates. Though Kanoko would like nothing more than to remain on the sidelines, she frequently becomes embroiled in her peers’ problems; they value her independent perspective, as Kanoko isn’t the least bit interested in dating, running for student council, or currying favor with the alpha clique. Kanoko’s sharp tongue and cool demeanor might make her the mean-girl villain in another shojo manga, but Ririko Tsujita embraces her heroine’s prickly, opinionated nature and makes it fundamental to Kanoko’s appeal. It’s a pity TOKYOPOP didn’t survive long enough to finish this three-volume series, as it’s one of the best shojo titles in recent memory.

8. WANDERING SON (Takako Shimura; Fantagraphics)

In her thoughtful review of volume one, Michelle Smith praised Takako Shimura’s deft use of perspective: “The main thing I kept thinking about while reading Wandering Son… is how things that seem insignificant to one person can be secretly, intensely significant to someone else.” Shimura’s ability to dramatize each character’s unique point of view is one of the reasons Wandering Son never feels preachy, even though the topic suggests an Afterschool Special; we are always exquisitely aware of the subtle but important changes in the way each character views herself, as well as her fears and hopes.

7. PRINCESS KNIGHT (Osamu Tezuka; Vertical, Inc.)

What Osamu Tezuka’s New Treasure Island (1946) was to shonen, his Princess Knight (1953-56) was to shojo: both were long-form adventure stories with cinematic flair. Neither could be said to be the “first” shonen or shojo manga, but both had a profound influence on the artists who came of age in the 1940s and 1950s, offering a new storytelling model for them to emulate. Viewed through a contemporary lens, Princess Knight hasn’t aged quite as well as New Treasure Island, as it’s saddled with some woefully antiquated notions of gender. At the same time, however, it’s easy to see why this story appealed to several generations of Japanese girls: Sapphire gets to eat her cake and have it too, having swashbuckling adventures *and* winning the hand of Prince Charming. –Reviewed at Manga Bookshelf on 11/21/11 and The Manga Critic on 12/19/10

6. TANK TANKURO: GAJO SAKAMOTO, MANGA’S PRE-WAR MASTER, 1934-35 (Gajo Sakamoto; Press Pop)

Almost twenty years before Osamu Tezuka’s Astro Boy took flight in the pages of Shonen Kobunsha magazine, Gajo Sakamoto’s Tank Tankuro enchanted Japanese youngsters with his monster-fighting exploits and cool gadgets. Though the series’ propaganda intent is impossible for contemporary readers to ignore — Tank fights the Chinese, who are portrayed in less-than-flattering terms — Presspop’s new anthology demonstrates that Sakamoto’s artistry has aged more gracefully than his storylines. Sakamoto’s work is packaged in a handsome, hardcover edition that includes thoughtful extras: a contextual essay by translator Sunsuke Nakazawa, an interview with Sakamoto’s son, and an article by Sakamoto himself, discussing the character’s origin.

5. STARGAZING DOG (Takashi Murakami; NBM/Comics Lit)

Consider yourself warned: Stargazing Dog is a five-hanky affair. The two interconnecting vignettes that comprise this slim volume explore the bond between Happie, a shiba inu, and Daddy, his owner. When Daddy loses his job, his home, and his family, he and Happie hit the road in search of a new life. Though the outcome of Happie and Daddy’s journey is never in doubt — we learn their fate in the opening pages of the book — Murakami draws the reader into their story with an honest and unsparing look at the human-dog compact that may remind cinephiles of Vittorio de Sica’s Umberto D. —Reviewed at The Manga Critic on 12/23/11

4. ONWARDS TOWARD OUR NOBLE DEATHS (Shigeru Mizuki; Drawn & Quarterly)

In this blistering indictment of Japanese militarism, Shigeru Mizuki draws on his own experiences during World War II to tell the story of a platoon stationed in Papua New Guinea. The soldiers face a terrible choice: fight a hopeless battle, or face execution for treason. Like many war stories, Onwards Toward Our Noble Deaths documents the tremendous human sacrifice of modern armed conflict: gruesome injuries, senseless deaths, devastated landscapes. What lends Mizuki’s narrative its special potency is his depiction of the senior officers; their perverse dedication to their mission turns them into tyrants, more concerned with saving face than saving their own soldiers’ skins. Essential reading for anyone interested in World War II.

3. THE DROPS OF GOD (Tadashi Agi and Shu Okimoto; Vertical, Inc.)

As Oishinbo handily demonstrated, a skilled writer can fold a considerable amount of educational detail into a story without reducing it to a textbook. The Drops of God follows a similar template, imparting highly specialized information about wine with the same natural ease that Law & Order illustrates the inner workings of a crime investigation. At the same time, however, Drops is a delicious soap opera, filled with domineering fathers, mustache-twirling villains, evil beauties, eccentric oenophiles, and down-on-their-luck restauranteurs. Even if the reader isn’t the least bit interested in wine, he’ll find the drama as irresistible as an episode of Dynasty. –Reviewed at The Manga Critic on 12/16/11

2. A ZOO IN WINTER (Jiro Taniguchi; Fanfare/Ponent Mon)

Drawing on his own experiences, Jiro Taniguchi spins an engaging tale about a young man who abandons a promising career in textile design for the opportunity to become a manga artist. Though the basic plot invites comparison with Bakuman, Taniguchi does more than just document important milestones in Hamaguchi’s career: he shows us how Hamaguchi’s emotional maturation informs every aspect of his artistry — something that’s missing from many other portrait-of-an-artist-as-a-young-man sagas, which place much greater emphasis on the pleasure of professional recognition than on the satisfaction of mastering one’s craft. Lovely, moody artwork and an appealing cast of supporting characters complete this very satisfying package.  —Reviewed at The Manga Critic on 5/28/11

1. A BRIDE’S STORY (Kaoru Mori; Yen Press)

A Bride’s Story, which takes place on the banks of the Caspian Sea, explores the relationship between Amir Halgal, a nineteen-year-old nomad, and Karluk Eihon, the eldest son of sheep herders. Though their marriage is one of political expedience, Amir is determined to be a good wife, doing her utmost to learn her new family’s customs, befriend the members of their extended clan, and earn her new husband’s respect. Kaoru Mori is as interested in observing Amir’s everyday life as she is in documenting the growing conflict between the Halgal and Eihon clans, yet A Bride’s Story is never dull, thanks to Mori’s smart, engaging dialogue; as she demonstrated in Emma and Shirley, Mori can make even the simplest moments revealing, whether her characters are preparing a manor house for the master’s return or skinning a freshly killed deer. By allowing her story to unfold in such a naturalistic fashion, A Bride’s Story manages to be both intimate and expansive, offering readers a window into life along the Silk Road. –Reviewed at The Manga Critic on 5/24/11

HONORABLE MENTIONS

As in previous years, I had difficulty limiting myself to just ten titles, so I compiled a list of manga that didn’t quite make my best-of list, but were thoroughly enjoyable:

So now I turn the floor over to you, readers: what were your favorite new manga of 2011?

The Best Manga of 2011: The Manga Critic’s Picks

by

The usual gambit for introducing a year-end list is to remark on the abundance of good titles, acknowledge the difficulty in choosing just ten (or five, or three), and comment on the overall state of the industry. And while I certainly debated what to include on my list, I’ll be honest: 2011 yielded fewer contenders for Best Manga than any other year I’ve covered. The dearth of new titles was attributable to publishers’ financial prudence; companies released fewer books, licensed fewer series, and focused on repackaging older content for budget-conscious consumers. And though I selfishly wish that more new material had been released this year, I think manga publishers have done an excellent job of responding to their biggest challenges: a sluggish economy, digital piracy, and Borders’ bankruptcy.

So what titles made my 2011 list? My top ten are below, along with my list of favorite continuing series, favorite finales, and favorite guilty pleasures.

10. Breathe Deeply
By Yamaaki Doton • One Peace Books
Part sci-fi thriller, part coming-of-age story, this engrossing drama examines the relationship between two young men: Sei, who grew up in a world of privilege, and Oishi, a boy from the wrong side of the tracks. Both Sei and Oishi fall in love with Yuko, a sickly girl whose incurable illness inspires her suitors to become medical researchers. In less capable hands, Breathe Deeply might have been a mawkish paean to the purity of young love, but the husband-and-wife team of Yamaaki Doton have a keen ear for dialogue; the interactions between Yuko and her two suitors are tinged with an authentic mixture of adolescent anxiety, sexual longing, and braggadocio. Clean, expressive artwork and well-rounded characters help sell the story, especially in its final pages. One of 2011’s best surprises.

9. The Secret Notes of Lady Kanako
By Ririko Tsujita • Tokyopop
Kanoko, the sardonic heroine of The Secret Notes of Lady Kanoko, is a student of human behavior, gleefully filling her notebooks with detailed observations about her classmates. Though Kanoko would like nothing more than to remain on the sidelines, she frequently becomes embroiled in her peers’ problems; they value her independent perspective, as Kanoko isn’t the least bit interested in dating, running for student council, or currying favor with the alpha clique. Kanoko’s sharp tongue and cool demeanor might make her the mean-girl villain in another shojo manga, but Ririko Tsujita embraces her heroine’s prickly, opinionated nature and makes it fundamental to Kanoko’s appeal. It’s a pity TOKYOPOP didn’t survive long enough to finish this three-volume series, as it’s one of the best shojo titles in recent memory.

8. Wandering Son
By Takako Shimura • Fantagraphics
In her thoughtful review of volume one, Michelle Smith praised Takako Shimura’s deft use of perspective: “The main thing I kept thinking about while reading Wandering Son… is how things that seem insignificant to one person can be secretly, intensely significant to someone else.” Shimura’s ability to dramatize each character’s unique point of view is one of the reasons Wandering Son never feels preachy, even though the topic suggests an Afterschool Special; we are always exquisitely aware of the subtle but important changes in the way each character views herself, as well as her fears and hopes.

7. Princess Knight
By Osamu Tezuka • Vertical, Inc.
What Osamu Tezuka’s New Treasure Island (1946) was to shonen, his Princess Knight (1953-56) was to shojo: both were long-form adventure stories with cinematic flair. Neither could be said to be the “first” shonen or shojo manga, but both had a profound influence on the artists who came of age in the 1940s and 1950s, offering a new storytelling model for them to emulate. Viewed through a contemporary lens, Princess Knight hasn’t aged quite as well as New Treasure Island, as it’s saddled with some woefully antiquated notions of gender. At the same time, however, it’s easy to see why this story appealed to several generations of Japanese girls: Sapphire gets to eat her cake and have it too, having swashbuckling adventures *and* winning the hand of Prince Charming. —Reviewed at Manga Bookshelf on 11/21/11 and The Manga Critic on 12/19/10

6. Tank Tankuro: Gajo Sakamoto, Manga’s Pre-War Master, 1934-35
By Gajo Sakamoto • Press Pop
Almost twenty years before Osamu Tezuka’s Astro Boy took flight in the pages of Shonen Kobunsha magazine, Gajo Sakamoto’s Tank Tankuro enchanted Japanese youngsters with his monster-fighting exploits and cool gadgets. Though the series’ propaganda intent is impossible for contemporary readers to ignore — Tank fights the Chinese, who are portrayed in less-than-flattering terms — Presspop’s new anthology demonstrates that Sakamoto’s artistry has aged more gracefully than his storylines. Sakamoto’s work is packaged in a handsome, hardcover edition that includes thoughtful extras: a contextual essay by translator Sunsuke Nakazawa, an interview with Sakamoto’s son, and an article by Sakamoto himself, discussing the character’s origin.

5. Stargazing Dog
By Takashi Murakami • NBM/Comics Lit
Consider yourself warned: Stargazing Dog is a five-hanky affair. The two interconnecting vignettes that comprise this slim volume explore the bond between Happie, a shiba inu, and Daddy, his owner. When Daddy loses his job, his home, and his family, he and Happie hit the road in search of a new life. Though the outcome of Happie and Daddy’s journey is never in doubt — we learn their fate in the opening pages of the book — Murakami draws the reader into their story with an honest and unsparing look at the human-dog compact that may remind cinephiles of Vittorio de Sica’s Umberto D. —Reviewed at The Manga Critic on 12/23/11

4. Onwards Towards Our Noble Deaths
By Shigeru Mizuki • Drawn & Quarterly
In this blistering indictment of Japanese militarism, Shigeru Mizuki draws on his own experiences during World War II to tell the story of a platoon stationed in Papua New Guinea. The soldiers face a terrible choice: fight a hopeless battle, or face execution for treason. Like many war stories, Onwards Toward Our Noble Deaths documents the tremendous human sacrifice of modern armed conflict: gruesome injuries, senseless deaths, devastated landscapes. What lends Mizuki’s narrative its special potency is his depiction of the senior officers; their perverse dedication to their mission turns them into tyrants, more concerned with saving face than saving their own soldiers’ skins. Essential reading for anyone interested in World War II.

3. The Drops of God
By Tadashi Agi and Shu Okimoto • Vertical, Inc
As Oishinbo handily demonstrated, a skilled writer can fold a considerable amount of educational detail into a story without reducing it to a textbook. The Drops of God follows a similar template, imparting highly specialized information about wine with the same natural ease that Law & Order illustrates the inner workings of a crime investigation. At the same time, however, Drops is a delicious soap opera, filled with domineering fathers, mustache-twirling villains, evil beauties, eccentric oenophiles, and down-on-their-luck restauranteurs. Even if the reader isn’t the least bit interested in wine, he’ll find the drama as irresistible as an episode of Dynasty. —Reviewed at The Manga Critic on 12/16/11

2. A Zoo in Winter
By Jiro Taniguchi • Fanfare/Ponent Mon
Drawing on his own experiences, Jiro Taniguchi spins an engaging tale about a young man who abandons a promising career in textile design for the opportunity to become a manga artist. Though the basic plot invites comparison with Bakuman, Taniguchi does more than just document important milestones in Hamaguchi’s career: he shows us how Hamaguchi’s emotional maturation informs every aspect of his artistry — something that’s missing from many other portrait-of-an-artist-as-a-young-man sagas, which place much greater emphasis on the pleasure of professional recognition than on the satisfaction of mastering one’s craft. Lovely, moody artwork and an appealing cast of supporting characters complete this very satisfying package.  —Reviewed at The Manga Critic on 5/28/11

1. A Bride’s Story
By Kaoru Mori • Yen Press
A Bride’s Story, which takes place on the banks of the Caspian Sea, explores the relationship between Amir Halgal, a nineteen-year-old nomad, and Karluk Eihon, the eldest son of sheep herders. Though their marriage is one of political expedience, Amir is determined to be a good wife, doing her utmost to learn her new family’s customs, befriend the members of their extended clan, and earn her new husband’s respect. Kaoru Mori is as interested in observing Amir’s everyday life as she is in documenting the growing conflict between the Halgal and Eihon clans, yet A Bride’s Story is never dull, thanks to Mori’s smart, engaging dialogue; as she demonstrated in Emma and Shirley, Mori can make even the simplest moments revealing, whether her characters are preparing a manor house for the master’s return or skinning a freshly killed deer. By allowing her story to unfold in such a naturalistic fashion, A Bride’s Story manages to be both intimate and expansive, offering readers a window into life along the Silk Road. —Reviewed at The Manga Critic on 5/24/11

HONORABLE MENTIONS
As in previous years, I had difficulty limiting myself to just ten titles, so I compiled a list of manga that didn’t quite make my best-of list, but were thoroughly enjoyable:

So now I turn the floor over to you, readers: what were your favorite new manga of 2011?

The 2011 Manga Hall of Shame Inductees

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With TOKYOPOP’s untimely demise this year, critics lost one of their most reliable sources of shame-worthy manga. Though I won’t miss reading J-Pop Idol, Dragon Sister, Innocent W, or Zone-00 — to name just a few of the D-list titles that TOKYOPOP foisted on fans — I will miss reviewing them, as they helped me develop my voice as a critic, challenging me to expand my litany of complaints beyond “boring,” “cliche,” and “awful.” Few of the titles on this year’s Hall of Shame list inspired the same level of creative vitriol that TOKYOPOP’s worst titles did, but they do share one important trait with Qwaser of Stigmata: no one will confuse them with such recent gems as A Bride’s Story, Stargazing Dog, or A Zoo in Winter.

So without further ado, I present the 2011 Manga Hall of Shame Inductees:

5. AMNESIA LABYRINTH (Seven Seas)

For a manga that features incest, murder, and at least one character with a split personality, Amnesia Labyrinth is shockingly dull. That dullness can be attributed to two things: the source material and the hero. As writer Nagaru Tanigawa explains in the afterword to volume one, Amnesia Labyrinth was “based on a story that, while it didn’t have enough to become a full-fledged novel, had been kicking around in my head for years” — in short, a half-baked idea. Worse still, Souji, the lead character, is so passive it’s hard to believe that he’s an athletic superstar, academic genius, and a lady killer; if anything, he seems more like a collection of cool traits than an actual person. Teenage boys may find Souji an appealing surrogate, but older readers will find the series’ main draw — the mystery — too underdeveloped to be interesting, and the characterizations too thin to inspire identification with any of the cast members. –Reviewed at The Manga Critic on 2/8/11

4. HIGH SCHOOL OF THE DEAD (Yen Press)

This slick, violent zombie story plays like a poor man’s Dawn of the Dead, substituting sadism and sex for the social commentary of George Romero’s classic horror flick. Popular as it may be, a quick scan of volume one reveals myriad issues, from poorly staged fight scenes to tin-eared dialogue. The biggest problem with Highschool of the Dead, however, is the endless parade of panty shots and costume failures. The Satos work fanservice into as many scenes as possible, taking full advantage of every stairwell, fight, fall, and female death to expose cleavage — and poorly drawn cleavage, at that. (Hint to aspiring manga artists: large breasts do not resemble grossly distended lemons.) And when the scariest thing about a zombie story is the way the female characters’ bosoms are drawn, it’s safe to say that the creators ought to spend a little more time watching 28 Days or I Am Legend, and a little less time watching Naughty Naked Co-Eds. –Reviewed at The Manga Critic on 12/27/10

3. GANDHI: A MANGA BIOGRAPHY (Penguin Books)

This slim volume reduces Gandhi’s life to a string of four-page vignettes that do little to reveal who he was or what he believed; important episodes in every stage of his career are drained of historical nuance, preventing the reader from fully appreciating the complexity of the political situations in South Africa or India. Adding insult to injury is the script: the dialogue abounds in awkward sentences, anachronistic sentiments, and cringe-worthy typos that consistently undercut the story’s serious message. (Makes you wonder: did anyone at Penguin Books actually proofread Gandhi?) More disappointing still is the artwork: it’s plain and lifeless, relying too heavily on computer shortcuts and pre-fab backgrounds to create a genuine sense of place or time. My suggestion: skip the manga and rent Richard Attenborough’s 1982 movie of the same name. –Reviewed at The Manga Critic on 10/6/11

2. THE BEAUTIFUL SKIES OF HOUOU HIGH (DMP)

In this unfunny comedy about sexual orientation, a gay teen’s mother enrolls her daughter in an all-boys’ boarding school — mom’s idea of a “cure” for lesbianism. A more skillful storyteller might use the set-up to critique homophobia, or the idea that homosexuality is a lifestyle choice, but Arata Aki takes the easy road, using Kei’s dilemma as a pretext for wacky hijinks. Though the theme of gender exploration is extended to include male cast members — several boys in Kei’s dorm exhibit stereotypically feminine behavior and interests — Aki doesn’t do anything particularly interesting with these supporting characters; their antics provide comic relief, not commentary on the fluidity of gender norms. Lame gags and confusing subplots remind the reader at every turn that Houou High isn’t concerned with real human sexuality, but in wringing cheap laughs out of a gay character’s humiliation. In a word: yuck. –Reviewed at The Manga Critic on 2/28/11

1. TENJO TENGE (VIZ)

Flipping through the first volume of VIZ’s “Full Contact” edition, it’s easy to see why DC Comics censored the original English print run of Tenjo Tenge. The story abounds in the kind of gratuitous nudity and sexual encounters that make an unadulterated version a tough sell at big chain stores like Wal-Mart and Barnes & Noble. DC Comics’ solution was an inelegant one: they re-wrote the script, drew bras and panties on naked girls, and cut some of the most offensive passages. As an advocate of free speech, I can’t condone the bowdlerization of any text, especially in the interest of a more commercially viable age-rating , but as a woman, it’s hard to celebrate the restoration of a graphic rape scene or images of naked girls throwing themselves at the heroes, especially when the plot is violent and silly. –Reviewed at The Manga Critic on 6/3/11

*  *  *  *  *

So now I turn the floor over to you, readers: what titles made your Worst of 2011 list?

A tip for first-time visitors: you might want to read my Comment Policy before busting out words like “feminazi” in defense of a favorite title. Your comment is much less likely to be deleted if you’re friendly, funny, and logical, as those qualities facilitate dialogue.

The 2011 Manga Hall of Shame Inductees

by

With TOKYOPOP’s untimely demise this year, critics lost one of their most reliable sources of shame-worthy manga. Though I won’t miss reading J-Pop Idol, Dragon Sister, Innocent W, or Zone-00 — to name just a few of the D-list titles that TOKYOPOP foisted on fans — I will miss reviewing them, as they helped me develop my voice as a critic, challenging me to expand my litany of complaints beyond “boring,” “cliche,” and “awful.” Few of the titles on this year’s Hall of Shame list inspired the same level of creative vitriol that TOKYOPOP’s worst titles did, but they do share one important trait with Qwaser of Stigmata: no one will confuse them with such recent gems as A Bride’s Story, Stargazing Dog, or A Zoo in Winter.

So without further ado, I present the 2011 Manga Hall of Shame Inductees:

5. Amnesia Labyrinth
Written by Nagaru Tanigawa • Art by Natsumi Kohane • Seven Seas
For a manga that features incest, murder, and at least one character with a split personality, Amnesia Labyrinth is shockingly dull. That dullness can be attributed to two things: the source material and the hero. As writer Nagaru Tanigawa explains in the afterword to volume one, Amnesia Labyrinth was “based on a story that, while it didn’t have enough to become a full-fledged novel, had been kicking around in my head for years” — in short, a half-baked idea. Worse still, Souji, the lead character, is so passive it’s hard to believe that he’s an athletic superstar, academic genius, and a lady killer; if anything, he seems more like a collection of cool traits than an actual person. Teenage boys may find Souji an appealing surrogate, but older readers will find the series’ main draw — the mystery — too underdeveloped to be interesting, and the characterizations too thin to inspire identification with any of the cast members. —Reviewed at The Manga Critic on 2/8/11

4. High School of the Dead
By Daisuke Sato and Shouji Sato • Yen Press
This slick, violent zombie story plays like a poor man’s Dawn of the Dead, substituting sadism and sex for the social commentary of George Romero’s classic horror flick. Popular as it may be, a quick scan of volume one reveals myriad issues, from poorly staged fight scenes to tin-eared dialogue. The biggest problem with Highschool of the Dead, however, is the endless parade of panty shots and costume failures. The Satos work fanservice into as many scenes as possible, taking full advantage of every stairwell, fight, fall, and female death to expose cleavage — and poorly drawn cleavage, at that. (Hint to aspiring manga artists: large breasts do not resemble grossly distended lemons.) And when the scariest thing about a zombie story is the way the female characters’ bosoms are drawn, it’s safe to say that the creators ought to spend a little more time watching 28 Days or I Am Legend, and a little less time watching Naughty Naked Co-Eds. —Reviewed at The Manga Critic on 12/27/10

3. Gandhi: A Manga Biography
By Kazuki Ebine • Penguin Books
This slim volume reduces Gandhi’s life to a string of four-page vignettes that do little to reveal who he was or what he believed; important episodes in every stage of his career are drained of historical nuance, preventing the reader from fully appreciating the complexity of the political situations in South Africa or India. Adding insult to injury is the script: the dialogue abounds in awkward sentences, anachronistic sentiments, and cringe-worthy typos that consistently undercut the story’s serious message. (Makes you wonder: did anyone at Penguin Books actually proofread Gandhi?) More disappointing still is the artwork: it’s plain and lifeless, relying too heavily on computer shortcuts and pre-fab backgrounds to create a genuine sense of place or time. My suggestion: skip the manga and rent Richard Attenborough’s 1982 movie of the same name. —Reviewed at The Manga Critic on 10/6/11

2. The Beautiful Skies of Houhou High
By Arata Aki • DMP
In this unfunny comedy about sexual orientation, a gay teen’s mother enrolls her daughter in an all-boys’ boarding school — mom’s idea of a “cure” for lesbianism. A more skillful storyteller might use the set-up to critique homophobia, or the idea that homosexuality is a lifestyle choice, but Arata Aki takes the easy road, using Kei’s dilemma as a pretext for wacky hijinks. Though the theme of gender exploration is extended to include male cast members — several boys in Kei’s dorm exhibit stereotypically feminine behavior and interests — Aki doesn’t do anything particularly interesting with these supporting characters; their antics provide comic relief, not commentary on the fluidity of gender norms. Lame gags and confusing subplots remind the reader at every turn that Houou High isn’t concerned with real human sexuality, but in wringing cheap laughs out of a gay character’s humiliation. In a word: yuck. —Reviewed at The Manga Critic on 2/28/11

1. Tenjo Tenge
By Oh!Great • VIZ Media
Flipping through the first volume of VIZ’s “Full Contact” edition, it’s easy to see why DC Comics censored the original English print run of Tenjo Tenge. The story abounds in the kind of gratuitous nudity and sexual encounters that make an unadulterated version a tough sell at big chain stores like Wal-Mart and Barnes & Noble. DC Comics’ solution was an inelegant one: they re-wrote the script, drew bras and panties on naked girls, and cut some of the most offensive passages. As an advocate of free speech, I can’t condone the bowdlerization of any text, especially in the interest of a more commercially viable age-rating , but as a woman, it’s hard to celebrate the restoration of a graphic rape scene or images of naked girls throwing themselves at the heroes, especially when the plot is violent and silly. —Reviewed at The Manga Critic on 6/3/11

*  *  *  *  *

So now I turn the floor over to you, readers: what titles made your Worst of 2011 list?

A tip for first-time visitors: you might want to read my Comment Policy before busting out words like “feminazi” in defense of a favorite title. Your comment is much less likely to be deleted if you’re friendly, funny, and logical, as those qualities facilitate dialogue.

Stargazing Dog

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Few things can reduce me to a puddle of tears as quickly as a dog story, especially if the canine subject is lost, abused, or sacrificed for the well-being of his owner. Yet for all my sentimentality, I am particular about my dog stories. Too often, authors allow extreme displays of loyalty or mischievousness to stand in for a thoughtful portrayal of the dog’s own personality; the author is so intent on showing the redemptive power of canine ownership that the ostensible subject of the book feels more like a walking metaphor than an actual presence in the narrative.

Takashi Murakami largely avoids this trap in Stargazing Dog by granting his canine protagonist a voice. In less capable hands, Happie’s narration might be precious or manipulative, prompting the reader to feel unearned sympathy for him. Murakami, however, finds just the right words for Happie, expressing his point of view with a simplicity and directness that seem appropriate for a dog.

Early in Stargazing Dog, Happie forms a strong attachment to a character identified only as “Daddy,” a father who gradually becomes estranged from his wife and teenage daughter. With the dissolution of his family, Daddy packs Happie and a few possessions in his car, and begins driving towards the sea. The outcome of their journey is never in doubt — we learn Happie and Daddy’s fate in the very opening pages of the book — yet Murakami draws the reader into the story with a nuanced depiction of the master-dog relationship.

Daddy and Happie take to the road.

Murakami has two fundamental insights into that dynamic. The first is routine: Happie’s devotion to Daddy stems from many hours of walking, sitting, and eating together. These rituals consume Happie’s thoughts until the very end of the story; Happie eagerly anticipates their daily walks, adapting to changes in Daddy’s schedule with heartbreaking alacrity. (“We used to go for a walk in the evening,” Happie observes. “These days, Daddy takes me out in the daytime.”)

The second is communication: though Happie and Daddy clearly share a special emotional connection, there’s a fundamental gap between them that can’t be bridged. Happie never fully grasps what’s happening to him and his master, perceiving the changes in their routine without understanding their cause. Daddy, for his part, never acknowledges the degree to which he views Happie as an extension of himself; as his circumstances deteriorate, he continues to rely on Happie for companionship, putting his own emotional needs before the dog’s.

Murakami never romanticizes Happie and Daddy’s relationship, though he honors the sincerity and warmth of their bond. The roughness of the art — the human characters’ clumsy hands and round heads, the crude use of perspective — further inoculates the story against mawkishness, while the exaggerated facial expressions and child-like rendering of space and objects echo the naivete of Happie’s narration. Only a few poorly chosen fonts and backwards signs mar the design, reminding the reader that the artwork has been flipped for English-speaking audiences.

Perhaps the best compliment I can pay Murakami is to acknowledge just how much Stargazing Dog moved me. Not in a cheap, dog-in-peril sort of way, but in the same way that Vittorio de Sica’s Umberto D. touched me: as a beautiful meditation on the human-canine bond, one that acknowledges the complexity and inequality of that relationship, as well its enduring power. One of 2011’s best new manga.

STARGAZING DOG • BY TAKASHI MURAKAMI • NBM/COMICSLIT • 128 pp. • NO RATING

Stargazing Dog

by

Few things can reduce me to a puddle of tears as quickly as a dog story, especially if the canine subject is lost, abused, or sacrificed for the well-being of his owner. Yet for all my sentimentality, I am particular about my dog stories. Too often, authors allow extreme displays of loyalty or mischievousness to stand in for a thoughtful portrayal of the dog’s own personality; the author is so intent on showing the redemptive power of canine ownership that the ostensible subject of the book feels more like a walking metaphor than an actual presence in the narrative.

Takashi Murakami largely avoids this trap in Stargazing Dog by granting his canine protagonist a voice. In less capable hands, Happie’s narration might be precious or manipulative, prompting the reader to feel unearned sympathy for him. Murakami, however, finds just the right words for Happie, expressing his point of view with a simplicity and directness that seem appropriate for a dog.

Early in Stargazing Dog, Happie forms a strong attachment to a character identified only as “Daddy,” a father who gradually becomes estranged from his wife and teenage daughter. With the dissolution of his family, Daddy packs Happie and a few possessions in his car, and begins driving towards the sea. The outcome of their journey is never in doubt — we learn Happie and Daddy’s fate in the very opening pages of the book — yet Murakami draws the reader into the story with a nuanced depiction of the master-dog relationship.

Daddy and Happie take to the road.

Murakami has two fundamental insights into that dynamic. The first is routine: Happie’s devotion to Daddy stems from many hours of walking, sitting, and eating together. These rituals consume Happie’s thoughts until the very end of the story; Happie eagerly anticipates their daily walks, adapting to changes in Daddy’s schedule with heartbreaking alacrity. (“We used to go for a walk in the evening,” Happie observes. “These days, Daddy takes me out in the daytime.”)

The second is communication: though Happie and Daddy clearly share a special emotional connection, there’s a fundamental gap between them that can’t be bridged. Happie never fully grasps what’s happening to him and his master, perceiving the changes in their routine without understanding their cause. Daddy, for his part, never acknowledges the degree to which he views Happie as an extension of himself; as his circumstances deteriorate, he continues to rely on Happie for companionship, putting his own emotional needs before the dog’s.

Murakami never romanticizes Happie and Daddy’s relationship, though he honors the sincerity and warmth of their bond. The roughness of the art — the human characters’ clumsy hands and round heads, the crude use of perspective — further inoculates the story against mawkishness, while the exaggerated facial expressions and child-like rendering of space and objects echo the naivete of Happie’s narration. Only a few poorly chosen fonts and backwards signs mar the design, reminding the reader that the artwork has been flipped for English-speaking audiences.

Perhaps the best compliment I can pay Murakami is to acknowledge just how much Stargazing Dog moved me. Not in a cheap, dog-in-peril sort of way, but in the same way that Vittorio de Sica’s Umberto D. touched me: as a beautiful meditation on the human-canine bond, one that acknowledges the complexity and inequality of that relationship, as well its enduring power. One of 2011’s best new manga.

STARGAZING DOG • BY TAKASHI MURAKAMI • NBM/COMICSLIT • 128 pp. • NO RATING

Pick of the Week: Old & New

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There’s a small but substantial haul coming in to Midtown Comics this week. See what Kate, MJ, Sean, & Michelle are planning to pick up!

KATE: This week’s shipping list is short, but includes one of my favorite new series of 2011: The Drops of God. Drops is, in essence, shonen manga for the over-21 crowd. The plot revolves around a brash, arrogant young beer executive who inherits a rare wine collection from his father, a leading expert on viniculture. The catch? Shizuku can’t claim his inheritance until he correctly identifies and describes thirteen legendary wines that are mentioned in his father’s will. Helping him is a sommelier-in-training, Miyabi, and an assortment of oddball oenophiles, each with a strong opinion about how and when to drink wine. The series is pure edu-tainment, striking the perfect balance between Dynasty-style intrigue and Wine 101 lessons; even more experienced wine tasters will learn something from the characters’ ecstatic conversations about terroir and vintage.

MICHELLE: Yeah, though this list may be short there are definitely some goodies on there. I’m going to cast my vote for volume 27 of Fullmetal Alchemist despite the fact that I, as of this very moment, have not read beyond volume two in this reportedly epic series. The reason for my enthusiasm is that MJand I are planning to devote our final Off the Shelf column of the year to FMA, which means I am going to be eating, sleeping, and breathing the series for the next two weeks. Stay tuned, and don’t miss this long-awaited finale!

SEAN: Christmastime brings the fifth volume of my favorite Ikki license, Dorohedoro. There has been some talk of weak plotting, which may or may not be true, but I don’t really care if it is: this is a series that is less a manga than a WORLD, one you want to immerse yourself in despite the inherent dangers. And Caiman journeying to the Sorceror’s World promises to try to shake things up a bit. Though I hope he’s not separated from Nikaido too long – the banter and friendship between the two, as well as between Shin and Noi, is another highlight. Recommended for those who want an ‘alternative’ manga that makes you want to walk around in its setting, even if you’d die almost immediately.

MJ: It’s unusual for a slow week to present me with such a difficult decision, but I’ll admit I’m squirming over the prospect of having to choose. I think everybody here knows how much I love Fullmetal Alchemist, and it kind of kills me not to choose it. But since Michelle has already taken care of that, I probably should lend my support to the penultimate volume of xxxHolic, out this week from Del Rey. I know some readers have given up this series, but I am emphatically not one of those readers, and I’m very anxious to see where things go now that it’s so close to the end. So, you know I’ll be out there grabbing up the final volume of Fullmetal Alchemist, but I won’t be missing out on xxxHolic!

Readers, what looks good to you this week?

The Drops of God, Vols. 1-2

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Reading The Drops of God is like drinking a good table wine: the flavor may not be as complex as a finely aged varietal, but it goes down easily, leaving a pleasant aftertaste of melodrama, intrigue, and romance.

Like Oishinbo, the manga it most closely resembles, The Drops of God revolves around a slightly preposterous contest between a father and son. Kanazaki Yutaka, a revered wine critic, dies unexpectedly, leaving behind a will that’s a much a gauntlet as it is a set of instructions for his son: Shizuku will inherit Yutaka’s wine collection, but only if Shizuku can identify the thirteen different wines mentioned in his father’s will.

To complete his task, Shizuku must overcome several serious handicaps, not the least of which is his own lack of experience buying and drinking wine. (At the start of the series, Shizuku is a junior sales executive at a beer distributor, proudly eschewing wine for ale.) Adding special urgency to his quest is a rival, Tomine Issei, a handsome young wine critic who was adopted by Shizuku’s father. If Issei successfully names the “Twelve Apostles” and the “Drops of God” before Shizuku, Issei will inherit the entire collection….

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The Drops of God, Vols. 1-2

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Reading The Drops of God is like drinking a good table wine: the flavor may not be as complex as a finely aged varietal, but it goes down easily, leaving a pleasant aftertaste of melodrama, intrigue, and romance.

Like Oishinbo, the manga it most closely resembles, The Drops of God revolves around a slightly preposterous contest between a father and son. Kanazaki Yutaka, a revered wine critic, dies unexpectedly, leaving behind a will that’s a much a gauntlet as it is a set of instructions for his son: Shizuku will inherit Yutaka’s wine collection, but only if Shizuku can identify the thirteen different wines mentioned in his father’s will.

To complete his task, Shizuku must overcome several serious handicaps, not the least of which is his own lack of experience buying and drinking wine. (At the start of the series, Shizuku is a junior sales executive at a beer distributor, proudly eschewing wine for ale.) Adding special urgency to his quest is a rival, Tomine Issei, a handsome young wine critic who was adopted by Shizuku’s father. If Issei successfully names the “Twelve Apostles” and the “Drops of God” before Shizuku, Issei will inherit the entire collection.

No manga cliche goes unturned in the opening chapters. The brash Shizuku has never so much as drunk a glass of wine, but resolves to do his best to defeat Issei. Shizuku’s ability to win that contest is never really in doubt, however: from the very first pages of the story, Shizuku demonstrates a discerning palate, wowing oenophiles and greenhorns alike with his ability to recognize great wines. In his first showdown with Issei, for example, Shizuku correctly identifies the age, varietal, and origin of a wine even though his only exposure to that particular grape came from eating a handful of them as a child. (Top that, Robert Parker!)

Also disappointing is the portrayal of Shizuku’s partner-in-wine-tasting, Miyabi Shinohara, an aspiring sommelier. Though other characters praise Miyabi for her book knowledge of wine, she rarely has an opportunity to shine in her role as the expert on viniculture; Miyabi’s primary function is to recite each wine’s provenance in detail, allowing Shizuku the more entertaining role of waxing poetic about the wine’s flavor. Throughout volumes one and two, Shizuku frequently upstages Miyabi, even when Miyabi’s professional experience ought to afford her greater insight into an appropriate wine-food pairing, or lead her towards an inexpensive but sophisticated French import.

Yet for all the creaky plot mechanics and broad-brush characterizations, The Drops of God proves surprisingly fun, thanks to the author’s imaginative attempts to describe the flavor of particular wines. Early in volume one, for example, one character likens a a 2001 Chateau Mont-Perac to Freddie Mercury’s singing—an odd but inspired choice, as Mercury’s voice is one of the most distinctive rock-n-roll sounds of the last forty years, a piercing, operatic instrument that’s immediately recognizable, even to the untrained ear. The fact that the artist’s rendering of Mercury looks nothing like him is beside the point; the comparison alone is enough to instill in the reader a sense of how visceral and distinctive the Mont-Perac’s flavor is.

The other thing that prevents The Drops of God from sinking under the weight of hackneyed story elements are the supporting characters. Tadashi Agi (actually a pseudonym for the brother-sister writing team of Shin and Yuko Kibayashi) populates the story with mustache-twirling villains, oddball oenophiles, and opinionated co-workers, each of whom leaves a vivid impression. One of the most appealing is Chosuke Honma, a member of the Wine Division at Taiyo Beer. Though drawn in bold strokes, Chosuke seems like a real person — a wine enthusiast who firmly believes that Italy, not France, produces the world’s best wines, and who frequently bursts into song. (His tune of choice: “O sole mio,” of course!) Chosuke’s passion, temper, and obsession with Italian culture — not to mention his receding hairline — make him a great foil for the ridiculously perfect Shizuku, whose movie-star looks, charming personality, and superior ability to identify great wines make him more a fantasy figure than a real character.

Artistically, The Drops of God is a feast for the eyes. Shu Okimoto’s characters are beautifully rendered, making the numerous scenes of characters discussing wine something to savor, rather than something to be endured. Okimoto also does a terrific job of translating terroir into imagery, transporting the reader from Japan to Europe with crisp, evocative drawings of French vineyards; the reader can practically smell the soil and the ripening fruit. Most importantly, Okimoto finds creative ways to suggest the complexity of a good wine, using vivid imagery —  a field of sunflowers, a masquerade party — to suggest how the “nose” of a wine sparks strong associations with events, places, and people.

Long-time manga readers won’t be surprised to learn that The Drops of God is an entertaining way to learn about wine; as titles such as Oishinbo and Not Love But Delicious Foods Make Me So Happy! demonstrate, a skilled writer can fold a considerable amount of educational detail into a story without reducing it to a textbook. Manga newbies or readers looking for a good introduction to wine terminology will find Drops a revelation, however, as it imparts highly specialized information with the same natural ease that Law & Order illustrates the inner workings of a crime investigation, while at the same time functioning as a fun soap opera; even if the reader isn’t the least bit interested in wine, Shizuku’s quest for the “Drops of God” is an irresistible hook. Highly recommended.

THE DROPS OF GOD, VOLS. 1-2 • WRITTEN BY TADASHI AGI, ILLUSTRATED BY SHU OKIMOTO • VERTICAL, INC.

Pick of the Week: Balanced Diet

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We’ve got a hefty haul at Midtown Comics this week, ranging from classic staples to contemporary 4-koma. Check out the Battle Robot’s picks below!

MJ: Heavy shipping weeks like this are nearly as tough for me as the bleak ones. From such a bounty of manga, I hardly know what to choose. As a bit of a completist, though, I admit I’m drawn to big finishes, and we have a pretty spectacular one this week. I’m speaking, of course, of the final volume of Osamu Tezuka’s Black Jack, arriving at Midtown Comics this week from Vertical. Based on the Akita Deluxe Edition mapped out by Tezuka before his death, along with three additional stories in the hardcover special editions of the first three volumes, Vertical’s collection is one of the most comprehensive in any language to-date. Above all, though, Black Jack is just a really great comic, and it’s pretty thrilling to have so much of it available in English, produced with the kind of loving care that Vertical gives to all its licenses. This final volume also features an appendix at the back, containing the original publication dates of the stories contained in Vertical’s editions, as well as a chronological listing of every story in the series, including those that were “sealed” by the author. For any fan of the series, this volume is a must-buy.

DAVID: I can’t say that this particular arc of Eiichiro Oda’s One Piece has been my very favorite ever, but a middling patch of One Piece is still superior to the vast majority of comics. I suspect that the 59th volume will be one of those heartbreakers that Oda can pull off when one least expects it. And I’m sure there will be some callback to it about six or seven volumes down the road that will break my heart all over again. For those who aren’t up to date, Luffy has been fighting like a demon to save his brother from execution, and, being Luffy, he’s ignited a huge war between the navy and pretty much every pirate in the world without even trying. We’re nearing the conclusion of that and – hopefully – the return of the regular supporting cast. I miss the Straw Hats something awful.

KATE: Though I heartily second MJ’s choice of Black Jack, my pick goes to Dawn of the Arcana, a new Shojo Beat title. Most early reviews were tepid, with critics grousing about the pace, the poor integration of the fantasy elements, or the author’s over-reliance on types (e.g. Brash Jerk with Heart of Gold, Fawning Admirer Who Would Throw Himself in Front of a Bus for You). Those are fair criticisms of Arcana, but I liked it nonetheless, as it features the kind of steely, smart heroine who can think her way out of a tough situation, rather than relying on her fists or her feminine wiles. I also happened to like the story’s brisk tempo; the author allows important information to be revealed through the natural unfolding of the story, rather than assaulting the reader with lengthy monologues about the setting or the characters’ histories.

MICHELLE: My pick this week goes to the seventeenth and penultimate volume of Bisco Hatori’s Ouran High School Host Club. I’m not blind to the flaws of this series—I groan often at the episodic hijinks—but I still nurture very fond feelings for it, and each volume usually contains just enough romantic progress from the two leads to leave me satisfied as I begin the long wait for the next installment. I can only assume that as the series draws nearer to its conclusion we will see less comedy and more romance, which will make me happy indeed. I love Haruhi and I really love Tamaki, so I want to see those kids work it out already!

SEAN: And I will likewise pick a final volume, though this series does not quite have the blogger cred that Black Jack does. But K-On! has been improving volume by volume, and in the 4th and final volume (for now) of the cast’s exploits, we see the cast trying to deal with passing their exams, getting into the right colleges, playing their final school concert, and dealing with the worst horror of all – the school play! There’s still plenty of laughs here (I love the chapter where everyone thinks Ritsu has a secret boyfriend), but the emphasis is on adorable and heartwarming, with a few tears sprinkled throughout. It probably won’t change anyone’s mind if they hadn’t liked what came before, but for those who did, this is the best of the four volumes. See you in University!

Readers, what looks good to you this week?

Bookshelf Briefs 12/5/11

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This week, MJ, Michelle, & Kate look at new releases from Viz Media, Digital Manga Publishing, and Vertical, Inc.

About Love | By Narise Konohara and Tomo Ootake | Digital Manga Publishing – The unconventional cover on this one led me to expect a quirky story, but About Love is calm and melancholy as it depicts the friendship and romance between Asaka, a wedding planner, and Sasagawa, one of his first clients. What I found striking about this story was the lack of optimism from its protagonists—Sasagawa is convinced that Asaka only wants to be friends while Asaka is in love but has no intentions of ever revealing the relationship to his friends and family. Misunderstandings and work obligations conspire to keep the two apart and… I don’t know… usually one assumes a BL couple will ride happily off into the sunset, but I honestly am not sure that’ll happen here. Which is probably a good thing, right? Bucking convention and all that. In any case, it was an interesting read and I recommend it if you’re in the mood for something different. – Michelle Smith

Bakuman, Vol. 8 | By Tsugumi Ohba and Takeshi Obata | Viz Media – Bakuman‘s romantic entanglements have never been its strength, and unfortunately this volume is saddled with more than its fair share. Even more unfortunate is the authors’ portrayal of young novelist Aiko Iwase, a brilliant former schoolmate of our heroes, whose ambition is apparently driven entirely by romantic feelings for Takagi, but is presented without any of the genuine insight or sympathy granted to similarly love-obsessed artist Nakai. And while it’s admittedly pretty satisfying to see Nakai finally get smacked in the face (twice!) later in this volume, it’s even more of a relief to see Ohba and Obata turn the plot back to the craft and politics of the manga publishing biz, which is what really makes this series work. I’ll cross my fingers in hopes that we see more of this in the next volume. Still cautiously recommended. – MJ

Black Jack, Vol. 17 | By Osamu Tezuka | Vertical, Inc. – The final installment of Black Jack includes a mixture of good, great, and outstanding stories, the best of which feature Pinoko. I’d be the first to admit that Pinoko is my least favorite character of the series, as she’s always struck me as a nasty caricature of the Japanese housewife. In volume 17, however, Pinoko is forced to confront her liminal status as an adult — first when Black Jack tries to give her to a childless couple, then when her sister enters Black Jack’s life again. Both stories are an appealing mixture of humor, suspense, and pathos that cast this problematic character in a more sympathetic light; we feel Pinoko’s pain as she struggles to reconcile her eternally youthful appearance with her more mature feelings for Black Jack. As an added bonus, Tezuka stuffs these last stories with cameos from Phoenix, Ode to Kirihito, and Swallowing the Earth (to name a few), a lovely reward for his most devoted fans. – Katherine Dacey

I’ll Give It My All… Tomorrow, Vol. 4 | By Shunju Aono | Viz Media – After the crushing resignation of the editor who believed in him, Shizuo’s new editor—the embittered, no-nonsense daughter of a failed novelist—cuts him no slack, describing his work as self-indulgent justification for his own lifestyle. Surprisingly, Shizuo actually seems to listen, at least by the end of the volume, providing hope that the promised “Tomorrow” might actually be at hand. I’ve become frustrated with this series from time-to-time, as it vacillates between latching on to a real narrative and settling into the perpetual sitcom feel so common in comedic manga. But I do have some hope of it finally leaning towards the former, especially after this very strong volume. As usual, the series’ side characters are more interesting than its protagonist, but finally it seems like that protagonist might actually care. It’s fascinating to watch this series evolve in a way not dissimilar to our hero’s own journey, which may simply prove how brilliant it’s been from the start. Recommended. – MJ

The Innocent | By Avi Arad, Junichi Fujisaku, and Yasung Ko | Yen Press – I was initially baffled by the presence of quotes from Stan Lee and Sam Raimi on the back cover of The Innocent until a little research revealed that Arad is actually some kind of Marvel bigwig. Apparently, this is why he has the likes of Nicolas Cage proclaiming that his work “shows like an esoteric haiku by way of anime and Lichtenstein and achieves comic book poetry.” To which I say, “Um, what?” And also, “Were we reading the same book?” I found The Innocent to be uninspired, with unsympathetic characters, incredibly paper-thin villains, and incoherent action scenes. It’s possible that this could have been a cool story—it does feature a wrongly executed guy who comes back to life with a body made of ash, which he can manipulate in various nifty ways—but the flaws listed above prevented me from giving a hoot about any of it. – Michelle Smith

Real, Vol. 10 | By Takehiko Inoue | Viz Media – It’s been a long wait for the tenth volume of Real, but I am happy to report that the wait is well worthwhile! This volume maintains the sort of shounen-esque feel of volume nine, with a mixture of grand declarations, gritty determination, and talk of achieving one’s dreams, but without losing any of the realism that makes this series so compelling. It’s gratifying, really, to see a character like Takahashi discover a glimmer of aspiration at long last, and it’s surprising how possible Noyima’s seemingly unrealistic dream suddenly appears, now that his moment of trial has arrived. Inoue’s craftsmanship is as stunning as ever, and I’m constantly impressed by his ability to shift focus from character to character without ever losing the tension in even one of his delicately-overlapping storylines. Heavy as it can be, this series is always a pleasure to read, which is a true feat for any writer. It seems clear that this series will always be worth waiting for. Highly recommended. – MJ