Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

Michelle Smith

Flower of Life, Vols. 1-4

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By Fumi Yoshinaga | Published by Digital Manga Publishing

When Fumi Yoshinaga sets a series in high school, you just know that she’s not going to do it like anybody else.

Harutaro Hanazono is beginning his first year of high school thirteen months behind schedule due to a bout of leukemia. The manga begins as he introduces himself to his new classmates in a manner that communicates much about his character. He’s an honest, simple, and idealistic soul, so is very forthright with his classmates about his illness because he doesn’t like the prospect of keeping secrets from all of them or having to explain multiple times. What he fails to consider, however, is how this information will affect his classmates’ interactions with him, since they all treat him with more consideration than they might otherwise have done.

Harutaro quickly becomes friends with Shota Mikuni, a gentle, smart, and adorable overweight boy whose main flaw is his timidity. Mikuni is also friends with Kai Majima, an arrogant otaku who is such a fascinating character that he’s going to get his own paragraph later. Harutaro and Majima don’t get along very well, but this doesn’t stop Harutaro from joining Mikuni and Majima in the manga club, where he collaborates with Mikuni and gradually develops the ambition to become a professional manga artist.

Meanwhile, readers become acquainted with the rest of the class in the same organic way any new student would. The homeroom teacher is Shigeru Saito, who at first appears to be an effeminate gay man but who is actually a woman. (Yoshinaga fooled me there, I must admit.) Other classmates include Yamane, a mature student with a love for books; Sakai, a perpetually tardy girl with a knack for English; Aizawa, a girl sensitive to the feelings of others; Jinnai and Isonishi, close friends and nice, normal girls; Ozaki, a rather boisterous fellow; and Tsuji, a guy who looks so much like Ono from Antique Bakery that it’s disconcerting to see him nurturing feelings for a woman.

Because Yoshinaga introduces the cast of students in such a natural-feeling way, I found myself caring about them much more than I ordinarily do in a series set in high school. For one thing, I’m not sure there is any other series where I could rattle off the names and personality traits of seven supporting classmates. It doesn’t matter that these characters may not get tons of page time; they’re still fully realized people with their own problems and passions. I’ve written before about my weariness regarding school cultural festivals, but in Yoshinaga’s hands, the festival in the second volume of the series is the best I have ever read, hands down. For the first time, I really engaged with the excitement the characters were experiencing. The same holds true for the Christmas party they hold in volume three. (Plus, that dinky tree was genuinely amusing.)

One of the major things I love about Flower of Life is how Yoshinaga works in some subtle lessons on friendship into the story. Sumiko Takeda is not in Harutaro’s class but becomes friendly with them when her original shoujo manga is circulated around and becomes a hit. Takeda doesn’t care about fashion or clothes, and she’s at a loss when her mother gives her some money to buy an outfit for herself. While shopping, she runs into Jinnai and Isonishi, who decide to come along as consultants. Their first shopping experience is kind of a drag, as Takeda is unenthused by the clothes shopping and Jinnai and Isonishi are bored when Takeda geeks out in an art supply store, but on a second attempt, they’re able to work out an arrangement where everyone can pursue their individual interests and yet still have a good time together. This seems to say “You can like different things and still be friends.” Other lessons that crop up later include “You don’t need to try to impress your friends,” “There can be one-sided feelings even in friendship,” and “You might think it’s nice to be coddled, but is it really good for you?”

Another lesson, “You can disagree and still be friends,” is vitally important to Mikuni. He begins the series a timid guy, unwilling to stand out by expressing his opinion. When he gets passionate enough about something, though—and it’s usually manga—he will speak out. The first time this happens with Harutaro, Mikuni is worried that he’s damaged their friendship, but Harutaro is actually thrilled that Mikuni was able to express himself so honestly and their friendship deepens as a result. By the end of the series, Mikuni has gained enough confidence to express his vision to Takayama, the manga editor who gives their work a harsh critique, and rebound from criticism with a zeal to improve.

I’ve talked quite a lot about the student characters, but the adults figure into the story in big ways, as well. The manga club members discover early on that Saito-sensei is carrying on an affair with the very married Koyanagi-sensei, who used to be her teacher when she was a student ten years ago. Their troubled relationship dominates her thoughts until she finally calls it off in volume three, saying that she loved him because he was such a good father, and it pains her to see him sneaking around and betraying his family. Koyanagi’s unexpected successor is Majima, whose solution to Saito’s woes is to give her something else to be “moeh” about.

And now we come to Majima. I love that in painting this portrait of an otaku, Yoshinaga didn’t just give us a heavy-breathing perv with a penchant for maid costumes, but really shows us how he thinks and attempts to process the world. He is arrogant and a little creepy, with a large quantity of disdain for his fellow students. He seems to prefer 2-D representations of women with specific physical qualities over real women, whom he appears to resent. And yet… although initially detached and unfeeling in his relationship with Saito, he eventually comes a bit unhinged when her behavior—saying she loves him yet sleeping with Koyanagi—does not follow logical patterns. I don’t think he loves her, or is capable of really loving anyone, but he expected her feelings for him to stay the same—the only thing he knows about relationships he’s learned from manga and dating sims, where you win the girl and then she loves you always—and is completely thrown when this doesn’t turn out to be the case. I think the experience makes him a tiny bit more empathetic to others, and maybe it’ll be what he needs to become a better person, but man, how thoroughly unfair of Saito to embroil this poor kid in an adult love triangle that he was not remotely equipped to participate in. My opinion of her suffered a great deal as a result.

The plight of Harutaro’s homebound sister, Sakura, also plays a major role in the story, furnishing some surprisingly dark moments and eventually culminating in the revelation that Harutaro is not, as he had believed, fully cured. He takes the news hard, but once he’s had the chance to process it, he returns to school for his second year a changed man. For, you see, he has learned to lie. He has learned to consider the feelings of others before he speaks. Gone is the Harutaro that can’t abide secrets. Now we see that he has learned discretion—he might want to tell Mikuni the truth, but he will wait for a time when his friend is ready to hear it. He can keep it to himself for as long as it takes. He has grown up.

Lastly, I wanted to touch upon the art in the story, especially the nonverbal storytelling that Yoshinaga employs with such aplomb. The page below is from volume three, when Harutaro has gone to the hospital for his monthly exam. He speaks with the nurse about a fellow patient who has since died, and when he emerges from the hospital, he pauses to look up at the sky for a moment then continues on his way. He doesn’t say a thing, but it his thoughts are absolutely clear: “She will never see this sky again.”

Another trait of Yoshinaga’s art is the repetition of similar panels to highlight the evolution of a facial expression (see MJ’s example from Antique Bakery in a Let’s Get Visual column from last October) or situation. In the example below, from volume four, she not only uses this technique to show Majima as someone not fully invested in the drama of the moment, but also for simple humorous effect.


Flower of Life is really an extraordinary series. When Harutaro and Mikuni are working on their manga, they express the desire to include some universal truths about friendship and growing up in their story, and that is precisely what Fumi Yoshinaga has done. It’s funny, it’s touching, and it’s a classic. Go read it.

Flower of Life was published in English by Digital Manga Publishing and is complete in four volumes. I reviewed it as part of the Fumi Yoshinaga Manga Moveable Feast, the archive of which can be found here.

Review copy for volume four provided by the publisher.

Pick of the Week: Short Stack

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With only five new manga releases shipping to Midown Comics this week, what will our bloggers pick? See below to find out!

SEAN: It’s a smaller week this time around, but even if there were tons of titles, my pick would likely be the same. I found the first volume of Q Hayashida’s Dorohedoro to be my favorite out of all the SigIkki titles, and subsequent volumes have only added to my enjoyment. Its grim and unforgiving fantasy dystopia is lovingly detailed (you can pore through the backgrounds for hours), and its plot straight out of anyone’s nightmares (ever wake up with your head replaced with a giant lizard’s?). The reason that I can deal with its sordid underbelly is the wicked (and equally violent) sense of humor it has, with its main cast never seeming to let the bad things that happen to them crush their spirits. In fact, Ciaman and Nikaido, and their ‘evil’ counterparts Shin and Noi, can be quite jovial! Give this quirky series a try (if you don’t mind blood, it’s quite violent.) Plus, female creator!

MJ: This is a tricky pick for me, with nothing I’m really excited about shipping into Midtown Comics this week. With that in mind, I’m going to go completely off the list and get into the spirit of this week’s Manga Moveable Feast by recommending that everyone pick up something by Fumi Yoshinaga. My rereads this week include favorite older series Flower of Life and Antique Bakery, but there is plenty of newer or current Yoshinaga to check out if those are hard to find. Both Yen Press (Not Love But Delicious Foods Make Me So Happy) and Viz Media (Ooku, All My Darling Daughters) have served up recent helpings of Yoshinaga that should be relatively easy to acquire. I recommend keeping some snacks handy. Reading Yoshinaga always makes me hungry.

DAVID: It might have escaped your notice, but our long, national nightmare is finally over, and the Eisner Awards have finally given a prize to Naoki Urasawa. After an enormous number of nominations, he won a 2011 Eisner for 20th Century Boys. Conveniently enough, the 16th volume of this series arrives this Wednesday. Equally convenient is the fact that this is my favorite Urasawa title to be released in English, so I have no problem recommending it. One of my few complaints with Urasawa’s work is his inclination toward over-seriousness, so the generally wry tone of this series is especially welcome. It’s a great thriller that doesn’t neglect humor as it spins its various yarns. (Oh, and if you happen to have the Viz app on one of your various devices, you can now read Oishinbo in that format. This is something that bears repeating.)

KATE: After reading Bluewater’s unauthorized bio-comic of Lady Gaga, I’m morbidly curious about Fame: 50 Cent. The Lady Gaga comic was almost impossible to describe: it featured a middle-aged rock journalist who reluctantly agrees to write an article about Gaga, only to have a surreal experience when he listens to “Bad Romance.” (He actually imagines that he’s Lady Gaga; the sight of a balding, hairy man in one of Gaga’s most outre costumes was worth the cover price alone.) I don’t know that the 50 Cent story lends itself to such an avant-garde presentation, but given the sheer weirdness of Bluewater’s other Fame comics, I can’t imagine it will be boring.

MICHELLE Sometimes I feel like the only person who likes Bokurano: Ours. Indeed, it is very grim—there are quite a few similarities with Ikigami, actually—and somewhat repetitive, as members of a group of children sit quietly in the background until it is their turn to sacrifice their life piloting a giant robot that is ostensibly defending Earth. As you might expect, this is very depressing, but some creepy circumstances surrounding the arrival of the aliens makes me question is any of this even real? In addition to being cruel and horrible, is all of this just futile? Just a game? It’s this underlying mystery that keeps me coming back despite the need for a fluffy shoujo transfusion I typically feel afterwards.

Readers, what looks good to you this week?

Bookshelf Briefs 8/15/11

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This week, MJ, Michelle, David, Kate, & Sean check out recent releases from Viz Media, Bandai Entertainment, Vertical, Inc., & Dark Horse.

Dorohedoro, Vol. 4 | By Q Hayashida | VIZ – After reading the first volume of Dorohedoro, it was obvious to me that Q Hayashida had serious drawing chops and a vivid imagination, but the graphic violence, choppy storytelling, and eccentric cast kept me at arm’s length from the material. Revisiting the series at volume four, I’m pleased to report that Dorohedoro has improved: not only do the characters seem better defined, but the plot is more coherently presented, and the dialogue is crisper. The highpoint is a macabre baseball game that’s amusingly reminiscent of “Foul Play,” an EC Comics short from 1953. The characters’ dugout banter is genuinely funny, as are some of the grislier sight gags. Much as I appreciated these scenes, I’m still not sold on Dorohedoro — it’s well written and smartly drawn, but its visceral imagery and fantasy elements place it squarely in the Not My Thing category. – Katherine Dacey

Gantz, Vol. 18 | By Hiroya Oku Works. | Published by Dark Horse – As I spend the week of the current Manga Moveable Feast steeped in the humane, sexy comedy-drama of Fumi Yoshinaga, it’s always nice to take a break with something very different for contrast and perspective. And really, how much farther away can you go than this ridiculously, randomly violent smackdown of a comic? For the uninitiated, people on the verge of death are snapped up by a computer to don skintight suits and fight aliens. It’s every bit as absurd as that makes it sound, particularly since there’s virtually no successful, intentional satire in play. (Oku may be shooting for that, but any meta winks come off as just as straight-faced as the serious bits.) This volume is basically a long battle scene, but every volume is basically a long battle scene. And it’s always fun to try and concoct a justification for the fan-service-friendly back covers. – David Welsh

Kamisama Kiss, Vol. 4 | By Julietta Suzuki | Published by VIZ Media – Volume four is unequivocally the best volume of this series so far. Nanami has finally acknowledged that she’s in love with Tomoe, her fox yokai familiar, but he dismisses her feelings (in a scene that might give my fellow acrophobes some serious jibblies) as a side effect of puberty. It’s clear Tomoe feels more than he lets on, however, and he risks his own life to fulfill a desperate request from Nanami. To rescue him, she travels back into his past and sees a few things she’d rather not see, but emerges determined not to be so passive in their relationship. I enjoyed the InuYasha vibe I got from this volume—Nanami turns out to have a stone-like item inside her body that was originally consumed by the human woman Tomoe, a white-haired, pointy-eared demon bishounen, once loved—but more than that, it was genuinely exciting. More like this, please! – Michelle Smith

La Quinta Camera | By Natsume Ono. | Published by Viz – While I did enjoy this disparate collection of anecdotes, it’s pretty clear why Viz licensed a pile of other Natsume Ono stuff first. Compared to much of her later work, this is simply not as engaging, and the art is even more sketchy than usual. (The eyes of the characters give me a Scott Pilgrim feeling, for some reason.) And a lot of the intertwined characters slowly growing as the seasons change would be used to greater effect in her other Italian series, Ristorante Paradiso and Gente. Still, I ended up having fun with this anyway. The characters are likeable, and even though we only focus on them for a short period, it’s simply nice watching them interact. Much like a good European art film, there’s no actual plot or a major emotional catharsis. It’s just people watching. – Sean Gaffney

Natsume’s Book of Friends, Vol. 8 | By Yuki Midorikawa | VIZ – Though I’ve enjoyed previous installments of Natsume’s Book of Friends, volume eight has transformed me from follower to fan. The three stories provide some badly-needed background on Natsume, giving us a window into his life before he lived with the Fujiwaras, and helping us understand what a burden his “gift” truly is. Yuki Midorikawa’s mastery of the material is more assured than in previous volumes; though the stories offer plenty of supernatural twists, what really stays with the reader is the lovely way in which she maps Natsume’s journey from lonely outsider to cherished son and friend. Even the artwork is improving; Midorikawa’s layouts are more fluid and expressive than in the earliest chapters, making it easier to figure out what’s happening on a moment-to-moment basis. Recommended. – Katherine Dacey

The Story of Saiunkoku, Vol. 4 | By Kairi Yura and Sai Yukino | Published by VIZ Media – While it is certainly wonderful to read about a heroine as smart and capable as Shurei, Emperor Ryuki really steals the show in this volume. Not only is he proposing a measure allowing women to take the civil service exam, he’s doing it largely so that Shurei will be able to achieve her dream. Yes, he hopes that Shurei being in the palace will help him win her heart, but more than that, he simply wants her to be happy. Ryuki has absolute confidence in her abilities and, though he hasn’t given up his romantic pursuit, he would rather she come to him on her own terms, when she is ready. He reminds me a lot of Tamaki from Ouran High School Host Club, one of those oddly perceptive goofball types that I love so much. The recurring gag involving his misunderstanding of the phrase “midnight tryst” is also quite amusing.– Michelle Smith

Tales of the Abyss: Asch the Bloody, Vol. 1 | By Hana Saitou and Rin Nijyo | Bandai Entertainment – As someone whose consumption of Japanese media consists almost exclusively of manga, Bandai releases offer a very particular challenge. Though a few of their manga series genuinely start at the beginning, most——even those labeled “volume 1″——are offshoots of the company’s anime and game franchises, so reliant on the background and mythology of their source material that the learning curve for manga readers can seem impossibly steep. On the surface, Asch the Bloody falls into exactly this mold. Following the side story of one of the series’ antagonists, its early chapters read like gibberish to anyone not already familiar with the franchise. Fortunately, as the volume continues, its main character’s inner struggle between pride and self-loathing as he observes the life of his own “replica” becomes the story’s centerpiece, offering genuine food for thought, even for the uninitiated. Not bad, Bandai, not bad. – MJ

Twin Spica, Vol. 8 | By Kou Yaginuma. | Published by Vertical – I never quite know what tyo say about Twin Spica, which is why my reviewing of it is so erratic. I always enjoy each volume as I get it, and it never fails to bring a smile to my face. But frequently it’s a rueful or melancholy smile, the sort reserved for watching the fallibility of life, or seeing a sweet moment that you know will never last. This volume of Twin Spica is filled with such things. Asumi’s burgeoning teen romance is over almost before it starts, but for all the right reasons, and I think both of them end up being happier they had their feelings. Moreover, this volume finally gives some much needed depth to Shu, who’s been the most cryptic of the group of five. And, true to the tome of the series, the depth comes with a growing sense of unease, and a sense that the group is not going to be together for much longer. Twin Spica loves to highlight the fleeting springtime of youth, both to show its strength and to emphasize how fleeting it really is. Surprisingly mature. – Sean Gaffney

Flawless by Sara Shepard

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From the front flap:
In the exclusive town of Rosewood, Pennsylvania, where the sweetest smiles hide the darkest secrets, four pretty little liars—Spencer, Aria, Emily, and Hanna—have been very bad girls…

Spencer stole her sister’s boyfriend, Aria is brokenhearted over her English teacher, Emily likes her new friend Maya… as much more than a friend. And Hanna’s obsession with looking flawless is literally making her sick. But the most horrible secret of all is something so scandalous it could destroy their perfect little lives.

And someone named “A” is threatening to do just that. At first they thought A was Alison, their friend who vanished three years ago… but then Alison turned up dead. One thing’s for certain: A’s got the dirt to bury them all alive, and with every crumpled note, wicked IM, and vindictive text message A sends, the girls get a little closer to losing it all.

Review:
In this, the second book of the Pretty Little Liars series, bad things continue to happen to the pulchritudinous prevaricators, often of their own making but sometimes not. Spencer risks her family’s wrath (and her academic standing) by sneaking off to see Wren, her sister’s ex-boyfriend. Emily tries very hard to not be gay, and ends up taking as a date to the big charity dance a boy who may have killed Alison. Hanna is desperate to earn her father’s love, but A (and a bitchy soon-to-be step-sister) sees to it that he finds out about her various transgressions. And Aria tries to derail her father’s extramarital affair while growing closer to the guy who dumped Hanna, like, eight days ago.

While I could never claim that this series is a shining achievement in literature, it certainly is entertaining (in the most crackalicious way possible). Each book seems to cover about a week in the lives of these four girls and, seriously, if I had this much crazy crap going on in my life, I think I would end up catatonic. As before, chapters alternate between the four girls as they each deal with their own secrets and various threats from A. This time, they’ve decided that A must be Toby, a neighbor who took the blame when one of Alison’s pranks resulted in dire injury to his sister. By the end of the novel, they’ve convinced themselves that Toby also killed Alison for revenge, though the revelation of the existence of an airtight alibi throws that into question.

I can’t help but come at this series from the perspective of someone who’s been watching the TV show. The differences between the two versions of the story are widening, and it’s interesting to me to see how the producers of the show decided to take the story in new directions. On the show, for example, Aria is still (as of the last episode I saw, anyway) hooking up with her English teacher. Here, she seems to have moved on, and with Hanna’s ex, to boot. Spencer never had sex with Wren on the show, nor was it ever mentioned that she used to be a chronic sleepwalker. In the books, the girls have not resumed their friendship as enthusiastically. Most importantly, though, someone dies in this book who is still very much alive on the show!

This makes me happy, because I accidentally spoiled myself on the identity of A in the books. This robs me of some suspense while reading, unfortunately, but at the same time all these changes suggest that A could very well be someone completely different in the TV version, and that I can’t necessarily expect people who are benevolent in one format to be the same in another. That’s pretty neat.

For me, Pretty Little Liars is the epitome of a guilty pleasure.

Roundtable: On Fanfiction

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MJ: So, I’ve been blogging in this general location about manga since late 2007, and this has long been my “professional” venue for writing about the things that make me fannish. I’ve met nearly everyone I know in the manga blogging community through this blog, including both of you. But what I don’t talk about much here are the many years before that I spent blogging on LiveJournal, in a subsection of fandom focused mainly on fanfiction.

Up until recently, I was the only blogger here at Manga Bookshelf with a real history in fanfiction, but with Sean now on board things have changed, and I admit I’m kinda thrilled to have the opportunity to talk about this aspect of fandom that was once incredibly important to me. To that end, I’ve invited Sean, along with Michelle (whose interest in fanfiction is new and somewhat tentative), to join me in a roundtable discussion on fanfiction.

Now, I have a lot of highfalutin’ ideas about fanfiction, why I wrote it, and why I think it’s important as a form of meta discussion and even criticism, but let’s start by talking a bit about how we got into fanfiction in the first place. Sean? Michelle?

SEAN: As I’ve mentioned elsewhere, I am that sort of person who got into fanfiction, and indeed started writing it, before he got into anime and manga. Barring the usual Battle for the Planets/Speed Racer as a kid, my first exposure was in 1995, when I started reading Stefan Gagne’s Ranma fanfics. This quickly led me to John Biles’ fics, and from there I was hooked. I began writing Ranma in early 1996… and started reading it about mid-1996. XD

I was hardcore Ranma for about a year and a half, but then started branching out to more fandoms. At last count, I’d written for a good 30 or so fandoms, including some Buffy and Phoenix Wright fanfics in the non-anime world, with my last fic to date being in the world of Strawberry Marshmallow. I’m semi-retired (the fancy Internet way of saying lazy), but you never know what will pop into my head.

As for why I wrote it? The ideas get in your head and won’t let go. Or you want to finish the story before the author does. Or you’re rebelling against the preferred pairing. Or you want to see if you can do something people tell you is impossible. Or you want to expand on a minor character’s motives. Or you want to bash. I mostly avoided that last one. Mostly.

I still READ fanfiction constantly, of course.

MICHELLE: And then there’s me. I have read three fanfics so far and written about half a dozen drabbles.

MJ: Yeah, but you did a lot of RP writing, right? That doesn’t seem all that much different to me.

MICHELLE: Oh yes, tons and tons, mostly in the Harry Potter realm. I suppose it’s not that different. Though the way we did it—picking a point in chronology and continuing on from that point—didn’t set off my “canon is sacrosanct!” alarms as much as it would’ve if we’d been trying to wedge our original characters into the official storyline or something.

MJ: Like Sean, I got into fanfiction long before getting into manga, and in fact, I’ve written relatively little in manga fandoms. Though my first formal attempt at fanfic was in 2003, in retrospect I realize I’ve been writing it since I was a child, one way or another. From the epic Zenna Henderson-inspired stories my little sister and I acted out with our Barbies to the Buffy/Angel song from my singer-songwriter days, I’ve always felt the impulse to interact with fictional universes by finding ways to create within them.

With that in mind, I must embarrassingly admit that what actually pulled me into writing real fanfic was the world of LOTR RPS (Lord of the Rings Real Person Slash aka “Lotrips”), where the “canon” was basically movie industry gossip, blown up into a fully-fledged fictional world by the fanfic writers themselves. My friend Jaci lured me in with her own wonderful writing, and before I realized what I was doing, I was participating regularly in the LJ multi-fandom slash community contre la montre, which offered up weekly speed-writing exercises for anyone who cared to join.

For a while, I felt too intimidated by real fictional canons to try writing publicly in them, but reading the fifth Harry Potter book got me over that, and thus my proper fanfiction career began. Though my heaviest writing years were spent in Harry Potter fandom, I also dabbled as a writer in fandoms like Buffy the Vampire Slayer and Firefly, and then much later in manga fandoms like xxxHolic, Hikaru no Go, and Banana Fish.

For me, writing fanfiction was mainly a means for participating in what I perceived as an ongoing meta discussion between writers, as well as a vehicle for interacting with the text in a very personal way. Though as I say that, I realize that a huge percentage of my fanfiction was written for either organized challenges or as gifts, some of which certainly seemed impossible or at least difficult at the outset (Neville/Oz, anyone?) so apparently I liked that aspect of it too. Fandom was a tricky place for me at times, partly because I was an omnivorous reader, with an interest in slash, het, and gen, and partly because my concept of an OTP is very, very… loose.

That last point, Sean, reminds me of something you said in your “thoughts on fandom and shipping,” specifically item two: “You can ship more than one contrasting couple at the same time, and not be betraying anyone.” In fact, both of your first two points there made me think, “Aaaaah, here’s someone I can actually talk to about fanfiction.”

MICHELLE: I’ve now gone to that link of Sean’s and returned, feeling rather illuminated about various fanficky conventions that have puzzled me. I must say I haven’t got much of a passion for “shipping,” but there are definitely a few pairings here and there where I think they’re genuinely in love with each other (Remus/Sirius in Harry Potter, Fai and Kurogane in Tsubasa RESERVoir ChroNiCLE) even if I don’t believe they’re actually getting it on.

I think I thought that fanfic writers all did genuinely believe these characters were getting it on, and part of the reason I’ve opened my mind lately is the realization that, for some (perhaps many), it’s a kind of writing challenge or, as Sean puts it, a “what if.”

MJ: Actually, Remus/Sirius is one of those pairings I feel strongly that the author actually wrote into the story and then hurriedly covered up later on when she realized what she’d done. And I stand by that, because clearly Alfonso Cuaron agreed with me on the first bit.

But yes, though there is sometimes generous subtextual support, generally I think non-canon pairings are pulled from our imaginations.

SEAN: As I’ve noted, I don’t WANT shipping in One Piece itself, but love it in the fandom. For one thing, the lack of canon romance leads to less yelling in the fandom. Sure, there’s some arguments between shippers and non-shippers, and the occasional rare slash v. het thing, but it’s mild and easily ignorable. Compare this to Bleach, where you simply CANNOT ignore the shipping. It was fine for about 25 volumes or so, but then Orihime told a comatose Kurosaki that she loved him. (As if this wasn’t obvious before.) FOOM! Made even worse that the two lead females are of almost complete opposite personality type, and you have a situation that simply cannot resolve easily. As a result, even in chapters where neither character appears, the debate tends to rage about them. (Let’s not mention Hinamori right now, that’s another kettle of fish.)

Some worlds are fun to read about, but I wouldn’t write in them, simply due to wanting to avoid arguing. Harry Potter is an excellent example. My ship of choice, Harry/Luna, is a fun one, and I can give you endless reasons why I think it’s best. But one of the biggest would be: “It doesn’t get into the H/Hr vs. H/G wars”. H/L fans tend to sit on the side and eat popcorn while those go on. Before Book 5, I didn’t really ship Harry with anyone, as Ginny was poorly fleshed out, and while I liked Hermione, her fans were insane. This has not changed with the release of Books 5-7 and the movies. :)

MICHELLE: Is there much fic written anymore where there isn’t boffing? I’m fairly smut-averse, myself…

SEAN: There is, but no one reads it. :) Seriously, lots of people write what is called “gen fic,” but with FFNet now providing sorting by pairing, many folks never see it as they sort for the ships they like and it floats by. It also gets far less reviews and attention than a hardcore shipping fic does. A lot of what writers want, especially young writers, is other people reading and saying “You are correct, that is awesome that you wrote that!” It’s easier to get comments if you write romance. Sadly, this is the nature of the Internet Beast

Another problem with fandom being “serious business” is that people start to take their own writing seriously. Yes, many fanfics were written for a need to see deeper characterization, or an epic that spans generation. But other folks wrote a fic as they thought “Wow, those two would be really hot if they screwed each other.” And that’s EQUALLY valid. I can pick apart your characterization, spelling, or lack of attention to basic anatomy, but I can’t attack your desire to write porn. That’s a valid choice, and I approve of it. God knows I’ve done it. A Phoenix Wright fic I wrote was a deliberate attempt to write a ludicrous porn story, with the title “Turnabout Orgy”. It’s not remotely my best work. Hell, it doesn’t even have much detailed sex. But it achieves what I wanted.

MICHELLE: Well, you can do romance without boffing! :) I should note that I don’t, in principle, object to people writing explicit stories or anything. I just don’t particularly want to read them. :)

MJ: Very little of mine involves boffing! Though I will always love a love story. And, y’know, I’m not averse to smut. Some of the most fun writing I ever did was for the recurring multi-fandom challenge, “Porn Battle,” and though even my smuttiest writing tends to be tamer than most, it can feel very freeing and, yeah, sometimes genuinely erotic.

Sean, I have to say if there’s one thing I’ve never understood about fandom, it’s shipping wars. Fortunately, it’s less of a big deal in slash fandom, where I spent most of my time, even when I was reading & writing non-slash. I think maybe because slashers never expect their favorite pairings to turn up in canon, they’re less likely to fight over it. At least that was my experience in Harry Potter fandom. I do recall knowing about some massive flamewars related to Prince of Tennis slash ships.

Also, Sean, to comment on your Harry Potter preferences, I think I tend to be partial to Neville/Luna more than Harry/Luna, but then, I pretty much ship Neville with everyone, so it’s not much of a stretch for me. Even back when I thought I ‘shipped Harry/Draco, my heart always belonged to Neville. ;)

SEAN: I do wonder how xxxHOLIC fans felt about the one or two threesome fics I saw that involved Himawari with the two guys.

Most likely, “Who is she again? Oh right.” :) It’s easy to not have a shipwar when your ship has a monopoly.

MJ: Actually, I think that’s a pretty popular OT3! True, though, there’s only one major pairing in xxxHolic fandom, though I’ve seen some Yuuko/Watanuki fic out there.

SEAN: How did xxxHOLIC fans react to the ending, out of curiosity? I know I had one experience with a fandom, School Rumble, where the manga ended SO badly that the fandom basically completely died. It was stunning to see. Everyone stared, bitched for about 2 weeks, then… stopped. And then the silence. And it never recovered (which is likely why Kodansha hasn’t picked up the remaining books).

MJ: Honestly, I don’t know. I’ve been waiting for the US releases, so I stopped hanging around xxxHolic fandom so as to not get spoiled. I will say, though, that I think Harry Potter fandom has never fully recovered from the Epilogue. It’s still alive—fandoms that big never die—but it’s not what it was.

MICHELLE: Aside from Remus/Sirius, which might as well be canon as far as I’m concerned, I can’t imagine shipping anybody in Potter, really. Like, I love Snape very much. I mean, really really love him. But I don’t want to read about him hooking up with anybody.

SEAN: Remus and Sirius are up in Heaven shagging right now. With Tonks. (runs away fast)

MJ: I can go with that.

MICHELLE: Ugh. :)

SEAN: Part of the reason I’ve always associated fics with shipping is my initial fandom: Ranma 1/2. In many ways, it was the perfect breeding ground for fanfic writers. The series was popular and dubbed in the mid 90s. The manga was coming out in Japan till 1996, but we had no access to Japanese volumes at that time, so theorizing was king. The characters were highly interesting types who were nevertheless two-dimensional, so they inspired fanfics that ‘deepened’ their characterization. The basic premise had implications almost entirely ignored by the author. Again, perfect for fanfics. (What would pregnant Ranma be like? What if Ranma gets a period?) It was an action-oriented comedy harem series, perfect for male writers, with strong female characters and hot guys, perfect for female writers.

So if you wrote Ranma in the 1990s, and you weren’t trying to simply duplicate the series with your own plot, you tended to write continuations (providing your own ‘resolution’ to the romance), the genre ‘For Want of a Nail’, where you change one plot point and see what happens (what if it was Kasumi who was cursed?), darkfics (what if Akane had a genuine mental illness and start to seriously injure Ranma?), or lemons (what if everyone finally got it on?). All of which either involve the romantic pairings, or in some ways are biased towards one or the other.

There was an entire GENRE of Ranma fics circa 1998 called ‘The Bet’, the basic premise of which was similar to For Want of a Nail but with the proviso that Akane was treated poorly or written out. The creator hated her, and said anyone could play in his pool, basically, if they observed the rules and did not pair Akane with Ranma. Likewise, I believe Sailor Moon had many, many ‘Mamoru must die’ fanfics written in the late 90s as well. Which just goes to show, I guess, that the more things change the more they stay the same.

And before anyone asks, no, I was never in the Pokemon fandom, so missed ALL of that.

MJ: Despite my deep enjoyment of gen fic, I admit I tend to associate fics with shipping, too, and for similar reasons, actually, since the bulk of my writing was done in Harry Potter fandom. Romance is one of the things JK Rowling writes the least well, so it’s hard to write in that fandom without wanting to do better, no matter what characters you’re writing about. I think, too, as an adult writing in a universe created for kids, there’s a real impulse to want to grey up some of its more black-and-white concepts, if that makes sense.

MICHELLE: There certainly was lots of adultifying and greying up of Potter going on on the RP game I played. Of the genres Sean mentioned (I admit that “For Want of a Nail” sounds really cool to me, by the way) our game was like a continuation. Everything up through Goblet of Fire (the latest book at the time) was canon, and then we went from there. We defeated Voldemort in our own fashion, and it was fun to see what we actually got right when the official books came out.

MJ: One thing I feel like I should say here is, that in my experience, almost any romantic pairing can work in fanfiction, if it’s written well enough. That’s one of the reasons I never understood shipping wars. Sure, I had my favorite ships, but a good writer could make me like almost anything. I have a couple of issues that are non-negotiable, but for the most part, I’ll give myself over to any writer who can make me believe, even just in the moment.

SEAN: I’d take that further: almost anything can be used in fanfic if it’s written well enough, romance or no. You want to write hot hot fic showing the forbidden romance between Remus Lupin and a potato? Is it well-written and reasonably in character? Sure, I’ll go with it. (Also, the potato totally tops.) If you’re writing a crossover between 270 series, and can make readers keep track of it all without the need for huge charts? Congratulations. Want to kill off the entire cast in a plausible, believable way that’s not just an excuse for gore? Knock yourself out. Want to write a self-insert where you become immortal and end up in Crystal Tokyo running a radio station and married to Sailor Saturn? Well, OK, that one’s been done.

The difficulty, of course, is in making it good. Which is why one needs pre-readers/betas. Sadly, they’re harder and harder to get these days. But they can, if they’re good prereaders and not just “Looks good, write more!” types, tell you when you’ve lost the reader. Why are you quoting your entire record collection in this fic? Why are you devoting 20 pages to saying how horrible this person is? Why is Hermione using an iPod at Hogwarts? For the last time, it’s you’re, not your! That sort of thing. A good spellchecker is not the same thing.

MICHELLE: I get where all of those things you mention would be fun to write and even an admirable accomplishment. I’m just not sure I’d want to read any of them, except the killing the cast one, perhaps. Personally, I still balk at things that challenge canon too much. Like, the first fanfic I ever saw was on a Battle of the Planets mailing list. So I am, like, “Oh, what’s this? Is it a story? What’s going… oh my god! Ken and Joe, noooo!”

SEAN: One other type of fanfic I forgot about, mostly as it’s a fairly recent development that wasn’t around when I was really active, is the Peggy Sue fic. No, not Mary Sue – those have been around much longer. In Peggy Sue fics, the characters go back in time and inhabit their earlier bodies, usually reliving their lives to ‘do things properly’ this time. Yes, this usually involves shipping too, but it doesn’t have to – there’s a fantastic Harry Potter fic called Oh God Not Again where a happy and content Harry in the future accidentally goes back in time – a one-way trip. He decides to simply screw around with everything for his own amusement. No ships whatsoever. This genre is especially prevalent in Harry Potter and Naruto, but I’m starting to see it elsewhere too. (It’s highly variable, as much of the time it’s an excuse for character bashing – ‘if only I’d known Ron was a pedophile rapist wife-beater, I’d never have befriended him!’ etc etc etc.)

MICHELLE: Oh, that sounds like fun. Having some kind of construct like that in play would probably nullify any canonicity issues by virtue of it technically being a continuation. Happily wedded to Ginny, Harry goes back and time and thinks, “Hm, what would’ve happened if I’d invited Luna to the ball that year?”

MJ: I agree with Sean on all points here (including the potato), and I think Michelle, where our view of fanfiction really differs here, is that I don’t actually consider any of this stuff to necessarily be a challenge to canon, or at least that’s not at all the way I think about my own writing. Sure, there are times when one might write a fic specifically with the purpose of “righting” canon, but most of the time, even when there’s a strong urge to diverge wildly from canon or just to seek out nuance the original author didn’t take time with, it’s about exploration, not contradiction.

Often, I’ve taken the smallest detail about a character and formed an entire universe around it, not because I think that’s what should have been in canon, but because it allows me to examine that aspect of the character more fully. For instance, I once basically created an entire piece of fanfiction based on the fact that Remus Lupin once encouraged Neville Longbottom to fight a boggart. I thought about how important that moment might have been for Neville, who generally was treated like a squib, and how that might have affected his feelings and actions over a long period of time, even into adulthood. None of what I wrote actually happened in canon, of course, but I didn’t write it to challenge canon. I wrote it to more deeply explore the potential ramifications of something that was already there. On one hand, it’s sort of an abstract exercise, but on the other, it also serves as way of expressing my thoughts about that one moment to a whole slew of other people more effectively than I could by any other means.

This is where, for me, fanfiction serves as an ongoing discussion between the people who read and write it. Since most of us are doing both, reading and writing, we’re constantly listening to each other and responding in one way or another, even if the conversation itself is completely unconscious.

MICHELLE: I am realizing more and more than “exploration” is the key here, but I spent a lot of time believing that fanfic writers believed what they were writing was true, or at least better than canon, which is the fuel for a lot of my lingering hesitancy. I mean, I’m sure there are people who would argue that The Doctor really is schtupping his companions off-camera, but perhaps they’re not the norm?

SEAN: I don’t. In fact, I was in Who fandom from almost since I could walk, and didn’t even realize there was a possibility of sex in the TARDIS till 1994 or so when I got on the Internet in college. And even then, there was very, very little of it. The sex came with the new series, and in particular the new fans, who saw 9/Rose (and 10/Rose) and had no preconceptions of “The Doctor has no sexuality, he’s above such petty human things” the way old-school fans had. I ship 10/Donna, but not canonically – I just think it’s fun and that they’d be hellaciously sexy in bed (10/Rose not so much, though I get the hurt/comfort value there.)

Another thing to note is that we three are, in Internet years, senior citizens. When I got into fics, most were college age writers and above – they started writing when they got the ‘net at college. Now that everyone has the internet, the age level of fic writers has dropped drastically, and you do sometimes see ‘Sorry, AFF readers, had to delete all my 10/Master porn, my mom found it.’ Not to mention the 12-year-olds writing fics at 7th grade grammar level (or well above, to be fair, but…)

MJ: Also, fandom as a whole is gigantic, and it’s spread all over cyberspace. I was already in my thirties when I started writing fanfiction, but because I had friends from other parts of my life who had already been writing for a while, it was pretty easy on Livejournal to find myself a fandom community of other likeminded adults who wrote thoughtfully and were interested in fanfiction for the same reasons I was. We were all on each others’ friends lists, and we tended to use the same community spaces, so we basically made our own subsection of fandom that worked the way we wanted it to. And there were probably a million other fandom corners on the internet just as specific.

The sprawling nature of the internet can seem overwhelming and unnavigable if you’re just trying to find one good Snape fic, because there isn’t any single, central depository for it all (though plenty of sites have tried to be that), especially in a big fandom like Harry Potter. But there are also real advantages to building small communities with their own group standards, because it means that once you’ve found your community, you can be pretty sure that you’ll enjoy the majority of what it produces.

MICHELLE: Yeah, the “sprawling nature” issue has been another discouraging factor for me. Like, I really don’t want to read something crummy if I can help it. The stories you two have sent me have been works you’ve been proud of (and deservedly) and therefore I enjoyed reading them ‘cos they were legitimately good. I don’t relish the idea of wading through a bunch of dreck. Maybe I am a “private corner” sort of person, too, who will just write my little Buffy things off by myself somewhere. :)

MJ: Of course, one way to pretty much ensure yourself a small fandom corner is to write in a very small fandom. On one hand, you’ll never receive the amount of feedback you might in a big fandom, but small fandoms tend to attract interesting, experienced writers who aren’t in it just for the squee. One of my favorite fandoms to write in was Banana Fish, which I think has something like five people participating in it at any one time. Actually, five may be a very generous estimate. It can be hard to handle the fact that your friends outside the fandom might have little interest in reading your fic, and you won’t get pages of feedback, but what you do get will be really heartfelt. And you have the opportunity to provide that in turn.

That said, big fandom does offer some rewards that small fandom can’t provide. My initial entry into Harry Potter fandom was via Harry/Draco, which was at the time by far the most popular slash pairing in HP fandom (and thus, the wankiest, but that’s another story entirely), with a huge catalogue of fic already written, including a hefty number of established “classics,” and thriving communities on Livejournal, FF.net, and FictionAlley, among other places. The whole thing was a bit intimidating, so when I decided to attempt writing in H/D fandom, I spent over two months planning and piecing together my fic with feedback from four beta readers (including one UK reader to specifically check my Briticisms) and three H/D-loving friends, finally posting it on Livejournal with the pessimistic subject line, “The dreaded HP fic.” I was completely unknown in that fandom, but thanks to a rec from one popular HP writer on my friends list, the thing spread like wildfire, and before I knew it, I had a couple of pages full of comments and recs popping up everywhere. That can never happen in small fandom, even for an experienced, well-known writer. To this day, that “dreaded HP fic” is the most popular I’ve ever written. And while I’d never say that I wrote fanfiction for the feedback, it can certainly be gratifying, especially for a new writer.

Sean, I’d be interested in your thoughts on big vs. small fandom, especially since we ran in completely different fandom circles, from what I can tell.

SEAN: It can help, but it depends on how much you’re looking for an audience. The most responses/reviews I’ve ever gotten were for a) A Kodomo no Omocha fic which I wrote in 1 hour for a contest, which was basically a ‘hit the giant emotional button’ fic, and b) my Sailor Moon self-insert, which is mostly along the lines of “I can’t believe you wrote a self-insert I didn’t hate!”. So one small-ish fandom and one large there. To be honest, though, most of my major writing was in the pre-LJ, pre-FFNet days, so most of my C&C came from mailing lists or on USENET. Remember them? :)

To a degree, we all want our fic to be read and praised (or panned), but a lot of the time when I write a fic, the primary audience is me or my close circle of friends. So while I do appreciate the larger number of reviews I get for, say, writing Sailor Moon or Buffy, I’d argue I feel even better when I get the 1 or two responses I get for my Sol Bianca The Legacy or Ichigo Mashimaro fics. I’m not expecting any audience for those.

So the question them becomes, are you writing primarily to satisfy an urge to write, or for the enjoyment of others? I’d argue most of us do both, but then how do you find a balance? I’ve sometimes taken good honest criticism and not listened to it, simply as while I see the point I want my story to go this way because it’s what I want.

MJ: I agree that I think we mostly do both (writing for ourselves and for the enjoyment of others), and honestly I’ve found some people’s insistence that there’s something wrong with seeking an audience to be pretty disingenuous. If we were truly only writing for ourselves, there would be no reason to post our work publicly, or even just to our friends. But I think do think people who get into fanfiction primarily for the feedback often end up disappointed. And to your last point, I also agree that while there is a lot of value in constructive criticism, it really is okay to listen to it and then still go your own way.

Ah, mailing lists… I think I pretty much missed the peak days of USENET as a means for fanfic distribution, but I was a member of a few mailing lists, particularly in my Lotrips days. Overall, I’m glad online archives and journals moved a lot of fanfic away from mailing lists, partly because I’m one of those writers who never feels finished with anything. I frequently go back and edit older stories, or at least I used to do that when I was writing actively. But also, mailing lists are so transient. It’s hard for someone new to fandom to access older works that way.

MICHELLE: What is “C&C”? Actually, there’s been a bit of lingo bandied about that I’m not very familiar with. “Hurt/comfort,” for example. Does that mean “You are hurt, therefore I shall comfort you?” Or is it, like, I hurt you then I comfort you? What’s an “AFF reader”? Are there more terms I should know?

SEAN: C&C is ‘Comments and Criticism’, as you would get from a beta reader. They read your fic before you publish it and give you advice, which can range from spelling/grammar to telling you to scrap everything as it makes no sense and treats the characters poorly. Ideally, the C&C is pointed and useful without being cruel. And is more than just “Wow, this rocks!”.

AFF is AdultFanFiction.net, which is pretty much what it sounds like. The fanfics there are of a much lower quality than most archives, though there are scattered gems, as always.

As for Hurt/Comfort, just go here. Your first choice is essentially correct.

You know about self-inserts and Mary Sues, right?

MICHELLE: Yes, I know what those are. And also what OTP means. :) Thanks for defining the rest.

MJ: On the topic of self-inserts and Mary Sues, I’d like to state my conviction that they are totally valid and occasionally even awesome approaches to fanfiction. Also, I think most people write one at some point or another, even if they can pretend they haven’t. Any one of us who has written a character we identify with strongly will eventually write something that’s essentially a self-insert, and actually I think those can often be people’s very best work, because they connect with it so strongly. Most of the original authors did this, too, after all. People write what they know.

MICHELLE: In a way, the Potter game I played lent itself to self-insertion. Players could apply for a Feature Character (involving answering a series of questions about the character and their background followed by an audition) or they could create original characters of their own devising who would (when Harry and crew were still young enough) get to attend Herbology lessons alongside the main characters or just otherwise inhabit the wizarding world.

It occurs to me, too, that I made a few crossover characters in my time there, since I had some based on manga characters, like the one who started off based on Minako from Sailor Moon but eventually grew to act more like Harmony from Buffy.

MJ: So, one of the topics I’ve been eager to get back to here is the plight of gen fic. I love gen fic (when it’s great, which it often is), and I’ll agree that not only is it difficult to find an audience for it as a fanfic writer, but it’s sometimes even difficult to get people to agree what the term really means.

One of the types of fic I used to write a lot, was the sort that focused on relationships (sort of) but wasn’t romance. For instance, one of my early HP fics featured a version of Draco Malfoy who was obsessed with maps. He was a little obsessed with Harry Potter, too, but though the two interacted in the fic in ways that might be said to contain homoerotic subtext, there was no overt romance or sexual content involved. Still, given its “universe of two” feel, I figured it read closer to slash than gen, so I originally posted it as slash… only to have quite a number of people complain that it clearly wasn’t. Later, I changed it’s genre to “gen,” only to be told by another batch of readers that it wasn’t that either.

So tell me, in your opinion, what exactly is a gen fic?

SEAN: In general, I regard ‘gen’ fic as being what used to be called, back in the day, ‘Original Flavor’, which is to say it’s using the canon universe to tell a story without resolving or changing much. So, for example, if you write a fic set during OotP which involves a day in the life of Harry going around being angry at everything, that’d be gen. If he thinks about Ginny and his awkward feelings about her, still gen. If he decides to go shag her in a broom closet to do something about it, you’re into het. Likewise, If your fic *technically* doesn’t have any romantic resolution, but the entire plot is Harry realizing that Ginny is a horrible person and that Hermione is the one he has awkward feelings for, that’s het as well, as you’re changing the canon to match your ship.

To sum up: Are you using the universe as close to canon as you judge possible? Are you not resolving anything? If so, I’d call it gen. But, as you noted, many will disagree with me and say gen should have no romantic feelings whatsoever.

It’s especially difficult with the Potterverse as so many people have not only their own biases, but also biases they try to avoid. If you say a fic is gen but it has Weasley bashing, Dumbledore bashing, and the ever popular dark!grey!independent!Harry, even if you don’t pair Harry with Hermione, Luna or Fleur, it’s not gen in my eyes, but an AU. If I see gen, I want a fic that’s sort of what J.K. Rowling could have written (only with deeper characterization, better plotting and thinking out her ideas more).

MJ: Actually, Sean, your response here reminds me that we should talk about… “community standards” (for want of a better term) and how drastically they may differ from one fic community to another. I’ve definitely seen the term “gen” used exactly as you describe it here, yet, within the fanfic communities I most often was a part of, “gen” tended to be a term slapped onto anything that didn’t contain sex or romance, regardless of whether or not it was AU or speculative in nature (which would describe a great many of the Harry Potter fics from my day, since the books were unfinished at the time). Truthfully, I prefer your definition, but in a way, it doesn’t matter what definition I like best, since what really matters in terms of labeling your fics for readers is whether or not the community you’re writing in will get what they expect when they click.

Now, I’ve never quite understood why it’s so horrible to go into a fic without knowing half the story first, but as I’m sure you know, reactions can be downright violent should should readers encounter such horrors as an unexpected ship or, say, character death that wasn’t warned for ahead of time. And while I do recognize the importance of some of these labels (yes, non-con can be a really damaging emotional trigger, I totally get that) others seem… really kind of silly.

SEAN: Tags can be very, very tricky, especially ship tags. If you’re writing a fic that’s all about Orihime’s love for Ichigo, but it ends with her seeing Ichigo married to Rukia, is it an IchiRuki fic? Rukia wasn’t in it except at the end, and it was all about IchiHime. But if you label it IchiHime, you’ll have a lot of angry shippers.

I wrote a Maison Ikkoku fic years ago (I reposted it during the Takahashi MMF as an old shame), where I avoided tags as they gave the game away. If you want to surprise the reader, tags are automatic spoilers, so tagging it ‘Darkfic, multiple characters deaths, OOC’ would have led to a) no one reading it, and b) it losing any impact it had.

That said, as I grow older my reading habits are far more conservative. I have my ships, and like them, and don’t always like being forced out of my comfortable little box. In that case, sorting by pairing or length is something I do quite a bit. (I do wish that FFNet would allow single character search, so that you could search for ‘Harry P.’ without a second person and get fics with only Harry as the character tag.)

Oh, in case Michelle doesn’t know about interro!bangs, from Wikipedia: ‘In fandom and fanfiction, ! is used to signify a defining quality in a character, usually signifying an alternate interpretation of a character from a canonical work. Examples of this would be “Romantic!Draco” or “Vampire!Harry” from Harry Potter fandom. It is also used to clarify the current persona of a character with multiple identities or appearances, such as to distinguish “Armor!Al” from “Human!Al” in a work based on Fullmetal Alchemist. The origin of this usage is unknown, although it is hypothesized to have originated with certain Teenage Mutant Ninja Turtles action figures, for example, “Football Player! Leonardo”, “Rockstar! Raphael”, and “Breakdancer! Michelangelo”.’

MICHELLE: I encountered interrobangs used thusly in the RP world, so I’m familiar with them. I feel like I have probably busted out some interrobangs in at least one Off the Shelf column, too.

I’m not qualified to give any definitions of gen fic, but I must say that Sean’s interpretation of “original flavor” fic sounds exactly like the sort I’m most drawn to and how my few drabbles could be classified.

MJ: So, I think I’ve mentioned that I don’t write fanfic anymore, and it’s really for lack of time than anything else. The more serious I got about manga blogging, the more it became clear that in order to be able to successfully maintain my (very) full-time job, my private teaching, and my marriage, I pretty much had to choose between Manga Bookshelf and fanfiction (even reading it), and Manga Bookshelf won. I don’t actually regret that decision, but it’s interesting to note the differences in my “fandom,” now and then. Now, of course, I spend a lot of time engaging with fiction by way of reviews, roundtables, essays, and other types of straight-up meta. Yet there are ways in which I feel that fanfiction is a more effective (and certainly more immersive) form of criticism than any of those things, or at least a form that comes out of a deeper interaction with the text. When I was writing and reading fanfiction, I carried the canon with me in my mind all the time, turning it over and over, considering its strengths and flaws, examining every crevice, and discussing it all through my writing, generally from multiple angles. And while straightforward discussion is certainly simpler to digest, I’m not sure it’s as thoughtful.

Sean, I know you’ve expressed a distaste for people taking their fanfic too seriously, and I don’t mean to suggest that I think my own fanfiction was the most brilliant criticism known to humankind. But if I don’t necessarily take the product seriously, I do highly value the process. Any comments on this?

SEAN: It will come as no surprise to find that my own most active period of fanfiction was when I was either unemployed or working a non-time intensive job. Real life tends to take over, doesn’t it? As for fanfiction as a criticism, I definitely agree. Sticking with good old Harry Potter as an example, I have a lot of issues with Rowling’s books. One of my biggest is the lack of any example of a ‘good’ Slytherin – at the end of the day, I still don’t think Rowling gave any good reason that they shouldn’t imprison them right after sorting for life. And given that’s a horrible prospect, I certainly approve of fanfics that explore ‘good Slytherins’ and the value of ambition.

The difficulty is when criticism becomes ‘bashing’. Disliking Ron and wishing he hadn’t ended up with Hermione is fine. Saying that Ron has all the hallmarks of a future wife beater is another (and yes, I’ve seen writers say that). And while one might blame some of this on the youth of the writers (the trouble with all ‘teen’ fandoms), I’ve seen just as many rabid 40 and 50 year olds saying such things. Finding a balance between analysis of a work and OVERanalysis of a work is a difficult thing to do, and can especially become hard when you’re not arguing a point but lecturing or harping on it instead. And it’s even worse on the anonymous Internet. When does analysis or criticism become an ATTACK on the work or a character?

At the end of the day, if you argue with someone who disagrees with you, can your mind be changed? If not… why are you arguing at all? (Yes, I know, because THEY’RE STILL WRONG. Welcome to the Internet.)

MJ: Poor Ron! I’m happy to say I haven’t had the displeasure of reading any such fic.

As you say, Sean, there’s always the risk of over-analysis, particularly when there’s a pet theory involved, though I’m not sure that risk is mitigated by engaging in only standard modes of criticism. I’ve seen arguments I consider just as wrongheaded from prominent critics in the comics blogosphere, many of whom I expect would consider fanfiction beneath them.

Don’t get me going on Rowling and Slytherin, though. This roundtable might drag on forever.

MICHELLE: Seriously. But know that we both agree with you, Sean. :)

MJ: Speaking of dragging on forever, I suppose we’ve talked everyone’s (virtual) ears off by now. Any final comments you’d like to make on the subject?

SEAN: Just that I’m always surprised when I learn how few reviewers and bloggers in our ‘manga sphere’ are heavily involved in fandom. Leaving aside fanfics and fanart and the bias they can lead to (I try to avoid obvious shipping in my reviews, as I’ve noted), this may also explain another reason (besides the ethical correctness) that bloggers are so anti-scans – they aren’t reading fanfics based off of last week’s chapter, they aren’t getting spoiled constantly in newsgroups/LJ groups/forums, they don’t care that they have to wait 15 months for the chapter to come out in the States. Being involved in fandom means either a) you learn to love spoilers, b) that you avoid reading ANYTHING that’s not marked as being safe to read if you haven’t read ‘xxx’ yet (and still get accidentally spoiled constantly), or c) that you quietly read the scans and simply don’t tell the other bloggers about it.

Fandom means being INVOLVED. It means that you love to talk about things, and argue about things. Hopefully with an open mind. You can’t be in a fandom for something that you only think is pretty good. If you’re outlining an idea for a fic, or chatting on a forum about whether a character is too powerful… you’re there, whether you admit it or not. It’s only a short hop from that to your awesome epic Doctor Who/Stargate/Bleach/Harry Potter/My Little Pony/Elric/Huntley-Brinkley Report crossover, where the tortured spirit of Chet Huntley returns from the grave to demand blood and souls.

MICHELLE: As someone who only recently made a conscious effort to be open-minded about this whole fanfiction thing, I would simply urge others to do the same—turns out it’s not all pr0n.

MJ: … and sometimes when it is, it’s still awesome.

SEAN: So you don’t want the link to my Sailor Moon 10-senshi lesbian orgy fic, then? :)

MICHELLE: Well, I have been considering also making a conscious effort *not* to be so smut-averse, but I don’t think I’m quite ready for that. :)

MJ: Thanks, both of you for indulging me in this roundtable! I secretly hope we’ll continue in comments.

Off the Shelf: The Ugly & the Beautiful

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MICHELLE: Miss? I say, excuse me, miss?

MJ: Hmm?

MICHELLE: Can I get a little manga discussion over here?

MJ: Oh, well, I guess so. It’ll cost ya, though.

MICHELLE: What attitude! I’d like to speak to your supervisor! Or, barring that, you could tell me what you read this week!

MJ: My supervisor’s pretty scary, so I guess I’ll go for the second option. I’ve spent my week reading a couple of different shoujo manga based on games (not exactly the most reliable source for great fiction) with drastically different results.

First, I caught up to the end of Ugly Duckling’s Love Revolution, a series whose first two volumes were once the subject of a Failure Friday column, “Fat girls have faces too.”

From that post, “I have to wonder, is there anyone involved with this manga (or the game it was based on) who has struggled with overweight? It seems impossible that there could be … the entire thing reads like a thin person’s perspective on obesity. The series exists in that stereotypical mindset where physical fitness is as simple as a balanced diet and exercise, and fat people are lazy gluttons who simply lack willpower (and possibly basic intelligence). It’s simplistic, insulting, and just blatantly not true, which begs the question, who is this manga actually for? Surely not fat girls, or at least not real ones.”

I’d love to report that my feelings about the series have changed after reading volumes three and four, but unfortunately, they really haven’t. In these volumes, Hitomi’s diet and exercise plans continue along, easy as (sugar-free) pie, with the most dramatic setback being the discovery that failure to consume enough carbohydrates makes it difficult for her to concentrate on her studies. Her harem of boys fawn over her, helping her along towards her goal, and though one even tries to hold her hand, Hitomi has little emotional reaction to it all. And why would she, when she’s so happy-go-lucky and simple-minded? There’s no exploration of how being overweight might affect her self-esteem (especially with boys), and no social repercussions, outside of a group of girls who are jealous because she’s so popular with the school hotties.

And okay, I know I’m harping. I realize this is a hot-button issue for me. But only thin people believe that losing weight is as simple as realizing that sweets are bad for you and “exercise is fun!” which is basically Hitomi’s journey. And only real fat kids can know how unrealistic and insensitive it is to suggest that committing themselves to a health regimen will win them the support and admiration of all the most popular boys (or girls) in their class. There’s nothing in Hitomi that reflects what really goes on in the world of an overweight teen, even just in terms of their own self-loathing, never mind what seeps in from the outside. There’s some passing reference at one point to Hitomi’s battle to avoid buying sweets, as one of the boys mentions watching her gazing longingly at them through the bakery window, but that’s the closest to an internal struggle we ever see in Hitomi. As a result, when she does lose the weight (and win herself a face!) it feels unearned, because the problem never seemed real in the first place.

Oh, and the best part? After Hitomi’s lost weight, she’s still as clumsy and hopeless as always, only now it’s super-cute ’cause she’s thin!

I have issues. Can you tell?

MICHELLE: I have so many reactions to this I hardly know where to begin. At one point I thought, “Man, I’d like to see a realistic story about a heavy teen trying to lose the weight,” but then I realized that, no I really wouldn’t. I have lived that quite enough, thanks.

Really, it makes me sad that The Stellar Six of Gingacho will not be completed in English, thanks to TOKYOPOP’s closure. As you might recall, one of the six friends is an overweight girl—with an actual face!—whose weight does not factor into the plot or her personality at all. I recently acquired volume ten in Japanese, just to see how it ends, and lo, there is a moment where the chubby girl gets to smile one of those beatific smiles that warm boys’ hearts and then the boy thinks about how cute she is. I won’t tell you which boy, but I must tell you it’s the one I predicted. *buffs nails on lapel*

I guess what I’m getting at is, “Don’t lose heart! There are manga out there who treat overweight characters with respect. We’re… just… not going to get to read them.”

MJ: And, you know, I’m struggling a little to decide why what you just described feels awesome and not insulting at all, while what I just described feels the opposite… but it really does. I guess it is because that story isn’t about her losing weight, and just about her living life, which overweight people actually do get to do (believe it or not, thin society), when they’re not struggling with feelings about their bodies.

So what do you have for us this week, Michelle? Anything with less rage attached?

MICHELLE: And it doesn’t treat her like she’s some project in need of fixing. If she decides to do it herself, fine, but she doesn’t need some bishounen swooping in with platitudes about diet and exercise.

Anyway, lest I work myself up into a froth over something I haven’t even read, I will instead relate my experience with the first volume of Deltora Quest! This is a new series from Kodansha Comics, based on a series of children’s fantasy books by Australian author Emily Rodda. Sometimes adaptations from Western novels work well, but sometimes they don’t and unfortunately, Deltora Quest falls into the latter category.

The plot—possibly pared down for the manga like the Harlequin releases we’ve discussed in this column in the past—is incredibly generic. In a kingdom called Deltora, Prince Endon and a boy named Jarred—whose father gave his own life to protect the king—are best friends. When Endon’s parents suddenly pass away, his obviously villainous advisor (Prandine) easily convinces him that Jarred is a suspect. Jarred flees to a neighboring village and seven years pass in the space of a panel. Endon eventually finds a note Jarred left him and, realizing Prandine’s treachery, his faith in his friend restored. He summons Jarred back to the palace just as the Shadow Lord (much easier to spot villains when they have names like this as opposed to, say, Brad) attacks. Jarred protects Endon and his pregnant wife, and they pledge to find the seven jewels that have been stolen from the Belt of Deltora, which protects against invasion by the Shadow Lord. About the only unexpected thing in the plot is that, at this point, sixteen more years pass and it looks like Jarred’s son is actually going to be the one going on the jewel quest.

Everything about Deltora Quest feels incredibly superficial, and this isn’t helped at all by the cartoony art, which at times resembles something out of Saint Seiya. I’m not sure why the book is rated Teen instead of All Ages, actually, because I think the most likely audience for it would be kids who’ve already read and enjoyed the book series. I certainly like a good dose of escapist adventure, but this is just too insubstantial for my liking.

MJ: That does sound generic, as you say, and you know, I’m not even really fond of stories like this for very young children, because seriously… they are smarter than grownups usually think. I realize I shouldn’t rush to judgement on the source material, when I’ve seen how poorly novels can be adapted into manga, but… ugh. That’s my general reaction to what you’ve just described. “Ugh.”

MICHELLE: With the way Prandine is drawn, I would be surprised if any kid—like, even a preschooler—couldn’t identify him as the villain within three seconds. There are no surprises here, no twists, no cleverness. It’s just some trite story about questing for jewels. I can only hope the original novels are better. I certainly won’t be reading any more of the manga.

I hope your second offering didn’t fill you with rage!

MJ: It didn’t! Which perhaps should be surprising, but I’ll do my best to explain why it’s not.

My second game-based manga this week was the fourteenth volume of La Corda d’Oro, also about a teen girl surrounded by a harem of bishounen who are in a position to teach her about something. In this case, the subject is music, which honestly is not presented with any more realism than the diet and exercise lessons going on in Ugly Duckling’s Love Revolution, yet, thanks to an array of nicely-developed characters and a little shoujo magic, the process is so much more satisfying.

Of course, it helps that while Kahoko’s bishounen are teaching her about music, she’s teaching them how to be better people—something a few of them sorely need. What’s more, the boys’ transformations are slow and imperfect, making them feel passably real, unlike anything in Ugly Duckling. And though each of the boys is a manga stereotype of one kind or another, their characterizations deepen in later volumes, providing some genuine romantic thrills.

In this volume, tension ramps up as conflicted pianist Ryotaro admits he loves Kahoko, while cutie-pie transfer student Aoi asks her to the school dance. It’s basic reverse-harem stuff, of course, but executed with genuine charm, mainly thanks to Kahoko’s increasingly spunky attitude that’s capable of whipping even secret bad-boy Azuma into a real person. Though it’s hard not to cringe at student violinists repeatedly choosing “Ave Maria” as serious concert material, even the series’ most egregious errors can be ignored in favor of a little heart-pounding romance.

I should mention too, that despite the fact that my background as a music student makes me just as aware of the ludicrousness of La Corda d’Oro‘s take on musical studies as I am of Ugly Duckling‘s horrifying portrayal of teenaged obesity, the effect is simply not the same. It’s one thing to misrepresent someone’s passion, and quite another to misrepresent their pain.

MICHELLE: Someone needs to grab that final sentence and put it on a book cover somewhere!

I was definitely wary of La Corda d’Oro at first, especially as concerned the fairness of a girl who comes by her musical ability magically competing against those who had worked hard for their attainments, but you’ll be happy to know that, based purely on the strength of your love for the series, I have actually now acquired all the available volumes! It’s just a matter of finding the time to read it.

MJ: If it makes you feel better, she definitely learns the hard way later on. Heh.

So what’s your final offering for us tonight?

MICHELLE: That does make me feel better. And speaking of disciplines in which long hours of practice pay off (hopefully) in a competitive realm, my final pick tonight is Takehiko Inoue’s Slam Dunk, specifically volumes sixteen and seventeen. I should admit right up front that I love this story to pieces, so forgive me if I get a little incoherent.

Hanamichi Sakuragi was just a delinquent until a crush on a girl inspired him to check out the basketball team at his school, Shohoku High. Turns out, though, that he’s got natural talent, if he can only quell his ego enough to actually bother learning fundamentals and teamwork. He’s come a long way by volume sixteen—Shohoku is playing in the Kanagawa Prefectural tournament, and has just lost a close game in which their captain sustained an ankle injury. In penance for a costly mistake, Sakuragi turns up at school with a shaved head and devotes himself to intensive practice so as to not let anyone down next time around. Volume seventeen ends just as Shohoku begins the game that will determine whether they proceed to Nationals.

I will be the first to admit that Sakuragi is hard to like at first, but his confidence soon becomes endearing rather than annoying (“Talent and drive! I am the total package.”) and his transformation from someone who thinks he’s hot stuff to someone who realizes that he’s got a lot to learn and is serious about accepting instruction is believable and rewarding. Now, when he achieves a moment of triumph in a game, I actually get verklempt. Inoue has also assembled a terrific cast of teammates and rivals, and it’s to his credit that the chapters dealing with a match-up between two teams that aren’t Shohoku are still quite exciting. I think what elevates this above other some other sports manga is the emphasis on the team dynamic, especially Sakuragi’s rivalry with the gifted Rukawa. If they would only work together, they could be amazing, but they’re not quite there yet.

There’s one drawback to reading Slam Dunk, though. One volume at a time is simply not enough. Even two volumes are not enough. Five or six volumes at a time might be sufficient, but do you know what that works out to in real-world time-to-accumulate? A year! I can’t go a whole year without reading Slam Dunk! I was just looking at the solicitations for future volumes on Amazon, and it looks like the game that starts in volume seventeen doesn’t wrap up until volume 21. It would be ideal to read the entire game in one sitting, but do you know when volume 21 comes out? I will tell you: April. That is 8 months away! Oh, the torment.

MJ: If I can’t quite relate (yet!) to your love for Slam Dunk, as a big fan of Real, I certainly can to your love of Inoue and basketball. Oh, the pain of shounen sports manga, though! So sorry about that 8 month wait! You’ll have to spend your time catching up on his other works!

MICHELLE: Yes, I do have nine volumes of Real (volume ten coming in November!) and ten VIZBIG editions of Vagabond to sustain me. Ooh, and the anime is streaming legally in a couple of places. *strokes imaginary goatee*

MJ: I suspect you’ll make it through, then.

MICHELLE: Yes, I am two minutes into the first of 101 anime episodes and already I am feeling much better.

MJ: *pats*

Pick of the Week: 13th Boy & More

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It’s a Yen-heavy week at Midtown Comics! See how the Manga Bookshelf blogger picks stack up below!

MICHELLE: Although VIZ Media and others make a decent showing on this week’s release list from Midtown Comics, the majority of the titles hail from Yen Press. Unfortunately, most of them are the latest volumes in series I don’t personally follow, but there is one shining gem, the eighth volume of the quirky and fun manhwa, 13th Boy. I recently indulged in a binge and got caught up on the series, so I’m looking forward to keeping current with new releases. When we left off, Beatrice, heroine Hee-So’s talking cactus, was stuck in his human form and living with his creator lest he burden his beloved owner with his troublesome presence. I never thought I’d be rooting for a cactus to win the girl of his dreams, but it’s to 13th Boy‘s credit that this seems like an entirely rational thing to do.

SEAN: I already pimped Book Girl and the Captive Fool on my Manga The Week Of post, so will stop myself doing so again, even though it’s a fantastic novel series that everyone should be getting. Instead, I’ll go for the 4th and last of Higurashi When They Cry: Eye Opening Arc, which concludes the ‘Shion’ arc of the manga based on visual game series. This particular arc has a reputation of being one of the bloodiest and most off-putting, and therefore I expect getting through the last volume will be quite a haul for me, as generally speaking I tend to avoid gore. As always, though, Higurashi’s intense plot and taut emotions pull me in, and if it upsets me too much, I’ll remind myself of the reset button and Rena’s arc beginning in October.

MJ: I’d like to say that I’m torn this week, with the latest volume of Blue Exorcist on the way, but I’m not. I’m with Michelle, all the way. 13th Boy is one of my favorite girls’ comic series being published today, and one of the few series I’ll put aside everything to read the moment it lands on my doorstep. It’s just that charming. SangEun Lee has managed to create a heroine who really is just an “ordinary” girl, while reminding us how idiosyncratic and genuinely relatable “ordinary” can be. Also, as Michelle mentioned, it’s the first time ever I can recall actively ‘shipping someone with a cactus. I wholeheartedly recommend 13th Boy.

DAVID: I’m going to be predictable and take up the Blue Exorcist mantle. You can see my specific opinion of the third volume in this week’s Bookshelf Briefs, but I will note that Kazue Kato becomes more assured with this material with each new volume. It’s not perfect fantasy adventure, but it’s certainly the best example to debut lately, and it’s got some great, root-worthy characters.

KATE: Though I also share the group’s enthusiasm for Blue Exorcist and 13th Boy, I’m going to recommend the latest omnibus of InuYasha. Readers familiar with the anime will want to pick us this particular volume, as it features the beginning of the series’ best-loved story arc: The Band of Seven. There’s also a plotline involving Sesshomaru — always a plus in my book — and a memorable showdown between InuYasha and a faceless demon. And if you still need persuading, let me praise VIZ for giving InuYasha the deluxe treatment it deserves, printing it on good quality, over-sized paper, retouching the artwork, and reproducing the original Japanese covers in full color.

Readers, what looks good to you this week?

Bookshelf Briefs 8/8/11

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This week, MJ, Michelle, David, Kate, & Sean check out recent releases from Viz Media, Vertical, Kodansha Comics, Dark Horse, & Yen Press.

13th Boy, Vol. 8 | By SangEun Lee | Published by Yen Press – At my age, it isn’t often that a teen romance comic can really make me angst over which potential suitor its heroine should ultimately end up with. Most of the time, these conclusions are obvious, and even when they’re not, it’s difficult for a writer to make even one romantic prospect interesting enough for this jaded forty-something to genuinely root for, let alone two or three of them. Not so with manhwa-ga SangEun Lee, whose love interests each suit her quirky heroine uniquely, even if one of them is actually a sentient cactus. That said, here in volume eight, it’s hard not to root pretty exclusively for the cactus. Charming and idiosyncratic as always, 13th Boy remains one of the freshest, most imaginative girls’ comics currently in publication. Highly recommended. – MJ

13th Boy, Vol. 8 | By SangEun Lee | Published by Yen Press – I feel like I’ve talked a lot about the inventive whimsy of 13th Boy, and been derelict in extolling its dramatic virtues. This volume is more of a setup for future fallout, but readers can still anticipate the inevitable (and major) repercussions to come. Hee-So begins the volume so worried and depressed about her missing cactus, Beatrice, that she can’t even summon the energy to bathe. When Won-Jun visits, he gets the impression that Hee-So feels she can’t rely on him for help, and so turns toward the desperately dependent Sae-Bom, who is being sent to live with her father in America and asks him to come along. I love that, despite its fanciful elements, 13th Boy can serve up realistic drama like this wherein it’s the characters’ choices and personalities that have led to the deterioration of a relationship. I am seriously pining for volume nine already. – Michelle Smith

Black Jack, Vol. 15 | By Osamu Tezuka | Published by Vertical, Inc. –For my money, every volume of Black Jack has a “price of admission” story, and I always like to identify them. This time around, it’s “A Cholera Scare.” The title alone is endearing, and the story has plenty of other aspects working in its favor. First and foremost is the fact that it heavily features Black Jack’s creepy assistant and ward, Pinoko. While Black Jack worries that he’s contracted a potentially deadly contagion, Pinoko is left to deal with a walk-in patient at the clinic. The story is constructed and timed in some really imaginative way, and Tezuka packs an awful lot into a mere 20 pages. While individual Black Jack stories can vary in quality, there’s always at least one that justifies the purchase. – David Welsh

Blue Exorcist, Vol. 3 | By Kazue Kato | Published by Viz Media –Like so many of my favorite fictional institutions of learning, the True Cross Academy displays a reckless disinterest in the safety of its student body, especially the ones pursuing the exorcist track. In this volume, our principle characters deal with an aggressive new instructor and a potentially deadly field trip. Relationships are tested! Secrets are revealed! A kitty joins the supporting cast! In other words, Blue Exorcist continues to improve. Kato even works up the nerve to invoke the events of the first, terrible chapter of the series, and she gets away with it. The underlying plot of the series is probably its least successful element, but that hardly matters chapter by chapter. I like the characters and the scenarios Kato invents for them, and the art is always clean and interesting. – David Welsh

Blue Exorcist, Vol. 3 | By Kazue Kato | Published by Viz Media – Blue Exorcist is an interestingly mixed bag. Like Joss Whedon’s television epic, Buffy the Vampire Slayer, the series uses an over-the-top supernatural premise as a metaphor for the real horrors of a troubled teen, struggling to overcome his personal demons so that he might finally have a taste of life’s most precious treasures—friends, family, and a sense of real belonging. Unlike Whedon, mangaka Kazue Kato fails to make her story’s supernatural plotline genuinely compelling, but the rest works so well, this hardly matters. This volume gets off to a particularly strong start, as brothers Rin and Yukio work together to quell the grief of Father Fujimoto’s abandoned familiar, and continues to gain momentum throughout. Extra points to Kato for clear, readable action scenes and saving the life of a cat. Recommended. – MJ

Fairy Tail, Vol. 14 | By Hiro Mashima | Published by Kodansha Comics –First off, I’m pleased that the ‘take out all the female members and turn them into hostages’ plot died fast. If only as it leads to a lot of great moments for the female characters in this volume. Erza, of course, gets to show her badassery and why you should never try to outbluff or outthreaten her. Lucy gets to show she’s more than simple fanservice with the help of Loke. Juvia shows she’s still worried about everyone trusting her now that she’s a new member, and gives a good reason why they should. And Levy gets to show that it’s not just hitting really hard that wins these fights.But really, the big climax here is seeing Mirajane lose it, and discovering both what she’s like at full power, and why she tries to avoid it. She’s quite terrifying. Fairy Tail still isn’t the very best shonen out there, but it’s comfortably in the bracket below it.– Sean Gaffney

Fairy Tail, Vol. 14 | By Hiro Mashima | Published by Kodansha Comics – Something I’ve long wished for from Fairy Tail is more information about the members of the guild who aren’t the main characters. Happily, Mashima has concocted an arc that seems specifically designed to provide just that. Laxus, one of the most powerful members of Fairy Tail, has launched a takeover attempt, which involves forcing the guild members to fight each other. It’s unfortunate that many of the female members are sidelined at first, having been turned to stone while competing in a beauty pageant (sigh), but when they are eventually freed, they proceed to kick ass, so that makes up for it a bit. Highlights include seeing Mirajane’s abilities at last and some noble self-sacrifice from Juvia, a reformed enemy who has recently joined the guild. I hope this increased level of involvement from the supporting cast continues in future volumes! – Michelle Smith

I Am Here!, Vol. 2 | By Ema Toyama | Published by Kodansha Comics – When it was announced that Kodansha Comics would be taking over the release of manga they’d licensed to Del Rey, I was really hoping we would get the second half of I Am Here!, an earnest shoujo romance that I found to be surprisingly enjoyable. Happily, it made the cut and now I know for sure that a) Ema Toyama can draw some seriously cute bunnies (seriously) and b) the plot does, in fact, eschew an obvious outcome. It’s too bad Toyama had to utilize a random mean girl as drama instigator at one point, but at least Hikage, the painfully shy heroine, was able to blossom at last and become strong enough to follow her heart. Getting the whole story in two omnibus editions is also pretty durn awesome. – Michelle Smith

Magic Knight Rayearth | By CLAMP | Published by Dark Horse –First of all, unlike the souped up, fancy Card Captor Sakura reprints, there’s no reason for fans who own Tokyopop’s 2nd release of Rayearth to get this one. It’s a very good, decent reproduction and translation – but it’s not the huge advance CCS is. As for the content, it’s still a lot of fun, especially if you aren’t already familiar with the ending. One of CLAMP’s first titles to mix the shoujo and shonen genres, this story of three high-school girls who find themselves called on to save a fantasy world takes itself seriously when it wants to, and makes fun of itself the other times. There’s no amazing characterization here, though I am quite fond of Caldina and her “I’m doing this for the money” attitude. (Note her lack of obsession lets her survive.) But really, it’s the ending that made everyone remember Rayearth, and led to its sequel – it’s a gut punch if you don’t know it’s coming.– Sean Gaffney

Ugly Duckling’s Love Revolution, Vol. 4 | By Yuuki Fujinari | Yen Press – Ugly Duckling’s Love Revolution may be the most tepid reverse-harem manga ever written. The series drifts aimlessly from one uneventful scene to the next, as the characters perfect their swimming technique and attend tag sales. Not only does the story lack dramatic shape, it also lacks memorable characters; each of the boys in Hitomi’s circle is so faultlessly polite and supportive of her weight-loss goals that he comes across as a paid consultant, not a friend. There’s nothing wrong with a manga about nice guys, of course, but authors like edgy characters for a reason: bad boys make more compelling subjects than goody-goodies. Even Hitomi remains a cipher; she’s kind and determined to lose weight, but those two characteristics alone aren’t enough to make her seem like a real girl struggling with a real problem, a shortcoming made all the more obvious by the abrupt, wish-fulfillment ending. – Katherine Dacey

Off the Shelf: CLAMP & More

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MJ: So. Hi!

MICHELLE: Yo.

MJ: I’m feeling extremely frazzled and not at all witty. How about you?

MICHELLE: Kind of sleepy, actually. Maybe readers should just think up a joke here and pretend one of us said it.

MJ: Good call. So. Read anything lately?

MICHELLE: Indeed I have! I decided to make it a CLAMP week, and first up is volume four of Kobato., currently being released by Yen Press.

I wasn’t very impressed with the first three volumes of this series, which follows the dim-witted titular heroine in her attempts to fill a magic bottle with wounded hearts so that her wish can be granted. Kobato is very compassionate, so she heals hearts pretty well when given the opportunity, but has been spending a lot of time with two particular wounded people—Sayaka, the proprietor of a kindergarten, and Fujimoto, her part-time assistant—and so hasn’t made much progress on filling her bottle. In this volume her guide, the irascible Ioryogi (some kind of supernatural being currently stuck in the body of a stuffed dog) learns that she’s only got six more months in which to complete her task. If she fails, her wish can’t be granted and he can’t regain his original body.

Getting background information on Ioryogi and his motives—mostly revealed in conversations between serious-faced animals—at last is very welcome, making this volume an improvement over the last, but I still can’t say I am enjoying Kobato. all that much. I wish I could like someone, but I just don’t. Kobato would be okay, especially as she works out her burgeoning feelings for Fujimoto, except CLAMP seems to have a fixation with her falling down as much as possible. Ioryogi is always yelling, and not even a mysterious background can make him a compelling character for me. The kindergarten employees seem to have one default emotion each. Heck, the most interesting character in the whole series is the yakuza who’s trying to close the kindergarten down. Let’s jettison everything else and just follow him for a while, eh?

Still, there are a few mysteries that will keep me reading. What is the precious thing in the Heavenly World that Ioryogi is after? What is Kobato’s wish? And why is it so important that she not remove her hat? With either two or three volumes remaining, I figure I can stick around long enough to at least see whether these questions are answered.

MJ: I haven’t gotten as far in to this series as you have, though I think I might like it a bit more. Mostly because I actually do like the title character. But I admit I rather wish CLAMP were spending their time continuing Legal Drug instead. Is that terrible of me to say?

MICHELLE: Not at all. And, in fact, they just finished Kobato. in Japan, so at least it’s not actively consuming any more of their time.

It’s not that I hate Kobato, either, but more like I feel CLAMP is doing her a disservice, if that makes sense.

Annnyways, what have you been reading this week?

MJ: Well, earlier this week, I dug into the first issue of GEN Manga, a new “indie” manga magazine available online or in print from GEN Manga Entertainment. I happened to have the print version, provided in a small, red volume about the same trim size as a standard volume of manga in the US.

GEN‘s promotional material is pretty up-front about their artists being unknown. “GEN puts on no airs about how grand their authors are. In fact, they readily admit that their authors are underground. GEN is manga the way it should be without the flash, for the fans, raw and fresh.” They make a lot of noise about the magazine’s “indie” feel, too. “This original work of graphic fiction boldly challenges the industry while breaking new ground. It presents what manga readers are hungry for, the release of fresh underground work from Japan.”

Trouble is, the stories don’t really read as ground-breaking so much as amateurish. Each of the volume’s four stories has its strengths, certainly, but it’s rarely enough to compensate for its flaws. Both Nakamura Shige’s “Wolf” and Suzuki Yu’s “VS Aliens” suffer from convoluted plotlines that fail to live up to an initial, fairly ambitious premise. Karino Arisa’s “Souls” is intriguing, but artistically immature. Mihara Gunya’s “KAMEN,” the story of a man controlled by a mask he can’t remove, holds up the best, but offers just the barest glimpse of what the story might be.

On the other hand, the volume is currently free for download, ($9.95 in print), which renders it worth checking out at the very least. Don’t get me wrong. I really like what GEN is going for, as a concept anyway, and I’ll definitely be watching to see what kind of work might come out of it in the future. There’s just not much there for me so far.

MICHELLE: I’ve certainly been interested to see what happens with GEN, but admit that I haven’t personally been tempted to try it out. I guess I’m less hungry for “fresh underground work,” especially in short story format, than I am for “much-loved classics” that offer multiple volumes to enjoy.

MJ: I admit I’d be more interested in some of these stories if I knew they were first chapters of something that’s going to be serialized. But that’s not what the promo material suggests, sadly.

So, what’s your other CLAMP selection this week?

MICHELLE: My second CLAMP selection is the Magic Knight Rayearth Omnibus Edition, which was recently released by Dark Horse.

I’ve seen the Rayearth anime, and read TOKYOPOP’s second edition of the manga (with unflipped art), so this was really my third time through the material. I’d never previously counted this as among my favorite CLAMP series, so I thought a reread might be kind of a slog, but I ended up really enjoying it! The first story arc (originally comprising three volumes) benefits greatly from being contained in one volume, where momentum propels one through the adventure at a steady clip and doesn’t let up until the not-exactly-what-one-expects ending. The remastered art looks great, the color pages are beautiful, and, in the end, Rayearth has vaulted up several levels in my esteem.

Another really neat thing about the series is how CLAMP subverts demographic expectations. (Which they continue to do with series like Kobato., which has a shoujo-sounding premise but is, if anything, seinen.) Consider this description of the plot:

Three junior high students are visiting Tokyo Tower on a school trip when they are suddenly summoned to Cefiro by its princess, Emeraude. Emeraude has been kidnapped and the students are tasked becoming the Magic Knights of legend, rescuing the princess, and saving Cefiro, which has plunged into chaos in her absence. They agree, and are outfitted with magical armor and weaponry. As they head out on various tasks, their abilities grow and weapons evolve even as they forge a tight friendship. They are absolutely determined to save Cefiro, vanquish many menacing monsters along the way, and are frequently depicted in fierce and badass poses. Eventually, they awaken some giant mecha and defeat Zagato, the high priest who is holding Emeraude captive.

Now cast the students as girls and remind yourself that this ran in a shoujo magazine. The shounen-style fantasy flare makes for a fun adventure, but there’s a pretty powerful shoujo punch waiting in the final pages. I really enjoyed this series on a reread—though I’m not too enamored of the silly comedy—and eagerly await the omnibus of the second half.

MJ: Well, wow, you’ve inspired me to want to read this as well! I have to admit that despite being a CLAMP fan, I bogged down in the first volume of the TOKYOPOP editions. But you make this sound genuinely fascinating and fun!

MICHELLE: I remember bogging down myself when I first started the anime, but this time I breezed right through the story and ended up with a greater appreciation of the characters and the art, which is often quite pretty. I’d definitely say it’s worth another look. Plus, any Tsubasa or xxxHOLiC fan should enjoy seeing where Mokona originally came from!

What’s your second pick this week?

MJ: Well, It’s a bit of a strange one, or at least strange for me. While I’m used to receiving a variety of manga for review from Viz, I admit to being quite surprised when my latest review package contained volume one of Pokémon Black and White. I can say with complete honesty that I’ve never had the slightest interest in Pokémon, and really I missed its initial craze entirely, but there it was, in my apartment, Pokémon Black and White. So without any real knowledge of the Pokémon universe, I decided to sit down and read it.

Thankfully, as a series for kids, it wasn’t as difficult as it might have been to try to pick up the basic premise, though I can’t say I actually understand what Pokémon are, or why they are being raised up for “trainers” to have battles, but that indeed is what is going on. The main character being introduced here is “Black,” a guy who is so deeply obsessed with winning the “Pokémon League,” that in order to think about anything else at all, a creature named Musha must empty his brain— literally wipe it completely clean—so that new information can be introduced into it.

Though this all sounds a bit creepy, I admit I find the concept pretty compelling (I could use a Musha of my own, these days). Unfortunately, very little is made of Black’s periodically emptied brain at the time, and the rest of the volume is pretty much devoted to his first “trainer battle” with a guy who can’t tolerate heat.

Obviously, I am not the audience for this series, and I’d be hard pressed to find a reason to buy volumes of it on my own, but it does contain some surprisingly interesting elements, along with a slew of genuinely cute creatures. I developed a particular fondness for one called a “cottonee,” that was so distressed by its inability to protect its heat-intolerant trainer from fire, that it put itself in harm’s way to try to overcome its weakness.

MICHELLE: You win the gold star for diversity in this column!

I actually do know a little bit about Pokémon because I was teaching piano at the height of its craze and, of course, wanted to get the best stickers with which to motivate my students. At one point, I could even tell you which creatures morphed into which, but now all I really remember is that Snorlax is adorable. I even had a plushie.

Anyway, even though I can’t say I want to rush out and read this for myself, it sounds like kids are for in for a treat.

MJ: I do think it is pretty vital for kids to have at least some introduction to Pokémon before trying to make sense of this bit of the series, which is actually why I didn’t end up sending it off to our own Jia Li for review, but yes, kids who are interested in the franchise should find quite a bit to enjoy in this volume, I’d think.

MICHELLE: I think kids would probably find Rayearth a lot of fun, too, actually. Dark Horse lists the age range as twelve and up (there are a few ladies in butt-floss garb) but the real issue would be whether a kid could actually lift the durn thing.

MJ: Heh, that’s good to know. I’d say that Pokémon skews younger, but it’s always nice to see manga out there that the under-13 crowd can enjoy.

MICHELLE: Definitely!

Skyfall by Catherine Asaro

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From the back cover:
Skyfall goes back to the beginning, to the rebirth of Skolia, showing how a chance meeting on a backwater planet forges a vast interstellar empire. Eldrinson, a provincial ruler on a primitive planet, is plagued by inner demons. But when he meets Roca, a beautiful and mysterious woman from the stars, he whisks her away to his mountain retreat, inadvertently starting a great interstellar war, and birthing the next generation of rulers for the Skolian Empire.

Review:
Skyfall is technically the ninth book in Catherine Asaro’s Saga of the Skolian Empire series, but is first if one is reading in internal chronological order. It works well as an entry point, though there were a few things that could’ve used a bit more explanation—presumably this happens in the books that were actually published before this one.

Beautiful and golden (like, literally) Roca Skolia is a “Ruby Psion,” an extremely rare and valued psion descended from similarly rare parents who currently rule the Skolian Imperialate. Because of her pedigree, she is expected to marry someone of the ruling assembly’s choosing and produce more Ruby Psions, the only people capable of controlling “the Kyle web,” an instantaneous interstellar network that somehow protects Skolia. Roca’s been married twice before and her grown son, Kurj, has a lot of mental anguish about the death of his father, the abuse perpetrated by his stepfather, and the atrocities committed by another group of psions who relish the pain of others.

When Roca’s away on government business (she’s the foreign affairs councillor), Kurj calls an assembly vote to discuss going to war with the sadistic psions. She knows he’ll try to stop her from casting her dissenting vote, so goes underground to try to make it back home in time without attracting his notice. Her route takes her to a remote, unspoiled world called Skyfall by “the Allieds” (descendents of Earth) and Lyshriol by its natives. There, her plans are foiled by a treacherous snow storm, and while she waits for it to pass, she falls in love with Eldri, a passionate and epileptic bard with significant psionic gifts, and ends up pregnant just in time for Eldri’s rival to lay siege to his castle.

It wouldn’t be incorrect to label Skyfall as “a romance novel in space.” Certainly Roca’s relationship with Eldri, who believes she’s a gift from the sun gods and is otherwise baffled by the technology she sees as commonplace, is quite romantic, with the two of them drawn together pretty much instantly and conceiving easily when other Ruby Psion births have required much medical intervention to achieve. Roca’s position brings political factors into their relationship, however. It turns out that Lyshriol was once a Skolian colony, so when Kurj eventually comes looking for her and Roca’s family finds out she has actually married this “barbarian,” it is ultimately Eldri’s genes that convince them to accept him (after a barrage of tests during which Eldri’s mental abilities and illness are evaluated).

There aren’t a whole lot of sci-fi elements to the novel, though there are enough to give one a picture of how things work in the Skolian Empire and its relationships with other spacefaring people. Genetic manipulation seems quite normal, as are cybernetic implants, and I am totally envious of the language node Roca has, which enables her to process and gradually learn new languages. Kurj has turned himself into an intimidating metallic giant, but it’s still not enough to shield him from his self-conflicting inner demons. In his case, Asaro effectively uses technology to show just how damaged he is, with some pretty fascinating results.

Suffice it to say, I’m looking forward to reading more in this series!

Additional reviews of Skyfall can be found at Triple Take.

PotW: Kaze Hikaru, Gintama, Saiunkoku, Cardcaptor

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It’s another strong week at Midtown Comics! Check out the Manga Bookshelf bloggers’ picks below!

KATE: After last week’s meager offerings, this week’s new arrival list has something for everyone: robots, magical girls, hoop fanatics, mad surgeons, cross-dressing samurai. Though I’m looking forward to reading Tank Tankuro: The Pre-War Years, 1934-1935, my heart belongs to Kaze Hikaru, which returns to the VIZ publishing schedule after a one-year hiatus. Volume nineteen unfolds against the backdrop of Commodore Perry’s arrival in Tokyo Bay. Taeko Watanabe milks this political crisis for all its dramatic potential, but never loses sight of her story’s core: the relationship between Sei and Soji. Crisp artwork, memorable characters, and a sophisticated treatment of Edo-era history are the frosting on this delicious cake.

MICHELLE: There’s much on this week’s Midtown list that I will personally be buying—especially Cardcaptor Sakura and Slam Dunk—but nothing that I want more or care about more than volume nineteen of Kaze Hikaru, so I’m going to have to piggyback on Kate’s pick this week. The fact that the heroine is cross-dressing throughout may give one the impression that the series is a comedy, and certainly there are humorous elements, but mostly it’s an emotional story of one girl’s attempts to understand the other samurai and their notions about honor. It’s been a full year since the release of volume eighteen, which leaves me pretty worried for the fate of the series. This is not a case where releases have slowed down because we’ve caught up to Japan—volume 30 just came out there—but simply due to low sales. So, please check out Kaze Hikaru! Even if you think you don’t like shoujo.

SEAN: This saddens me, but I too must pick a doomed series as my Pick of the Week. The final volume of Gintama from Viz is not, of course, the final volume in Japan. There, the series is quite popular, and in no danger of ending soon. Sadly, that may be *why* Viz is ending it – mediocre sales don’t justify its constant release. A shame, as it’s not only one of Jump‘s funniest series, but also highly dramatic and battle-heavy at times, with great female characters to boot.

MJ: This really is a tough week, isn’t it? With new volumes of Black Jack and Cardcaptor Sakura shipping this week, not to mention a whole host of terrific options from Viz’s Shonen Jump and Shojo Beat lines, it’s incredibly difficult to choose just one. In the end, I think I’ll cast my vote for volume four of The Story of Saiunkoku, one of my favorite new shoujo titles from the past year. Quite a number of us have written glowingly about this series, and particularly about its smart, spunky, civic-minded heroine, but I think one of my favorite observations about her comes from Cathy Yan’s recent installment of Don’t Fear the Adaptation, ” Shoujo heroines often pay lip service to a life framed around something other than romance, but Shurei actually lives that life.” Yes, that. Definitely a must-buy.


DAVID: Good grief, it is an embarrassment of riches this week. I could easily pick Tezuka’s Black Jack or Saiunkoku, or I could branch out for Gajo Sakamoto’s Tank Tankuro. All of the reasonable arguments for these books are deafened by how much I loved Dark Horse’s first omnibus of CLAMP’s Cardcaptor Sakura. Adorable, sly, funny, exciting, and beautifully produced, I’ve been counting the days to this release since about the minute I finished reading the first volume.

Readers, what looks good to you this week?

Bookshelf Briefs 8/1/11

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This week, Michelle, MJ, & David check out recent releases from Digital Manga Publishing, Viz Media, & Yen Press.

Entangled Circumstances | By Kikuko Kikuya | Published by Digital Manga – Actually, this stand-alone yaoi tale could use a few more tangles. College acquaintances are reunited in the workplace, and the renewed acquaintance is not a welcome one for Shibui, who seems to despise the flattering attentions of handsome, quirky Himeko. If you’ve read more than, say, five yaoi stories, you’ve probably run across this type of tale at least once, with a character’s reactions and behaviors having more complex origins than the reader is initially led to suspect. Of course, those complex origins don’t vary a lot from version to version, and Kikuya doesn’t do much to break the mold. On the bright side, she draws well, and she’s got a lively sense of pacing. If the characters were just a bit more specific – if they really popped – Kikuya could successfully transcend formula. As things stand, this book is more predictable than likable. – David Welsh

K-ON!, Vol. 3 | By Kakifly | Published by Yen Press – I never thought I would be saying this, but this volume of K-ON! is actually pretty good. The flow of the four-panel strips has improved considerably, and though there are fewer punchlines, it doesn’t really matter, since they were never funny to begin with. Instead, the volume reads in a more linear fashion, and episodes wherein the group tries to accustom Mio (the reserved one) to performing in public by randomly getting hired at a maid café actually turn out to have some bearing on things that happen later. Even the overreliance on seasonal high notes like Valentine’s Day and the class trip doesn’t annoy me as much as it might’ve, though I’m seriously weary of the boob-grabbing gags. – Michelle Smith

Nabari No Ou, Vol. 7 | By Yuhki Kamatani | Published by Yen Press – It’s hard to believe that I ever described this series as “extremely dull,” but it’s true that it took a few volumes to win me over. Thankfully, it just keeps on getting better. Volume seven marks the halfway point of the series, with Miharu, the living embodiment of a secret ninja art, rebelling against his former comrades, making new alliances, and shedding his indifference where the life of his friend, Yoite, is concerned. Add in some rival shinobi hoping to harvest human “ingredients” in order to concoct the only medicine with a chance at saving their chief as well as some pretty significant revelations about a major character, and you end up with a pretty terrific volume. – Michelle Smith

Ôoku: The Inner Chambers, Vol. 6 | By Fumi Yoshinaga | Published by Viz Media – I know it isn’t much in the way of critical analysis, but I always feel the need to remind people that this series exists, licensed and in English, and that they should really be reading it if they’ve ever publicly expressed a yearning for mature and challenging Japanese comics. This volume of Yoshinaga’s alternate-universe look at Japan’s feudal era addresses complex issues of succession and loyalty, which gives the creator plenty of meaty emotional raw material to twist in her hands. The driving notion of this series – a world where the male population has been decimated by disease – is more than just an attention-grabbing gimmick. It allows Yoshinaga to dig into gender roles and notions of personal power in ways that few creators bother to attempt. It’s also as gorgeous and sexy as it is smart and complicated, which is pretty much everything you could ever want from a mature manga. – David Welsh

Otomen, Vol. 11 | Aya Kanno | Viz Media – As with most comedic manga, I’ve run hot and cold with Otomen over the course of its run. Though the series consistently offers smart, funny commentary on traditional gender roles, this is a trait that doesn’t necessarily lend itself to long-form storytelling. A single joke—even a really great joke—is not infinitely sustainable, and the ability of Otomen‘s core satire to single-handedly carry the series ran out about six or seven volumes ago. Fortunately, mangaka Aya Kanno seems to have realized this as well, as she’s attempted to deepen her message and finally explore her characters as full-fledged people over the past few volumes, both with more success than I might have expected. Though on the surface, a competition between two men over their respective accumulation of Valentine’s Day chocolate may sound like an unlikely vehicle for effective characterization, Kanno somehow makes it work. Still recommended. – MJ

The Story of Saiunkoku, Vol. 4 | Art by Kairi Yura, Story by Sai Yukino | Viz Media – There’s no denying that The Story of Saiunkoku is a very pretty manga. Filled with dreamy bishounen, period costuming, and long, luxurious hairstyles, it would be easy for a manga like this to glide along on looks alone. Fortunately, much like its smart, resourceful heroine, The Story of Saiunkoku would never consider taking the easy way out. Text-heavy but never tedious, The Story of Saiunkoku provides all the best elements of epic shoujo romance with almost no focus on romance at all, while somehow making the minutiae of ancient Chinese government appear more fascinating than a thousand love scenes combined. Though this volume strays a bit from the main storyline to touch on the history of the Hongs’ bearded houseguest, Ensei, it provides readers with a major payoff near the end, as Emperor Ryuki takes steps to make it possible for Shurei achieve her lifelong career goals. Highly recommended. – MJ

Kobato., Vols. 1-3

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By CLAMP | Published by Yen Press

The plot of Kobato. sounds like a typical shoujo magical girl story. A dim-witted and clumsy heroine, who also happens to be guileless and compassionate, is tasked with filling a magic bottle with wounded hearts so that her dearest wish can be granted. But Kobato. isn’t shoujo.

If anything, it’s seinen, as it ran for seven chapters in Sunday GX before going on hiatus and reemerging in Newtype magazine. I’m guessing that the target audience, presumed to be young men with an appreciation for moe, is the reason why Kobato commences flailing, chibified panic mode on page two and falls down approximately fifteen times per chapter. (I may be exaggerating there, but honestly not by much.) The latter gag is run into the ground so relentlessly that I refuse to consider that anyone finds it funny, so CLAMP must be trying to inspire feelings of “Aww, she’s so cute and/or hopeless.”

The first volume of Kobato. is not very good. Kobato’s incompetency grates as does the constant browbeating she receives from Ioryogi, some sort of supernatural being currently dwelling in the form of a stuffed dog, who is testing her ability to “act according to the common-sense rules of this place.” If she passes, she earns the magic bottle. These tests—mainly centered around holidays—include taking out the trash, making nabe, and spending New Year’s day playing traditional games with an elderly woman.

Things improve somewhat in the second volume. Kobato’s got her bottle now and is ready to heal some wounded hearts. After moving into the same apartment building seen in Chobits, she starts work as a helper at Yomogi Kindergarten. The head of the school, Sayako-sensei, seems to have a heart in need of some healing, as does her hard-working part-time employee, Fujimoto. With Ioryogi’s assistance, Kobato tries to discover how best to help them, and gradually learns that Sayako is working to pay off a debt her father was tricked into incurring, that Sayako’s soon-to-be-ex husband is threatening harm to the school unless she pays up, and that Fujimoto is working himself to the point of exhaustion to earn money to contribute. They seem suspicious of Kobato at first, but her genuine sincerity eventually wins over even grumpy Fujimoto.

This is definitely an improvement over the first volume, but the kindergarten-in-peril storyline still seems to be occupying a great deal of space in what looks to be only a six-volume series. (Kobato. just recently came to an end.) There is a lot of room left in Kobato’s bottle, so I wonder how she will end up filling it after spending so much time working on these two hearts in particular.

Now that I’ve finished my litany of complaints, there are some intriguing questions about Kobato. that leave me inclined to stick with the series until the end. Where is Kobato from, exactly? What is her wish? How did she and Ioryogi meet? What is Ioryogi? (We’ve learned already that if he helps Kobato grant her wish, he may be able to get his original body back.) And, most peculiarly of all, why is it that Kobato is not allowed to take off her hat?

Kindergarten peril I can do without, but I really do want to know what’s up with the hat thing.

Review copies provided by the publisher.

Let’s Get Visual: Fruits Basket

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MICHELLE: So, we’ve been talking about Fruits Basket all week, but I’m certainly not yet weary of the topic. How about you, MJ?

MJ: I suspect I could discuss Fruits Basket for weeks on end!

MICHELLE: Me too. We’ve already discussed the general awesomeness of the story and characters this week, but one thing we haven’t talked much about yet is the art. Takaya’s style evolves a good bit over the course of the series, and while I used to think I preferred her earlier style, I’ve lately realized that that is not the case at all. Do you have a preference yourself?

MJ: Hm, well, I definitely appreciate the prettiness of the series’ early volumes, and I do think there is some detail lost later on, but one thing the series never lacks is expressiveness, and that goes for the artwork as much as anything else.

MICHELLE: I think the expressiveness actually improves later on, at least insofar as Tohru is concerned, since she loses those really, really, really big eyes of hers. I will forever mourn the changes to my beloved Hatori, though, who goes from looking like this to looking like this.

It’s not that he’s become unattractive; he’s just lost a certain bishounen quality that I had certainly appreciated.

MJ: I do think Takaya does a wonderful job of aging the characters subtly over the course of the story, and I’m not necessarily just referring to their physical ages. I think she matures them overall, letting their outsides reflect their insides.

MICHELLE: That is definitely true, especially with Kyo, Yuki, and Momiji. Probably Momiji most stunningly of all.

MJ: Yes, there is quite a bit made of Momiji’s growing up, isn’t there? And though it’s more difficult to see that transformation as “subtle,” it’s certainly striking and oddly poignant.

MICHELLE: Takaya really does well with “striking” and “poignant,” doesn’t she? Which leads us to our specific picks for this month’s column!

Many of the most powerful and affecting moments in Fruits Basket occur between just two characters. To exemplify this trend, MJand I have both chosen scenes starring only Kyo and Tohru.

MJ, why don’t we start with you?

Volume 15, Chapter 87, Pages 129-134 (TOKYOPOP)

MJ: Okay, well, I’ve chosen a scene from late in volume fifteen. After losing his temper in a confrontation with Yuki, Kyo returns to his classroom to find Tohru waiting for him, alone. In terms of script alone, the scene is not especially remarkable. There are some dramatic moments in Kyo’s inner monologue, but they’re both being careful not to *say* anything out of the ordinary. What makes the scene really work, though, is their body language.

At this point in the series, both Kyo and Tohru are just barely beginning to realize how they feel about each other, and Takaya plays this beautifully. The way Tohru lights up the moment she realizes Kyo is in the room, Kyo’s impulse to lean against her, their excited nervousness about being close, and especially Tohru’s last page alone—you can actually feel the tension between them in every panel. It’s so well done.

I especially like the last panel, with a flushed Tohru hurrying out of the frame. Somehow, leaving us with the empty space behind her keeps us lingering in the moment, much as she would herself, if she hadn’t been called away. There’s a sense there that the moment still looms large for her, too, even as she’s hastily left it behind, emphasized by the flowers still present in the frame. Like her absence in the frame is saying, “Really intense and possibly scary feelings happened here… run away, run away!” Does that make any sense?

MICHELLE: It absolutely makes sense! I’m always interested in how mangaka use open space, and I think you’re quite right that in that final panel it’s being used to keep us in place while Tohru dashes off. On the first page, the oddly tall panel of Tohru alone in the classroom employs empty space to emphasize how she really is the only one there.

This example reminds me of your pick for our “Duds” column, Baseball Heaven, and how the artist in that case utterly failed to establish convincing body language between two characters who were meant to be attracted to each other. Perhaps Ellie Mamahara needs to read more Fruits Basket!

MJ: Oh, good call, Michelle! Yes, that’s the perfect choice for contrast here. Everything that’s missing in that scene from Baseball Heaven is demonstrated spectacularly here, and as a result, this actually plays as a love scene much more convincingly, despite not actually being one. Even the use of small frames to emphasize the hand or face—something that just felt distracting and fragmented in Mamahara’s scene—adds to the tension here. It’s wonderfully done.

So what about you, Michelle? What scene did you choose?

Volume 22, Chapter 128, Pages 96-99 (TOKYOPOP)

MICHELLE: The scene I’ve chosen is from volume 22, quite near the end of the series. Tohru has been hospitalized and her friends have barred Kyo from seeing her while she recovers, since she gets stressed at the mention of his name.

As Kyo makes his nervous way to the hospital, the size and shape of the panels reflect his mental state. They’re cramped, dark, and dominated by his inner monologue. “Do I really still like her? What do I like about her?” We catch incomplete glimpses of the things Kyo passes on his journey, because he is so wrapped up in his thoughts that he too is hardly noticing them. Finally he arrives at the hospital, and the tension as he catches Uotani’s eye is palpable.

And then… Tohru appears and the world falls away. Suddenly, everything is so clear. The doubts are wiped away as if they have never been, because the minute he sees her, it is so very simple. “I love her.” Even as Kyo’s focus narrows to include only Tohru, the pages still have a wide-open and airy feeling that suggests gentleness and infinite possibility. This is the first time Kyo has really allowed himself to acknowledge these feelings, and it’s so beautifully done that it gives me goosebumps.

MJ: Oh, absolutely, I have the same reaction here! Everything you’ve said about the size and tone of the panels is exactly spot-on. Also, watching Kyo’s face the few times we see it is striking, panel-to-panel. His first expression, as he’s approaching the hospital, is one of extreme trepidation, and it feels to me that he’s sort of hiding behind his bangs. He doesn’t want to be seen by anyone, especially someone like Uotani, whose gaze he reacts so intensely to. He’s terrified of his own feelings and of screwing things up, and he knows that he’s historically bad at dealing with emotional situations. He’s simply terrified on all fronts.

Then, when he sees Tohru, all of that just drops away, leaving him with an expression of pure longing and vulnerability we’ve really not seen on him before. Just as the air opens up, so does Kyo, completely unguarded for one long moment. It’s really stunning. I think both of these scenes we’ve chosen would play just the same with all the text removed—they’re so much driven by the emotion in the artwork.

MICHELLE: Longing, vulnerability and sheer wonder, I think. :)

And yes, I think we have a knack for picking scenes where text is not really necessary. Even here, body language is certainly telling a lot of the story for us, even in small ways like Kyo’s tensed, half-flexed arm and clenched fist as he finally reaches his destination. You can almost see him willing himself to get through this without messing up.

MJ: There’s just so much emotional nuance here, in every panel. When I’m reading scenes like this in context, these are details I don’t consciously notice as I let the emotions just sweep me along, but when we actually take the time to break it down like this, I can’t help but be amazed by how much thought has gone into each line on the page.

MICHELLE: Me too. It sounds like we’ve convinced ourselves that, yet again, Fruits Basket is awesome.

MJ: Indeed we have!

MICHELLE: Thank you, MJ, for joining me once again! And to those reading this column. Do you have a favorite artistic moment in Fruits Basket? Tell us about it in the comments!

Fruits Basket, Vols. 21-23

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As I recounted in this week’s Off the Shelf column, I have been a fan of Fruits Basket for nearly a decade now. I followed the end of the series in Japanese, and because I knew how it ended, I was able to postpone reading the final English volumes and delay the sad moment when the series really would be over. This week’s Manga Moveable Feast, however, prompted me to finally take the plunge.

Volume 21 is extremely tense, with Kyo continuing the story of how he redirected his feelings of guilt regarding the death of Tohru’s mother into a hatred of Yuki (just like his father redirected his own guilt in the death of his wife onto Kyo). Meanwhile, an ominous, knife-wielding Akito creeps up on their location. After Kyo seems to reject her feelings, Tohru runs off and crosses paths with Akito. A vitally important scene occurs between them in which Akito, weakened by lies and uncritical kindness perpetuated by various Sohma family members, is finally receptive to the kind of acceptance and sympathy Tohru offers. I’m a little disappointed that Tohru immediately falls off a cliff at this point, because that’s rather meloramatic, but I adore how urgently Akito attempts to summon help.

All of the Sohmas are worried, but none more so than Yuki (in cold fury mode) and Kyo (deeply grieving), who eventually have it out and end up finally confessing that they each aspired to be like the other. I love how this plays out, and I love that Yuki continues to nudge Kyo when necessary to ensure that Tohru ends up happy. Are they super pals by the end of the series? Not exactly, but they’ve definitely made their peace and come to an understanding. I’d say they’re closer than mere friends, actually, because they’ve gone through so much together, treasure the same person so much, and have finally realized that, despite appearances and insults, the person they are is valued by the other.

While Tohru recovers in the hospital, Kyo realizes that she’s given him something worth fighting his “fate” for. A visit to his father leads to paternal hysterics, but Kyo’s resolve is unshaken: he is going to live “outside,” no matter what. Meanwhile, Akito has made plans to demolish the isolation room. In the aforementioned Off the Shelf column, I wondered whether Akito’s actions might partly be due to some unconscious influence by the God who originally created the bond, as we later learn that he laments that something forged in love has now become a source of pain. He’s grateful to those who “shouldered that exhausted promise” for so long, and willingly lets them go. So, did he convince Akito in some way? Did Akito convince him? The latter would be more in line with the themes of the series, actually.

Uotani and Hanajima keep Kyo away from the hospital while Tohru is recuperating, since the mere mention of her name prompts her to start crying (she still believes he is disillusioned by her confession of love), but he’s finally tipped off regarding her release date and goes to see her. It’s an amazing scene: as Kyo heads there, he’s full of doubts and uncertainty regarding his own feelings, but the moment he sees her, everything is clear as day. “I love her.” I can’t help getting a bit choked up even discussing it, because it seems like I’m watching cherished friends finally find each other. They talk and work things out, and it is as lovely as can be. “I really do love you,” quoth Tohru, when Kyo warns he’ll probably cause her pain because the curse is still between them. “And that feeling is invincible.” They embrace and are profoundly shocked when Kyo does not transform. His curse is broken.

A wonderful chain-reaction montage ensues as the members of the Zodiac are freed in turn, with Yuki the last of all. “You’re the last,” says God. “Thank you. For keeping the very distant promise.” This happens just in time for Yuki, who had been on the verge of telling Machi about the curse, to embrace her in tears.

Loose ends are wrapped up in the final volume, more loose ends than I actually realized needed wrapping up, making for a very thorough and satisfying conclusion. It’s a little convenient that nearly everyone ends up romantically paired off by the end, with the exceptions of Momiji and Kagura, who are still not over their respective unrequited loves. Other things, however, aren’t wrapped up so neatly, with Rin unable to forgive Akito just yet, long-time family servants unable to adjust to the dissolution of the curse, and many painful feelings still remaining.

But, as a certain image reminded me, Takaya-sensei maintains the idea that “there is no such thing as a memory that’s okay to forget” to the end. The formerly cursed Sohma don’t need to forget what happened to them in the past in order to be happy in the future. Tohru believes this fully, collecting each of the beads from Kyo’s broken bracelet and displaying them as precious items alongside family portraits even until the day she and Kyo are lovey-dovey grandparents.

I cannot express enough how wonderful this series is. I feel so fortunate that I was able to witness the growth and transformation of such a memorable cast of characters, many of whom I dearly love.