Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

Sean Gaffney

Manga the Week of 5/30

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It’s a 5th week of the month, you know that means there’s virtually nothing. In fact, all three of these are available now… unless you order from Diamond.

Kodansha gives us the first Genshiken omnibus, collecting three volumes of this otaku-loving series. I always tended to read it for Saki, but there’s something for everyone here. Unlike Negima, this does not feature any new translation, possibly as the old version was perfectly fine. We also get Vol. 34 of Negima, which I’ve already reviewed, possibly as it’s hitting Diamond a full month late. And we have Vol. 28 of The Wallflower, which I always enjoy, mostly as I expect laughs and nothing else. This volume apparently featured the obligatory Edo Period AU!

Aaaaaand that’s it. Thoughts?

Oishinbo A La Carte, Vol. 2 (Sake)

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By Tetsu Kariya and Akira Hanasaki. Released in Japan by Shogakukan, serialization ongoing in the magazine Big Comic Spirits. Released in North America by Viz.

It’s time for the Oishinbo Manga Moveable Feast, and though I had already reviewed the final volume a long time ago (see sidebar), I thought that I would take this time to revisit another volume, one which got a lot of buzz when it first came out over here. That would be the one devoted to sake, Japan’s national alcoholic beverage. And so we get several chapters, including one long multipart epic, devoted to what makes good sake – and why so much of it these days is bad.

Given that Oishinbo is about singing the praises of Japanese food, it’s not particularly surprising that much of it involves praise for Japan in general. One chapter here involves a businessman who has been ‘Westernized’ and has to be reminded of the joys of good old Japanese cooking and liquor. That said, it’s rather startling how much of this volume is just ripping into Japan’s sake trade over and over again. I’ve no idea if things are the same these days (these chapters were written 15-25 years ago), but much is made over the fact that popular sake in Japan tends to be watered down in order to increase profit, and have additives such as charcoal and MSG. It can get fairly depressing.

That said, of course, you knock them down in order to build them up. We also get much praise of the good old-fashioned small-time sake brewer, still using pure ingredients with no additives and storing it properly to bring out the best flavor. There’s actually a lot of comparison with French wine, in a way that reminded me of The Drops of God – it’s noted that France would never treat its wine the way Japan does its sake.

In these Viz compilations, characterization usually falls by the wayside – the danger of working with a 108+ volume series – but we still get a good sense of the main players, which is important for a series like this. You have to sympathize with Yamaoka and Yuka, and care about their lives, as otherwise you’re left with nothing but a manga that lectures you. (Which, admittedly, it can sometimes be anyway.) Yamaoka shows off his cleverness in the final chapter, which reminds us that sake is still an alcohol, and that there are some people who abuse that. And Yuka really shines in the multi-part story, managing to sweet-talk Yamaoka’s father, Yuzan (this is actually a running thing in the series, and Yuka is very, very good at it – note Yuzan’s retainers giggling). There’s no romance here, but if you want that go lean Japanese and then buy the original Vol. 47, which has the wedding.

At the end of the day, though, the way to judge Oishinbo is by its ability to make you want to search out more. After this volume, I wanted some sake – just as I wanted to visit an Izakaya after the final Viz volume. Oishinbo may be about a battle between father and son, or a growing romance between colleagues, but that’s just the spice. The real meat of the manga is its love of food and its burning passion for it being cooked and served properly. And it’s something yoou can’t really get in North American Comics, either, though I’d love Batman’s recipe for crumble apple pie.

Pick of the Week: Flowers of Evil & other stories

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KATE: If you buy only one manga this week, make it The Flowers of Evil. I was fully prepared to hate this series with every fiber of my feminist being, as the plot summary made it sound like Sundome: The Revenge. What I discovered, however, is that Shuzo Oshimi is a far more accomplished storyteller than Kazuto Okada. Oshimi paints a sympathetic portrait of his hero, oddball bookworm Takao Kusuga; Kusuga is the kind of earnest kid who feels uncomfortable with normal boy stuff, but isn’t confident enough to ignore his peers’ snickering. Kusuga unwittingly becomes the toy of Sawa Nakamura, an angry, confused girl who threatens to expose Kusuga as a “pervert” unless he acquiesces to her demands. The dynamic between Kusuga and Nakamura is expertly rendered; though Nakamura’s motives for blackmailing Kusuga aren’t directly explained, we can see how important it is for her to find someone—anyone—her shares her predilections. A queasy yet fascinating exploration of teenage sexuality.

SEAN: When Yen press announced Until Death Do Us Part at NYCC, I was quite excited. For one thing, it was 15 volumes and still going, and I wasn’t expecting any more licenses of long series that weren’t Naruto-esque. For another, it simply feels like it will do well here. It has swordfighting, it has future prediction, and it has lots and lots of excitement and action. It may not win any prizes for depth, but that’s never stopped me before. And it’s an omnibus, so you get two volumes in one.

MICHELLE: Having not yet read The Flowers of Evil, and having probably touted Pandora Hearts a time or two in the past, I’ll cast my vote for the fifth volume of Saturn Apartments, from VIZ’s SigIkki lineup. I’ve described the series as a low-key dystopia, as it somehow manages to charm whilst depicting a pretty bleak future for humanity. It doesn’t come out very frequently, but when it does, it’s something to be happy about.

MJ: This week, I’m with Kate. While I’m certainly enthusiastic about new volumes of Nabari no Ou and Pandora Hearts, and I’m looking forward to checking out Puella Magi Madoka Magica, this week’s must-buy is The Flowers of Evil. As I mentioned in last week’s Off the Shelf, I went into volume one of The Flowers of Evil with the expectation that it was most likely Not For Me, but it rather emphatically was for me. As Kate indicates, it succeeds on the strength of its characterization, and the fact that both of its leads are immediately sympathetic, or at least relatable. This kind of honest storytelling is absolutely the key to my heart. This series is not to be missed.

Readers, what looks good to you this week?

Bookshelf Briefs 5/21/12

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This week, Sean, Kate, MJ, and Michelle look at recent releases from Yen Press, VIZ Media, Digital Manga Publishing, and Kodansha Comics.

Ai Ore!, Vol. 5 | By Mayu Shinjo | VIZ Media – I have completely given up on these characters – especially Mizuki – growing or learning from any of their experiences. And honestly, doing that makes it much easier to get into the groove of this melodramatic, silly manga. From Akira’s desperately trying to be taken seriously as a guy while wearing a kitty hoodie, to Mizuki’s over-the-top “MY WORLD IS ENDING!” reaction to her first fight with Akira, the situations here are made for amusement. Sure, there’s some soap opera dramatics – the fight I mentioned earlier – but even the serious backstory for Akira, where he reveals that his tutor once brought in an older woman to “make a man of him” – is played with its tongue in cheek. The ending seems to hint we may be seeing the return of “Dark Akira”, though – let’s hope he’s merely firm and seductive, and not the callous ass he was at the start. Fun stuff. –Sean Gaffney

Arata: The Legend, Vol. 10 | By Yuu Watase | VIZ Media – The latest installment of Arata: The Legend features body-swapping hijinks. Usually these kind of comic interludes are a sign that the artist is marking time between big fight scenes, but Yuu Watase uses this time-honored trick to advance the plot in a meaningful fashion, allowing Hinohara to infiltrate Yataka’s stronghold. The body-swapping gimmick also provides the characters an opportunity to reflect on their feelings for one another, giving us greater insight into Hinohara and Mikusa’s personalities. The only drawback to the out-of-character behavior is that it grants Watase license for fan service — something that the series doesn’t need to be funny or sexy. That minor gripe aside, Arata remains engrossing, finding the perfect middle ground between shojo angst and shonen action. Recommended. -Katherine Dacey

Hana-Kimi, Vols. 4-6 Omnibus | By Hisaya Nakajo | VIZ Media – A lot of this second omnibus deals with the class culture festival, where most of Mizuki’s class is dressing up in drag. This gives her an excuse to wear a dress most of the time, even if it’s as Alice in Wonderland. After a strong start, the author seems to have realized that the series will be a long one, so the actual romance between Mizuki and Sano isn’t moved forward as much. Instead, Nakatsu gets the focus, as he struggles with his repressed feelings for a “guy”. He’s mostly comedic, but I liked how he handled telling the girl who likes him that he was breaking it off – he’s a sweetie pie that sadly is doomed in a series like this. The addition of a female friend – as well as a new rival – for Mizuki is also welcome, and I look forward to the third and presumably last teaser omnibus. –Sean Gaffney

Itazura Na Kiss, Vol. 8 | By Kaoru Tada | Published by Digital Manga Publishing – There are times when Itazura Na Kiss is so frustrating, one wants to hurl it against the wall. Usually this is because the protagonist, Kotoko, is almost aggressively incompetent. In this latest volume, she has decided that what she wants to do is become a nurse and help Naoki with his medical practice, so she enrolls in nursing school with practically no idea what this will entail. Naoki is cutting in his criticism, as usual, but what’s interesting is that one of Kotoko’s classmates objects to how Naoki treats his wife and eventually presents himself as an alternative. Naoki, faced with jealous feelings for the first time, is thrown for a loop and it’s what he does to win Kotoko back that makes up for every bit of irritation caused by other elements of the series. Still recommended, despite its flaws! – Michelle Smith

Pandora Hearts, Vol. 10 | By Jun Mochizuki | Yen Press – While the series’ last few volumes have posed many more questions than they have answered, things finally come to a head here in volume ten. This volume is chock full of revelations, particularly regarding Gil and Vincent Nightray, and the atmosphere is tense in exactly the way that shows off Jun Mochizuki’s fast-paced storytelling style to its best advantage. Though crystal-clear plotting has never been Mochizuki’s strong point, clarity in the moment is, which is what makes a volume like this work so well. Panel-to-panel, she maps out these characters’ emotional truths so clearly that the text becomes nearly irrelevant to our understanding of their plights. That said, some of Mochizuki’s dialogue is so delightful (Xerxes Break owns my soul), it would be a tragedy to do without it. Still recommended. – MJ

Psyren, Vol. 4 | By Toshiaki Iwashiro | VIZ Media – I’m starting to enjoy this the more I get into it. The lead is likeable and talented while retaining that ‘everyman’ spirit, the cast isn’t too overpowered yet, and of course hard work is emphasized, as in the best Jump works. The introduction of the Elmore Wood kids is well-handled – they act like typical kids, ranging from bratty to shy to stoic. They help Ageha to figure out how to control his powers (well, we presume – we haven’t seen it in action just yet) by virtue of a simpler mindset and learning at a younger age. And, as a cliffhanger shows, they may be mankind’s last, best hope. Of course, they may all be killed at the start of the next volume, too. The only downside here is Kabuto, who lacks enough likeable traits to make a good comic relief character – you want him to fail. Otherwise, very good stuff. –Sean Gaffney

Sayonara, Zetsubou-Sensei, Vol. 12 | By Koji Kumeta | Kodansha Comics – “We’ll have to start a new campaign with easier content so that even first-timers can understand Zetsubou-Sensei,” declares suicidal teacher Itoshiki Nozumu in the first pages of volume 12. What follows is a sharp, funny deconstruction of a common manga practice: the catch-up chapter. I wish the rest of the jokes in volume 12 were as accessible to a Western reader as “The First-Timer Condition,” but the intricate wordplay and cultural allusions often sailed over my head. (Word to the translator: I know what Comiket is! More explanation of the yakuza jokes and economic references, please!) Zetsubou-Sensei ought to be in my wheelhouse — there was a Stendahl joke in chapter 112, for Pete’s sake! — but requires too much explanation to elicit more than an appreciative, “Oh, I get it. Very clever.” -Katherine Dacey

One Piece, Vol. 62

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By Eiichiro Oda. Released in Japan by Shueisha, serialization ongoing in the magazine Weekly Shonen Jump. Released in North America by Viz.

Now that the gang is back together, we are off to Fishman Island. No, really! Really and truly, they do finally arrive at Fishman Island this time. Which sort of ends up being a mixed blessing, I will admit. I’m afraid that Fishman Island’s arc is similar to Skypeia and Thriller Bark – you like it more on a re-read, but at the time, it just annoyed you. Still, being annoyed by One Piece is still superior to being entertained by other, lesser shonen series.

Of course, first we have to get to the island, which is not as easy as it sounds. This is the better half of this volume, with each of the crew showing off why they’re awesome – everyone gets to fight (except Nami, whose navigation skills are what’s awesome here), we get another dumb goofy villain who actually seems to have more staying power than we expect, and Luffy tames a kraken. Of course he does.

Unfortunately, it turns out that Fishman Island is not quite as welcoming as you would have expected given our adventures with Cammie and Hachi. It turns out that the island was under protection by Whitebeard, and with him gone, power balances are quickly shifting. Another of the Four Emperors – Big Mom – is supposedly protecting them now, but this seems more like mafia protection than anything else. What’s more, the issues of prejudice – on both sides – that we’ve seen before in the Arlong and Sabaody arcs are still around, and there’s some particular nastiness when it becomes very hard to find a blood donor for Sanji, who is dying due to idiocy.

No, I won’t ever stop complaining about this. I will give Oda credit – when he decided to overuse a dumb idea, he really goes all out – but I still hate Sanji’s complete incompetence around women, even if you do acknowledge that he was on the okama island for two years. We see everyone else’s flaws here as well – including Nami’s lust for money, which hadn’t come up in a while – but it’s just harder to take with Sanji nosebleeding all over the place. Even if he is surrounded by gorgeous mermaids.

Having arrived at Fishman Island, our heroes are escorted to King Neptune and his beautiful daughter, but there’s already a conspiracy against them, as the local fortune teller has said Luffy will bring ruin to Fishman Island. Sounds like one of those self-fulfilling prophecies to me, honestly. A bigger problem is that we’re simply introduced to too many characters too fast here – there’s at least 20 new characters, each with boxes giving names and what time of Fishman they are – and there’s simply no way to know at this point who we have to be paying attention to. Well, except for Hody Jones, who appears to be the villain of the arc so far.

On a side note, the last cover page shows Makino with a baby?!?! Oh Oda, why you gotta destroy the Shanks/Makino shipper dreams? :)

There’s lots of cool action here, and some fun goofy humor. I also like that Oda is not forgetting about Nami’s past – there’s a great shot of her shuddering when she sees one pirate has an Arlong tattoo. But the arc is a bit too new to see where the plot is going, and thus this whole volume ends up being a bit more confusing than I think it really deserved to be. Hopefully next time we’ll see Jimbei and things will begin to get knit together.

Manga the Week of 5/23

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Only publishers at the end of the alphabet are welcome in next week’s manga shipment!

Vertical features the first volume of their new shonen romantic blackmail comedy The Flowers of Evil, and I’m afraid everyone has to buy it, as otherwise the cover image will continue to stare into your soul forever. Into your SOUL. FOREVER.

Viz has the 5th volume of Saturn Apartments, which I’ve lost track of but which is from the SigIkki line, so clearly it is deserving of your praise.

And there is a huge pile of stuff from Yen. Including two big new debuts. From Square Enix’s Young Gangan, we have Until Death Do Us Part, an action/adventure/esper epic that they are releasing in omnibus format, meaning we get the first 2 volumes here in one. This is 15 volumes and still running in Japan, so should be a lot of fun. And from Houbunsha (I believe they went straight to graphic novel, a rarity in Japan), we have the first volume of Magic Girl manga Puella Magi Madoka Magica. Hey, do you want to buy a magical girl manga? Kyubei can sell one to you!

But wait, Yen has even more! The penultimate volume of Bamboo Blade; the 12th Haruhi Suzumiya manga, which starts to adapt the 7th novel; new Nabari no Ou, Omamori Himari, Pandora Hearts, and Sumomomo Momomo, which I don’t have anything clever to say about; and the 9th Soul Eater, which I would say features things spiraling out of control, except that might imply Soul Eater had control in the first place. And lastly, there’s the 3rd volume of Daniel X, which is an OEL adaptation of the James Patterson series. Who doesn’t love OEL?

So what are you devouring next week?

FLCL Omnibus

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By GAINAX and Hajime Ueda. Released in Japan in two separate volumes by Kodansha, serialized in the magazine Magazine Z. Released in North America by Dark Horse Comics.

I recall when Tokyopop first released this manga, a number of years ago, my general reaction to it was sort of a flat ‘what’. Of course, I was a much younger reader then, and have since read many experimental manga with weird art, weird plotting and a certain gonzo style to them. So I picked up Dark Horse’s new omnibus, which has a spruced-up translation, color pages, and some extras by the author, wondering if I could now appreciate the deep and beautiful meaning in the series. But as it turned out, most of FLCL still ends up making me say the same thing: what?

To be fair to its authors, this is probably the reaction they were going for anyway. It’s OK to write something that’s surreal, and if FLCL is anything else, it’s that. The plot, for those who may not know, involves a young boy named Naota and his metaphors for puberty, which in this series emerge from his head and turn into giant robots. He has a crush on a girl named Mamimi, a ditzy older girl who’s in love with Naota’s older brother (who is in the US) and using Naota as an emotional crutch. She’s also an arsonist. He also goes to school, where he has the usual two male friends, plus the class president, who is the mayor’s daughter and is tsundere for him. All of this is turned upside down when a woman named Haruko arrives, bringing chaos in her wake and fighting the robots… or using the robots to fight one another… in an intergalactic battle that is never really explained properly.

This manga ran in Magazine Z, which no longer exists but was basically Kodansha’s media tie-in magazine. And it should come as no surprise to you that this was based on an anime by GAINAX, who were trying to deconstruct everything so they could reconstruct themselves after putting out Evangelion. The anime was 6 episodes long, and the manga is sort of a truncated adaptation. However, unlike the manga version of Evaangelion, which sticks to the same plot/events but makes the characters more likeable, FLCL’s author is allowed to shake things up a bit. Certainly I don’t remember Naota killing his father in the original.

Sometimes the author does actually remember that this is supposed to be about Naota growing up. At one point, all three female protagonists are living in his house, and Haruko and Mamami decide to tease him by pretending to be lesbians, something that does actually play off of male teenage sexuality. The ending is also rather interesting, changed slightly from the original – Haruko actually gives Naota her broken Vespa, and challenges him to fly to outer space after her. Of course, now our last shot is of his bruised and bloody fingers trying to fix/fly the thing. One might argue it’s more downbeat than the original.

The art is very stylized, and may possibly be worth a look-see. And I still like Mamimi despite myself. But for the most part, what read as an incoherent mess 8 years ago is *still* an incoherent mess, even if the author would like us to think otherwise. If you’re looking for teenage metaphors for sexuality, there are better manga than this.

Pick of the Week: Sailor Moon & more!

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SEAN: Many interesting releases this week, but I have to go with an old favorite. Sailor Moon has hit its 5th volume, which in this 12-volume re-release means we get to the end of the ‘R’ arc here. The manga may lack some of the characterization highs of the anime – the other four senshi in particular suffer in this volume as the focus is on other characters – but its action, coherence and occasional emotional brutality – Chibi-Usa’s transformation into Sailor Chibi Moon ends up being heartbreaking – are top-notch. And Pluto actually gets a lot more characterization here than in the anime, being far more than just a stoic ‘guardian’ of time. Any fan of manga should be getting this.

KATE: Since I’ve plugged InuYasha more times than I can count, I’m going off-list to highlight an awesome graphic novel that’s arriving in stores on Wednesday: Princeless. This Eisner-nominated kids’ comic is funny, edgy, and utterly feminist in its outlook — even though it stars a princess who’s imprisoned in a tower. That princess, sixteen-year-old Adrienne, is a blast of fresh air: she dismisses fairy tales as “full of plot holes,” and dispatches would-be suitors with withering assessments of their intelligence. When she finds a sword stashed under her bed, she enlists the help of a dragon to escape. (And that’s just in the first few pages!) Like the best kids’ comics, the script works equally well for kids and adults, offering a good mixture of teachable moments and laugh-out-loud scenes.

MICHELLE: I’m with Sean on this one. Somehow, I never did get around to watching the ‘R’ arc of the anime, so I’ve been enjoying getting a better handle on that storyline, since I’m actually able to read it in English now! I’ve definitely been enjoying Pluto, too, but I’ve got to say… what really makes me happy is that the conclusion of the ‘R’ arc means the start of the ‘S’ arc is just around the corner, and ‘S’ introduces some of the most beloved characters in the series. MJ, I hope you find a way to keep up with this series, because I dearly want to know what you think of what’s coming next!

BRIGID: OK, I’ll be different and go with Starry Sky. I know, I know, it’s based on a game, but the idea of an astronomy student reminiscing about her old school friends—who are somehow tied into a four-seasons theme—seems like a good choice for a lazy day. I’m not expecting to be blown away by this, but I think I’ll enjoy reading it more than a late volume of a series I haven’t been following. (Actually, Sailor Moon was my first choice too but I didn’t want to just go with the crowd.)

MJ: Like Brigid, while Sailor Moon is probably my first choice this week, I’ll seize the opportunity to talk about something different, though I may sorely regret it. Back September of 2010, I read the first volume of Hinako Takanaga’s The Tyrant Falls in Love and kinda hated it. Several months later, I read the second volume and kinda loved it. Though I haven’t yet gone any further in, I’m seriously considering picking up the rest of the series, including volume six, which was released this week. Which will be it? Love or hate? Your guess is as good as mine, but I think I may risk it.

Readers, what looks good to you this week?

Disclosure: MJ is currently under contract with Digital Manga Publishing’s Digital Manga Guild, as necessitated for her ongoing report Inside the DMG. Any compensation earned by MJin her role as an editor with the DMG will be donated to the Comic Book Legal Defense Fund.

Pretty Guardian Sailor Moon, Vol. 5

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By Naoko Takeuchi. Released in Japan as “Bishoujo Senshi Sailor Moon” by Kodansha, serialized in the magazine Nakayoshi. Released in North America by Kodansha Comics.

Sailor Moon is at Vol. 5, and the R arc is nearing its end. Things are getting bad. Mercury, Mars and Jupiter are still abducted, Moon’s been kidnapped, and now Wiseman seems to have spirited off Chibi-Usa. Will our heroes be able to stop the rising tide of pervasive evil? Well, there’s 7 more volumes of the main storyline, so the answer to that is obvious. The question is how dramatic and interesting can the author make it before Usagi fires her beam of super-concentrated pureness at the villain?

Quite a bit, as it happens. The villains below Wiseman seem to get a bit more depth to them than their first arc counterparts. In particular, Saphir seems like he might actually betray the villains for the sake of his family. Unfortunately, we’re not at the point yet where the manga starts redeeming minor villains, and the power of Death Phantom within him proves too much. Demande fighting his conditioning was also interesting, though I find Demande so loathsome that the impact was lessened for me. Unfortunately for the Black Moon Family, they find themselves replaced by a more useful villain, who has closer ties to our heroes.

That’s right, it’s time for Black Lady. Take all of the frustrations, desires and fears of a typical eight-year-old girl (again, ignore that she’s supposedly 902, that makes no sense). Then infuse her body with evil, and age her up so that she looks like an adult. This plotline can get a little creepy, be warned – Chibi-Usa’s jealousy of Usagi gets played out here with incestual subtext, and seeing Black Lady kissing her mind-controlled dad is meant to be as unpleasant as it sounds. Still, Black Lady does an excellent job of making the villain’s plan come to fruition – so much so that if they’re going to stop her, it’s going to require the big guns. They’re just going to have to – STOP TIME.

I have to admit, re-reading this volume, I hadn’t realized how emotional Sailor Pluto gets in it. I’d gotten used to the concept of her as the cool, stoic warrior of time – which she clearly isn’t here. Lamenting her fate (she can’t leave the time gate, she can’t let people through the time gate, and she can’t stop time, all rules she breaks in this arc), we realize that her true desire has simply been to be able to fight with the rest of the senshi. This is why she has such a close bond with Chibi-Usa, who has similar feelings of loneliness. Of course, you don’t break the only three rules of your position without consequences, and Pluto’s are particularly heartbreaking, even if you do know how things end up in the S arc and beyond. That said, her sacrifice was definitely worth it, as they were able to get Chibi-Usa back, as well as give Sailor Moon the final bit of determination she needs to beat the bad guys (even if the “name of the moon” speech seems a little jarring after such a serious scene.

The rest of the volume is basically getting Usagi in place to defeat Death Phantom, then getting her back. (Which reminds me, there’s a very amusing scene towards the start of the book where Tuxedo Mask runs off to rescue Chibi-Usa, and a stressed Sailor Moon collapses. They decide to take her back to the 20th Century to recuperate… for about 10 minutes, then the Black Moon Family messes things up so they have to return again. Pacing can sometimes be a problem with Takeuchi.) Luckily, everything works out, and Sailor Moon is even able to briefly meet her future self (hey, they’ve already broken all the other laws of time). We also see the three abducted senshi reuniting with the human side characters who their chapters focused on, which was nice and sweet. (I can’t remember if we ever see them again, but that’s par for the course with minor Sailor Moon characters.)

This volume really doesn’t let up at all, being a breathless race to the climax from beginning to end. And while that may disappoint some fans of the anime (certainly the other four senshi really have very little to do here), it helps to convey the tension needed to support such scenes. And Chibi-Usa goes home to the future! … no, wait, she’s back immediately, as Neo-Queen Seremity apparently regards her past self as free babysitting. Oh well, it’s always nice to end an arc on a cute note. On to the third, and some might say best, arc.

The Flowers of Evil, Vol. 1

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By Shuzo Oshimi. Released in Japan as “Aku no Hana” by Kodansha, serialized in the magazine Bessatsu Shonen Magazine. Released in North America by Vertical.

Sometimes you get one of those series coming down the pike where you know, based on your own personal tastes, you’re going to both love it *and* hate it. I sort of felt that way when I heard about Flowers of Evil. It’s somewhat twisted, which appeals to me, and also has a very distinctive cover, which Vertical has adapted well from the original Japanese. On the other hand, it features that classic beloved-in-Japan but not-so-much-here “weak male lead”, which tends to frustrate me quite a bit more than it probably should. If I’m going to be identifying with characters in stories I read, I’d like them to be less aggravating, thanks. In addition, I’d read the author’s Drifting Net Cafe on JManga, and found it riveting yet thoroughly unpleasant.

(Note that the typeface for the cover title has changed between releasing the above picture to retailers and actually coming out – Vertical has a lot of last-minute changes to spruce up their covers, mostly for the better.)

After reading Flowers of Evil 1, I’m prepared to hang in there for the long haul. As with Drifting Net Cafe, riveting is the adjective I find myself using to describe it. The plot itself is not the most original – outcast girl blackmails weak male guy, who’s interested in pretty-yet-unapproachable other girl – but as ever, it’s not the plot that matters so much as what the author does with it. Takao is an *interesting* weak male lead. His obsession with Baudelaire – particularly Flowers of Evil, his collection of poetry from which this manga gets its title – is interesting, but mostly as he almost uses it as a psychological crutch. I read important books, he thinks, so I am better than the people around me. It’s the teen intellectual approach, and god knows I did it myself a bit when I was in high school.

Most of the characterization in this volume goes to Takao. The object of his affection, Nanako, gets a little bit of oblique development towards the end – I liked her discomfort as the other classmates were accusing Nakamura, and she and Takao do actually look like a nice couple. We’re still mostly seeing her through his eyes, though. As for Nakamura, the girl on the front cover… I still don’t quite know what to make of her. She seems to enjoy manipulating Takao for her own amusement, but is that all there is? In this case, the fact that we can’t see what she’s thinking is what drives us on. Is she simply bored with life? Does she have feelings for Takao (something he accuses her of towards the end, and which she very quickly rips apart)? Is she simply enjoying having power over someone, in the way that many teenagers find they love? Or is she trying to get Takao to mature, to develop into a stronger man?

I notice how much I wrote above about how teenagers think. This first volume deals with that subject a lot. What is considered to be perverse, what can you say or not say around your friends… how much you’re allowed to show how puberty is changing you. Takao is actually, compared to some of the freaks we’ve seen in other shonen manga, a rather mild case, but because this is a fairly realistic plotline, it hits closer to home. Likewise, Nakamura seems to have a few perversions of her own. (I like the flush she gets as she’s stripping him in the school library. That and the ending where she screams at him shows that she’s not controlling her emotions as well as we think.) The combination of nostalgia and discomfort drives Flowers of Evil, and it’s done well enough that I absolutely want to see what happens next. Even if I may squirm a bit.

Manga the Week of 5/16

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Don’t mind me, I’m just depressed. Still no Oresama Teacher 8 for me. And now Story of Saiunkoku 7 is missing as well. Oh Diamond, why must you hurt so?

That said, Midtown Comics is still getting a bunch of stuff in next week. Let’s go over it publisher by publisher.

Being around the Manga Bookshelf team has made me feel guilty that I tend to ignore manwha, so I’ll just note that the 11th volume of romantic fantasy Bride of the Water God is here. It runs in a magazine called Wink. Also, I hear there are gods.

Digital Manga Publishing has a bunch of new BL series, as well as some old favorites. Both Castle Mango and Samejima-kun & Sasahara-kun sound much sillier than the usual solicits I see, which pleases me. More silly BL, please! As for Starry Sky, it’s hard to find info on it except that I think it came from Comic B’s Log, so may not be true BL but BL-ish. It does seem to star a female. Lastly, we have new volumes of Private Teacher and The Tyrant Falls in Love, both of which tie for this week’s ‘sounds most like a USA Up All Night movie’ award.

Kodansha gives us Sailor Moon Vol. 5, which wraps up the ‘R’ arc, and features my all-time favorite Sailor Moon manga moment. We also get the 6th volume of the Emily Rodda series Deltora Quest, which Kodansha snapped up and turned into manga before, say, Yen Press could. :)

Seven Seas has the 4th volume of A Certain Scientific Railgun, which says right on the back that it’s beginning the long-awaited ‘Sisters’ arc, thus showing that any attempt to market this series to newbies has long since left town. Should be good, though. I quite enjoyed the last volume.

Lastly, Viz stuff is still trickling in, as we see Naruto 56 (huge good pile of ninjas battle the enemy’s huge evil pile of reanimated ninjas), and Inu Yasha VIZBIG Edition 11, which presumably has Vols. 31-33. It’s more than halfway there! And also features the undead, which is apparently Viz’s theme this week.

So what floats your boat?

‘Mouse Chronicles: A Chuck Jones Collection’ Announced

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And here I was thinking that we wouldn’t get any Looney Tunes news until San Diego Comic Con. No doubt that will feature an announcement of the 2nd Platinum Collection (at least I hope…), but for now we have this: a new collection of 19 of Chuck Jones’ cartoons from 1938-1951 featuring his stars who were mice: Sniffles; and Hubie & Bertie. The collection is out August 28th on both DVD and Blu-Ray.

Jerry Beck notes that it was originally part of the ‘Super Stars’ sets we’ve seen the last few years, which is why you don’t see any other one-shot mice here, just the ‘stars’. Of course, I put stars in air quotes for a reason. Sniffles and Hubie & Bertie are not exactly Bugs Bunny and Daffy Duck. The name that’s selling the discs here is Chuck Jones.

A list of the contents:

Naughty but Mice
Little Brother Rat
Sniffles and the Bookworm
Sniffles Takes a Trip
The Egg Collector
Bedtime for Sniffles
Sniffles Bells the Cat
Toy Trouble
The Brave Little Bat
The Unbearable Bear
Lost and Foundling
Hush my Mouse
The Aristo-Cat
Trap Happy Porky
Roughly Squeaking
House Hunting Mice
Mouse Wreckers
The Hypo-Chondri-Cat
Cheese Chasers

The first 12 cartoons on this set range from 1938 to 1946, and star Sniffles. Sniffles was named from his debut, Naughty but Mice, where he has a cold. Despite lacking the cold in his other cartoons, the name stuck. Most of the first 9 cartoons on here feature Chuck’s ponderous, slow, Disney-imitating style. Sniffles is cute rather than funny, and a lot of his more cloying cartoons can be very trying for the adult viewer – or indeed anyone over the age of two.

That said, there are some interesting cartoons here. Sniffles and the Bookworm is a ‘things come to life’ cartoon, albeit a more serious example of the form. The Brave Little Bat features Sniffles trying to deal with a loudmouth bat who absolutely won’t stop talking. And Sniffles’ final 3 cartoons, made in the mid-40s after a three year break, are much funnier and Chuck Jones-ish. Ironically, Sniffles undergoes a personality transplant in them, going from cute and adorable to being unable to shut up or go away – that’s right, exactly like the bat in his last cute cartoon.

The real treat here, even if it involves the most double dipping from prior Golden Collections, is the 2nd half of this set, featuring seven cartoons with Hubie & Bertie (from 1943-1951). These are Jones near the top of his game, and are some of my all-time favorites. They only have a cameo in Trap Happy Porky (one of Jones’ rare mid-40s Porky efforts), but the other 6 have them taking center stage. Hubie & Bertie get what they want, not by violence or cute mischief, but by psychological damage. Seeing them break the mind of Claude Cat is a thing of beauty.

As I noted above, there’s some double dipping here. Four of the seven Hubie & Bertie cartoons have been on prior Golden Collections – Trap Happy Porky, Roughly Squeaking, and House Hunting Mice are new to DVD. Sniffles fares better. Only Sniffles Takes A Trip has shown up (unrestored) on a prior collection. This means 14 cartoons here are new to DVD.

The reason I like this collection so much is because Jerry Beck had noted previously that Warner Brothers had asked them to focus their restoration only on cartoons made after 1953 (as they could be released widescreen). The cartoons on this collection feature precisely zero from that period, and 3 from the 1930s. Given my goal is every cartoon restored and on DVD, this is a big step in that direction. (I am presuming they will also be uncut – though there’s very little to object to here. Hubie & Bertie have some typical cartoon violence. I think Toy Trouble has a blackface gag.)

Buy Warner Brothers cartoon DVD/Blu-Ray sets and support restoration of even more classics! Sniffles will thank you. Probably in a cute, adorable way.

EDIT 7/27/12:

They’ve announced a list of bonus cartoons that will come with this set. it’s not clear if they will be restored or not, but most of them are quite rare these days, so it’ll be great to see them anyway.

The Country Mouse (1935, Friz Freleng) – A mouse dreams of being a boxer, but the big city proves his undoing.
The Lyin’ Mouse (1937, Friz Freleng) – A mouse, trying to save his skin, tells a cat the story of the Lion and the Mouse. Freleng is starting to find his feet here – great WB-style cynical ending.
The Mice Will Play (1938, Tex Avery) – One of Avery’s attempts at doing a ‘cutesy’ musical cartoon, this gets away with it mostly thanks to the end gag.
Little Blabbermouse (1940, Friz Freleng) – The first of two shorts featuring a W.C. Fields mouse and a kis mouse who never stops talking. Influenced the later Sniffles cartoons.
Shop Look & Listen (1940, Friz Freleng) – And this is the 2nd of those.
Mouse Mazurka (1949, Friz Freleng) – Sylvester chases after a mouse while the cartoon is set to various Eastern European musical themes. Friz timed to music is best Friz.
Mouse-Warming (1952, Chuck Jones) – Claude Cat without Hubie and Bertie, interfering with two teenage mice nd their romance. Some gunplay, edited from TV, should return here.
Mouse-Taken Identity (1957, Robert McKimson) – This is a Hippety Hopper cartoon, set in a museum. It features the gags you see in all the Hippety Hopper cartoons, as well as Sylvester, Jr. Also had edited gun scenes that should be restored.
Mice Follies (1960, Robert McKimson) – The last of McKimson’s Honeymooners parodies with mice, and the only one not yet on DVD.
It’s Nice to Have a Mouse Around the House (1965, Friz Freleng) – The first cartoon pairing Speedy Gonzalez with Daffy Duck, for better or worse. Also has Sylvester in a cameo. At least Freleng directs this.
Merlin the Magic Mouse (1967, Alex Lovy) – One of Warner’s late 60s attempts to create new marketable characters, and probably one of the better ones (though still not that good). Another WC Fields parody.

Now there’s even ore reason to buy it!

Bookshelf Briefs 5/7/12

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This week, Kate, Sean, and Michelle look at recent releases from Yen Press, Dark Horse, VIZ Media, and Digital Manga Publishing.

Highschool of the Dead, Vol. 6 | Story by Daisuke Sato, Art by Shouji Sato | Yen Press – After reading the first six volumes of this Dawn of the Dead rip-off, I’m still mystified by its appeal. The layouts are busy and poorly composed, a riot of screentones, traced elements, and grossly distended breasts, while the script consists mostly of characters ordering one another around. Yes, there are plenty of scenes of zombie carnage, but even those aren’t executed with much imagination. In volume six, for example, our heroes try to fight their way out a shopping mall, eventually taking refuge on the roof. Sound familiar? That’s because volume one follows the same basic trajectory — just swap “school” for “mall,” and the two storylines are virtually interchangeable. That kind of lazy storytelling might be excusable if Highschool of the Dead were funny or exceptionally gory, but when the laughs and scares are in such short supply, it’s hard to fathom why horror fans are making do with such weak sauce. -Katherine Dacey

Itazura Na Kiss, Vol. 7 | By Kaoru Tada | Digital Manga Publishing – We’re now over halfway through this series, and so we begin to get some new plotlines and characters debut in order to give us more to chew on than “When will Naoki be nice/when will Kotoko be smart?” So we get a new girl who is clearly introduced to be the ‘consolation prize’ to nice yet loser-ish Kinnosuke. It works here, though, as Chris is so much fun – kudos to DMP for translating her fractured Japanese in a way that shows how she sounds to everyone else – and you’re also rooting for her. As for Kotoko, reality slaps her in the face again here, despite minor triumphs like winning over Naoki’s family. Naoki is correct in that Kotoko works best when she isn’t coddled or sympathized with. What’s impressive here is that she realizes it as well. She really may be finally growing up. –Sean Gaffney

Itazura Na Kiss, Vol. 8 | By Kaoru Tada | Digital Manga Publishing – And if the last book showed us Kotoko, if not getting smarter, then at least learning her strengths and limitations, this volume is for Naoki. No, he’s not really all that nicer, but he is at last realizing that he can’t simply expect declarations of love to be entirely one-sided on his wife’s part. Naoki simply doesn’t do emotions – except around Kotoko, who has taught him the joys of frustration, anger, exasperation… and love, reluctant as he still is to admit it. He admits this publicly for one reason – a serious threat to his marriage arrives, and starts pointing out all of his worst flaws. Keita is not particularly in danger of stealing Kotoko – she’s not all that interested. But Naoki here not only admits that he needs Kotoko to be more human – and to be more loving. Which is why the final part of the book is the two of them skipping their anniversary party and sharing a drink and a kiss on a quiet bench. –Sean Gaffney

Kamisama Kiss, Vol. 8 | By Julietta Suzuki | VIZ Media – The annual kami conference is underway, and Nanami has been assigned the special task of sealing the entrance to the land of the dead, which is always besieged by yokai when its guardian kami is away. Unfortunately, she and a mysterious human named Kirihito end up trapped on the other side. So basically, this is yet another “Tomoe to the rescue” scenario. True, Nanami exhibits some bona fide powers as she works to free herself and Kirihito, but ultimately it’s Tomoe who must save her. One nice side effect is that Tomoe seems to realize his feelings for Nanami at long last and some secrets concerning his past—that even he is unaware of—are touched upon. I continue to enjoy Kamisama Kiss, but it must be said that this particular volume was not particularly riveting. – Michelle Smith

Magic Knight Rayearth 2 | By CLAMP | Dark Horse Comics – Needless to say, although it had a great ending, it cannot be denied that the way the last Rayearth manga ended was a bit… well, depressing. So let’s have a sequel where we bring our heroines back and have them save the world again! This omnibus has more flaws than the first – too many characters and a messy and confusing plotline. That said, it explores the idea of what would happen to a world which is collapsing after the woman keeping it idyllic is killed quite well. And it is nice seeing the cute couples that barely had time to be suggested in the first series having a bit more time to develop now – aged-up Ascot is adorable, and I love Caldina and Lafarga too… (Sorry, Rafaga. Damn romanizations.) And of course there’s Hikaru, Lantis and Eagle, which is about as close as one can get to a canonical threesome without a wedding. Not as essential as the first, but still fun. –Sean Gaffney

Psyren, Vol. 4 | By Toshiaki Iwashiro | VIZ Media – The plot of Psyren is moving right along. Oh, sure, there’s the obligatory shounen stuff wherein the heroes are determined to get stronger and the main character must gain control of his tremendous yet potentially destructive power, but we also get more information about how the world of Psyren came to be and how far ahead it is from the present for our characters. Each volume of Psyren is a lot of fun, though I’m beginning to suspect that I would enjoy it even more if I had a lovely stack to consume at once—each time I finish a volume, I wonder when the next will be coming out, which is a pretty big compliment. If you’re weary or wary of certain shounen clichés, Psyren might be different enough to satisfy. As an added bonus, at sixteen volumes, it’s considerably shorter than many titles in this demographic. – Michelle Smith

Voltron Force: Shelter from the Storm, Vol. 1 | Story by Brian Smith, Art by Jacob Chabot | VIZ Media – Back in the 1980s — the golden age of cruddy cartoons with merchandising tie-ins — Voltron: Defender of the Universe introduced a generation of American kids to mecha. Nickelodeon revived the series last year, giving it a fresh look and new cast of cadets. In keeping with the spirit of the original, the new Voltron has inspired its fair share of spin-off products, including a series of original graphic novels published by VIZ. When contrasted with similar comics — especially the original Ben 10 “manga” — Voltron Force: Shelter from the Storm is a superior product, with crisp artwork, sophisticated storytelling, and teenage characters who sound and act enough like teenagers to pass muster with the comic’s target audience of seven-to-ten-year-old boys. The language is sufficiently challenging for advanced readers but not too overwhelming for kids who have just graduated to chapter books, while the diverse cast of characters ensures that boys and girls alike will find a cast member to identify with. A solid addition to the elementary school classroom library. -Katherine Dacey

Pick of the Week: Saiunkoku, NonNonBa, FLCL

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KATE: Looking over Midtown Comics‘ brief shipping list, I’m not particularly interested in Blood Blockade Battlefront—though I admit it’s fun to say—and I haven’t read FLCL yet, so my pick is volume seven of The Story of Saiunkoku. I realize that “spunky” is one of the most abused adjectives in the manga critic’s lexicon, but Shurei, Saiunkoku‘s heroine, is spunky in the best sense of the word: she’s smart, determined, and upbeat without being Pollyannish. That she’s surrounded by an agreeable cast of bishonen makes Saiunkoku a special treat; no matter what your preference, there’s a cast member who will make your heart sing. (I’m a Minister Ko partisan, FWIW.) I’ve fallen a little behind with this series, but the release of a new volume offers me a fine incentive for diving back in.

SEAN: Yeah, I think I’m going to have to give Midtown’s list a pass this week. Half of what I’m getting is last week’s order late, anyway. I am excited for the appearance of Shigeru Mizuki’s NonNonBa from Drawn & Quarterly, though, which Diamond says it is shipping to me this week. We’re in a bit of a yokai renaissance right now, what with Natsume’s Book of Friends, Nura: Rise of the Yokai Clan, and Kamisama Kiss. But no one can possibly top the creator of Gegege no Kitaro for yokai, both in scares, laughs, and pure strangeness. This book is half-autobiographical, and also touches on what life was like growing up in pre-World War II Japan. It’s a must buy.

MJ: Technically, I’m with Kate. The one book I know I’ll enjoy from this week’s tiny list is The Story of Saiunkoku. It’s one of my favorite currently-running shoujo series—probably one of my top three or four, in fact. But since Kate has already recommended it so thoroughly (my heart is singing already), I’ll throw my vote to FLCL. This is a bit of a risky pick for me. I enjoyed the anime series when I first saw it several years ago, despite the fact that it contains a number of elements that generally lose with me (mecha, maids, and a sort of fetishization of teen depression are just a few). And though I don’t tend to have a lot of confidence in manga adapted from anime (as opposed to the other way around), I’ll give this one a shot.

Readers, what looks good to you this week?

Not By Manga Alone: Battle of the bands

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Welcome back to Not By Manga Alone! This month Sean continues his mastery of Kilban’s back catalog with Playboy’s Kilban and Playboy’s New Kilban, while Megan explores the dangers of far north prospecting in Zach Worton’s The Klondike, and the even more terrible dangers of inter-band romance, with Dan Parent and Bill Gavin’s The Archies & Josie and the Pussycats.

The Archies & Josie and the Pussycats | By Dan Parent and Bill Galvan | Archie Comics — Archie Comics has been in the news plenty in the last few years. Between the introduction of Kevin Keller, the line’s first gay character, Archie’s dueling alternate universe marriages to Betty AND Veronica, and his interracial romance (and eventual alternate universe marriage and family) with Valerie of Josie and the Pussycats fame, the once staid publisher has become hot news. Kevin earned the publisher a boycott, and the marriages sparked an epic, cross platform ship war, with shades of class and culture war. Archie and Valerie’s love got some conservative fans tut-tutting but it was generally received well. It’s cute, is the thing.

Archie and Josie kiss.Archie is currently running another of those unit-moving future marriage stories, but this time he marries and begins a family with Valerie. The start of their romance is collected in The Archies & Josie and the Pussycats. The two bands decide to go on tour together, because… because reasons. There are numerous logistical and logical Rubicons to cross here, not least being the status of the two bands: The Archies are a garage band, while the Pussycats can carry a world tour; Archie’s in high school, while Valerie most definitely is not. But aside from the weaselly objections of Alex Cabot, the Pussycats’ money-hungry manager, these issues are glossed over in favour of milkshakes and love songs. And rightfully so, Archie comics having their own particular, family-friendly, romcom logic. If it doesn’t bear up to too close a look, well, it isn’t meant to. And so, in due course–a handful of pages–Valerie and Archie find themselves falling in love.

The romance is rushed. I found myself wondering why Archie, why Valerie, but as with any Archie comic, a certain amount of suspended disbelief is a requisite. It pays to just go with it. The resulting shenanigans–scheming Cabot siblings, a thwarted Veronica–are worth it. Despite the mysterious genesis of their relationship–they write a love song together, and then they fall in love–and a first half that drags, once things get going, they’re adorable.

Writing for comics franchises takes a different skill set than does writing original comics, and Dan Parent and Bill Galvan are old hands. Galvan’s Riverdale is as timeless as ever, with the usual small updates for contemporary sensibilities. And Dan Parent powers through the narrative with admirable brevity. Light, earnest and slightly ridiculous, The Archies & Josie and the Pussycats is pure fun. — Megan Purdy

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The Klondike | By Zach Worton | Drawn and Quarterly — I’ve been meaning to read The Klondike for awhile. I picked it up on a weekend trip to Montreal and it’s been staring at me ever since. The prospect of seeing Zach Worton this weekend at TCAF spurred me on–and I’m so glad I finally cracked the cover, because aside from a few issues, the book is fantastic. The Klondike is historical fiction. Worton tells the story of the Alaskan/Yukon gold rush through a combination of real historical, and fictional characters, and it’s a wise choice that lets him create charming amalgams like Sid the Barber and John the Russian. Characters who have brief, vivid lives in the narrative, but speak to a whole cast of real characters–the thousands of prospectors, some experienced, some naive greenhorns, who came in search of their fortunes. Too many ended their lives in misery, and Worton doesn’t shrug away from that. The harsh conditions of the North are detailed here: the killing weather, isolation, persistently threatened health, and humanity itself are all dangers Worton’s characters have to navigate. Few of them make it through, and fewer strike it rich. Klondike cover

Worton tells the story in segments, shorter stories often centered on interesting historical episodes, interposed with fascinating explanatory notes. The whole is a skillfully woven epic in miniature. The Klondike isn’t just Joe (Dawson City founder and mayor) Ladue’s story, or Sam Steele’s story, it’s a wonderful exploration of the lives of these prospectors and the economy and society that quickly rose up around them. Although it starts out episodic, The Klondike quickly shifts into competing story arcs about the prospectors, cops, criminals, and tough men and women of the North. Worton says that he didn’t want to write an adventure, and The Klondike rolls over that potential story with an avalanche of everyday struggle, misery and small triumphs, but there’s still plenty of action in this book.

Klondike landscapesLike Osamu Tezuka and Bryan Lee O’Malley, Worton contrasts toony figures, with more realistic and beautiful, detailed backgrounds. The characters are made accessible, easy to read, while the landscape of the Klondike is revealed to us with loving attention. It’s probably not a deliberate, story-telling choice, but Worton’s expressive, simply rendered characters have very detailed, over-sized hands. This draws attention to what they’re doing–working, drinking, striking deals–and lends a certain weather-beaten roughness to even the most polished characters.

My chief complaint about an otherwise great book, is that the dialogue is often stilted, and sometimes reads as though it’s adapted from letters, or historical accounts. Later in the narrative, characters pick up individual verbal tics, which goes a long way toward establishing and maintaining a sense of naturalism in speech that’s sorely needed. Early on, conversations read too much like a script without actors; interesting, but stiff and too mannered. Once Worton finds his rhythm–or his characters do–and the various plots pick up, The Klondike is an easy, quick, read that’s informative and at times genuinely moving. — Megan Purdy

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Playboy’s Kliban and Playboy’s New Kliban | By B. Kliban | Wideview Books — Let’s face it, an artist has to earn a living. And B. Kliban has been drawing cartoons since 1965. The Cat book didn’t really take off till the mid to late 1970s, meaning most of his work depended on his main publisher, and that was Playboy Magazine. We’ve seen several cartoons by Kliban, notably in Whack Your Porcupine, that were sexually explicit, but they were still completely bizarre and Kliban-ey. It’s not until we look at these two collections of cartoons he drew explicitly for Playboy over the years that we realize just how much of the previous four books was his sketchbook of unsellable ideas. You will not find grotesque caricatures here – most of the people look fairly normal, and the girls of course all look attractive. This is not weird Kliban, or offbeat Kliban. Or clean Kliban. It is, thank goodness, still funny Kliban.

These books are mostly cartoons from the late 60s and early 70s, and it shows – even if they weren’t meant for Playboy, there’s still a certain aura to them. These cartoons are for the adult male – not just because 80% of them feature sexual content (though there are quite a few here that are ‘normal’), but because they have a certain male viewpoint to them. There’s little to no non-consensual sex here – Playboy cartoons tend to show men and women having tons of fun – but there’s still a certain sexist sensibility I never really got in the prior Kliban collections. Let’s face it, he’s drawing for his audience.

These are such a contrast to his other books, in that they’re mainstream. This doesn’t mean bad – I laughed many times throughout both books – but work like this is what paid the bills, while his Workman Publishing books are what fueled his creative mind. If you can find these, and are over 18, grab a copy – but they aren’t essential, as his other works are. — Sean Gaffney