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The Most Anticipated Manga of 2016

January 4, 2016 by Katherine Dacey

We’re kicking off 2016 with a look at the manga titles and trends we’re most excited about. Joining me and Brigid is manga journalist and critic Deb Aoki, former guide to AboutManga.com, current host of Manga Comics Manga, and Publishers Weekly contributor.

What new manga are we looking forward to this year?

BRIGID: Fruits Basket! Natsuki Takaya’s tangled tale of a cursed family was one of the first shoujo manga I ever read, and I’m looking forward to re-reading it with a more experienced eye (and a better translation).

The other upcoming manga that everyone seems to be looking forward to is Princess Jellyfish, which Kodansha is publishing in double-sized omnibus volumes. This josei title about a bunch of nerdy girls living in their own rooming house sounds like it will be a lot of fun.

In terms of continuing series, I loved the first volume of Planetes and I’m looking forward to more. It’s a smart science fiction story with likeable characters and thoughtful storylines, and Dark Horse’s new edition is a beautiful two-volume omnibus that really feels like something special. I can’t wait to read more of Hiroya Oku’s Inuyashiki, about two humans given extreme superpowers in a freak accident—one uses them for good, one… doesn’t—and Yoshitoki Ōima’s A Silent Voice, an amazingly powerful story that’s about bullying but also about alienation and redemption. One more: Your Lie in April, which has kind of slid under the radar, a shonen romance about musicians that, like A Silent Voice, goes beyond the standard shonen romance tropes and has relatable characters experiencing real emotions.

On a general note: When I was compiling my lists of the best new and ongoing manga series of 2015, I was struck by how many really good manga debuted in 2015. From all accounts, 2016 is going to be even better.

DEB: I’m most excited about the trend where manga publishers are taking chances on titles and genres that were once considered the third rail/extra risky to license, like sports manga. Super excited about the Summer 2016 arrival of the first volumes of Haikyu!! by Haruichi Furudate and Kuroko’s Basketball by Tadatoshi Fujimaki from Shonen Jump/VIZ Media! I love Haikyu!! a lot — been watching the first and second seasons on Crunchyroll over and over again. the characters are really wonderful — it’s delightful to see the team grow and reach new heights every time. It’s got lots of heart and humor as well as exciting sports action. It’s now one of my all-time faves!

I’ve also been enjoying the recently released Yowamushi Pedal by Wataru Watanabe, a manga about a hapless anime otaku who discovers that he has a talent for bicycle racing. Big ups to Yen Press for publishing this fairly long series in double-sized volumes.

queen-emeraldas-small Another example of manga publishing biz in the US dipping their toes into riskier fare is the upcoming publication of three classics: Rose of Versailles by Riyoko Ikeda from Udon Entertainment, Queen Emeraldas by Leiji Matsumoto from Kodansha Comics, and Otherworld Barbara by Moto Hagio from Fantagraphics Books. For too long, the classics that are the foundation of manga in Japan have been largely unavailable in English. I’m hoping that these titles succeed so we can someday get more.

Also super excited about having more manga by Asano Inio available in English. Solanin and What a Wonderful World! are go-to recommendations for anyone who loves indie comics and is curious about manga. Now VIZ Media is publishing the mind-bending Goodnight Pun Pun, and A Girl on the Shore, coming from Vertical Comics. Both should be on your pre-order lists, as these are beautifully drawn, thought-provoking books that everyone will be talking about in the months to come.

KATE: I share Deb’s excitement about classic manga. It’s a risky undertaking for any publisher, especially when so many readers are young (under 20) and not particularly curious about the medium’s roots. It will be interesting to see if UDON can pitch Rose of Versailles to the Shojo Beat crowd; though the artwork is a little dated, the melodrama, costumes, and kick-butt female lead have obvious parallels with titles in VIZ, Kodansha, and Yen’s catalogs. Who knows? It could be a surprise hit.

Speaking of vintage titles, I’m ecstatic about Drawn & Quarterly’s new Kitaro volumes. D&Q will be releasing these previously untranslated stories in slimmer, kid-friendly editions–a departure from their 2013 Kitaro release, which screamed “prestige project!” I think that’s a smart move: adults with an interest in Shigeru Mizuki’s work will buy it in almost any format, but younger manga fans need a length and trim size that reflects their own reading habits.

Another title on my must-read list is Jiro Taniguchi’s Guardians of the Louvre, which NBM Publishing will be releasing in April. The previous installment of the Louvre series–Hirohiko Araki’s Rohan at the Louvre–was the ultimate otaku two-fer: a ghost story and a standalone chapter in the JoJo’s Bizarre Adventure saga. Taniguchi’s book will undoubtedly be a more sober affair, but one I’m anticipating with the same eagerness: I can’t wait to see how Taniguchi integrates the museum’s famous collection into his story.

In the just-for-fun department, I Am a Hero, a zombie thriller from Dark Horse, is near the top of my list, as are VIZ’s Haikyu! (mentioned by Deb above), Vertical’s FukuFuku: Kitten Tales, and the final installment of DC Comics’ Batman: The Jiro Kuwata Batmanga. I’m also looking forward to Wandering Island, a story about a gutsy young woman who runs an air mail service in a remote corner of Japan. The illustrations are by Kenji Tsurata, the creator of the criminally under-appreciated Spirit of Wonder, which was published by Dark Horse in 1998.

Last but not least, I’d also make a plug for The Osamu Tezuka Story: A Life in Anime and Manga. This visual biography clocks in at a hefty 900 pages, highlighting important periods in Tezuka’s career as an illustrator and animator. Its author, Toshio Ban, worked closely with Tezuka in the 1970s and 1980s, giving Ban a unique perspective on his subject. As an added bonus for American readers, Stone Bridge Press brought in Frederick L. Schodt to do the translation.

How about conventions—does anything look particularly tempting?

DEB: I’m always curious to see what Toronto Comic Arts Festival will be bringing as their guests this May. Last year was Gurihiru and Aya Kanno, prior years brought Konami Kanata, Moyoco Anno, Akira Himekawa, Usamaru Furuya, Est Em, Natsume Ono and Yoshihiro Tatsumi to name just a few. I don’t know what they have planned, but I know it’ll be worth the trip!

As booth space and tickets get harder and harder to get at San Diego Comic-Con, Anime Expo in Los Angeles has turned into the Japanese content biz must-go show. I’ve noticed that more companies from Japan are buying booths, and see lots of meetings / business being conducted at the show.

It’s great that AX is getting bigger and bigger, but I worry that it creates a situation where the anime/manga world becomes even more segregated/separated from the general pop culture community that converges at Comic-Con and similar American shows. This is especially irksome because it seems like most of the Western comics / pop culture press corps basically ignore / don’t report on / don’t attend Anime Expo or any of the announcements that come out of this show.

This pisses me off because anime/manga matter more than ever — especially as its fandom tend to skew younger, are more active, and more interested in all kinds of entertainment from US and Japan compared to their counterparts on the superhero side of the comic shop. So much for my “be less crabby in 2016” resolution… ;-)

KATE: I had a blast attending shows like New York Comic Con and Wondercon in the late 2000s. The last time I attended NYCC, however, I felt that the show had taken a much sharper turn towards the television, film, and gaming industries, and was losing its identity as a comics convention. The manga publishers were still there, of course, but it was harder to circulate and interact with editors and sales reps because of the enormous crowds. That experience pretty much soured me on going to any more big conventions. TCAF always sounds like a blast, but the timing never works for me; I’m always knee-deep in final exams and student papers when it rolls around!

BRIGID: I echo Deb’s concern about AX, but it does seem like this year, the news was spread across a broader swath of conventions—and many of the new licenses, including Fruits Basket, were announced on Twitter. The presence of so many people from the Japanese publishers—not just creators but editorial staff as well—was very noticeable this year and shows that the publishers are taking the American audience seriously. It also enhanced the experience to see, for instance, the editor of Noragami explaining the process of how it went from sketches to finished page. I’m looking forward to more of that at the larger shows as well as the more intimate experience at the smaller shows, where the creators and their readers are not so far apart.

Any predictions about the industry?

DEB: Almost all signs point to a healthier, more robust manga publishing business in 2016, which is a great thing. I don’t see the same rush to publish anything and everything vaguely manga-ish (even crappy manga) that I saw prior to the crash of the late 2000’s — publishers seem to be making more careful choices, more calculated risks. The fact that they’re taking any risks at all — by expanding genres, offering their stories via more digital channels and doing more simulpub/same day as Japan releases, is a good sign.

I’m also intrigued/encouraged by the efforts being made by Japanese manga publishers to welcome submissions by creators from outside of Japan, like Comics Zenon’s Silent Manga Audition contests and the Japanese edition of Shonen Jump’s latest contest to get published in their online magazine, Jump Plus. It’s no secret that many up-and-coming comics creators from around the world are inspired by manga, so it’ll be very interesting to see what happens when more of these creators get exposure in Japan and guidance from Japan’s top-notch manga editors.

KATE: I’m consistently impressed by Seven Seas’ tenacity and business acumen, but not so impressed with the actual titles they license. Last year, however, Seven Seas published The Ancient Magus’ Bride and acquired Orange, neither of which fit the profile of a typical Seven Seas manga; if anything, both seemed like the kind of titles that CMX used to license. That gamble has paid off with Bride, which recently cracked the NY Times Manga Bestseller list. My prediction: Seven Seas will continue to make bold licensing choices in 2016, even as vampire-monster girls remain their core business.

BRIGID: I see publishers taking manga more seriously as the audience expands. While the “pile ‘em high and sell ‘em cheap” attitude that made Tokyopop and Viz’s Shonen Jump lines such a success ten years ago works well with teen readers, who gobble up manga in quantity, publishers are starting to cater to older readers who want a somewhat better experience. The oversized omnibus isn’t that much more expensive than single volumes, but it allows for a more satisfying reading experience, and publishers often include extras like better quality covers and color pages. Viz’s new edition of Monster, Dark Horse’s Planetes, and Yen Press’s Emma are all examples of this, and Kodansha gets a shoutout for not only its superb editions of Vinland Saga but its deluxe Attack on Titan Colossal Edition. This seriousness goes beyond production values to the licensing of quality manga that might not have found a market in earlier years, including Inuyashiki and Naoki Urasawa’s Master Keaton.

gekiga01 If any publishers are reading this, I have a very specific licensing request. There’s a small French publisher called Lezard Noir that is publishing some amazing manga in French; I spoke to the publisher when I was in Angouleme two years ago and was really impressed with his line, which includes Minetaro Mochizuki’s Chiisakobé, Bonten Taro’s Sex & Fury, and Masahiko Matsumoto’s Gekiga Fanatics. I’m not the only one—every year at least one of his books is picked as an official selection by the Angouleme festival. I’d love to see some U.S. publishers pick up these titles in a similar format—I think they would have a lot of appeal to those older, more sophisticated manga readers.

My Week in Manga: December 28, 2015-January 3, 2016

January 4, 2016 by Ash Brown

My News and Reviews

Happy New Year, everyone! 2015 may now be over, but there is still time to enter Experiments in Manga’s last giveaway of the year for a chance to win Merman in My Tub, Volume 1 by Itokichi; simply tell me a little about your favorite manga released in 2015. As for the first in-depth manga review of the year, that particular honor goes to Tetsu Kariya and Akira Hanasaki’s Oishinbo, A la Carte: The Joy of Rice, which examines the heart and soul of rice in Japanese culture and cuisine. Finally, over the weekend, I posted December’s Bookshelf Overload, the first of what I expect to be many fairly lean months when it comes to book purchases.

Since I’ve been on holiday for the last week or so, I haven’t actually been online much, so I’m certain that I’ve missed out on all sorts of manga news, announcements, and articles. (Please do let me know of any that were particularly exciting!) However, I did come across a few things that made for interesting reading last week. For example, Jonathan Hammill, Tokyo Symphony’s Principal Horn player, wrote about performing and recording music for anime. (I’m a horn player myself, so I found this doubly interesting.) The Shojo Beat tumblr posted the first part of an interview with Arina Tanemura, with the second part to come. And Organization Anti-Social Geniuses has the 2016 update of it’s incredibly useful guide to reading digital manga legally.

Quick Takes

Nephilim, Volumes 1-2 by Anna Hanamaki. It was the basic conceit of Nephilim that first brought the series to my attention. The Nephilim are a race of people who change sex and gender, revealing their true selves at night before transforming again in the morning. Should a human see a Nephilim’s true form, the Nephilim must either kill that human or else die of a curse themselves. (That last bit is apparently too inconvenient from a storytelling standpoint and is soon dropped, however.) When Abel is seen by Guy she is determined to take his life, but that was before she fell in love with him. Now she has a terrible choice to make since a romance between a human and a Nephilim would seem to be doomed from the very start. As far as I can tell, Nephilim was canceled after two volumes; I can’t say that I’m particularly surprised. Despite a vaguely promising start and intriguing worldbuilding, unfortunately the series ends up being a confusing, nonsensical mess with hardly a likeable character in it, somehow managing to become more and more cliche as unfolds even while incorporating unique elements. The artwork could be pretty at times, though.

One-Punch Man, Volumes 1-3 written by One and illustrated by Yusuke Murata. For over a year, most of One-Punch man was only available in English digitally; it was only recently that it was finally released in print. I had been holding out, so I was glad when I could finally hold the series in my hand. I have been hearing great things about One-Punch Man since it first began and I was sincerely afraid that I would be disappointed when I read it. I was very happy to discover that the series lives up to its reputation. Both the writing and the artwork are excellent. The premise of One-Punch Man is that Saitama, at one point a miserable salaryman, has taken his hero training so far that he can now defeat any enemy with a single punch, once again leaving him bored and frustrated with life. He’s actually more worried about missing bargain days at the supermarket than he is about dying in battle. One-Punch Man is legitimately funny and the fight and action sequences are great. I’m actually rather impressed by how many different scenarios One has come up with for what could have been a very limited, one-shot joke.

Tale of the Waning Moon, Volumes 2-4 by Hyouta Fujiyama. The first volume of Tale of the Waning Moon amused and entertained me, so I figured that I should read the rest of the short boys’ love series. The manga continues to be utterly ridiculous, although by the end it has become surprisingly weighty. In the beginning, the plot progression of Tale of the Waning Moon is highly influenced by role-playing games, complete with random old men giving clues as to what needs to be done next (I love this) and multiple side quests that must be completed before the main goal can be achieved. The goal in this case being uniting Ryuka with Ixto, one of the spirits of the Moon. The RPG elements become less prominent as the series develops although the fantasy setting remains. I generally preferred the goofier side of Tale of the Waning Moon; some of the more serious developments actually felt a little out-of-place and less convincing than the series’ comedy and silliness. But I did enjoy the manga overall. Though it had a dubious start, Ryuka and Ixto’s relationship is sincere in the end. I did, however, find that I was often more invested in the supporting cast and couples.

Honey So Sweet, Vol. 1

January 3, 2016 by Anna N

Honey So Sweet Volume 1 by Amu Meguro

I always look forward to checking out new Shojo Beat series, but I was wondering before I picked up this title if it would be a bit TOO sweet. Once the characters and backstory got set up, I enjoyed this volume.

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The volume opens up with a flashback scene of Nao Kogure walking away from a boy recovering from a beating in the rain, saying that people might consider her helpless, but she doesn’t want to get involved with delinquents. The delinquent in question is Taiga Onise, nicknamed Oni at his school. He promptly announces to Nao that they need to talk, and when she follows him he presents her with a bouquet of roses and asks her if she’ll “date him with marriage in mind.” Nao is so intimidated by her suitor that she accepts immediately because she’s afraid of retaliation.

Nao discusses the situation at home with her guardian, her Uncle Sou. He points out that judging Onise by his outward appearance is unfair and she should get to know him first. The next day at school she sees Onise doing chores, helping teachers, and he makes an incredibly cute bento for them to share at lunch. One of the most annoying thing about this manga in the early chapters was Nao’s fear of Onise, long after the point where it should be clear to everybody that dyed hair and random piercings aside, he’s an absolute sweetheart. The other thing that has Nao hesitating about getting involved with her first boyfriend is that she’s decided she’s in love with her Uncle.

Nao and Onise continue their friendship, and one of the things I enjoyed very much about this series were cute details that showcase their personalities, like Onise’s tendency to write elaborately formal text messages when he’s nervous. Nao has her own trauma to deal with due to being an orphan, and she finds it difficult to get close to people. Much of the plot centers around some typical shoujo set pieces like a class trip, but Nao and Onise gradually start collecting a small group of misfit friends, and the series is so genuinely warm-hearted, it is hard to resist.

I found myself enjoying Meguro’s art style very much. So much shoujo manga art tends to be overly polished, but Meguro uses thin whispy lines that make the illustrations in Honey So Sweet seem delicate and not overworked. The storylines centered on friendship, combined with Nao’s psychological issues reminded me a bit of some of the old Banri Hidaka series published by CMX. This first volume was mostly set-up, so I’m curious to find out what happens next in this series.

Bookshelf Overload: December 2015

January 3, 2016 by Ash Brown

Well, here it is! The last Bookshelf Overload for 2015. For anyone who regularly follows this particular feature, it’s probably immediately obvious that the number of books that made their way onto my shelves last month is significantly smaller than usual. As alluded to in November’s Bookshelf Overload, it will likely be quite a while before the days of absurdly large monthly acquisitions returns. There’s a very good reason for this: In what is simultaneously one of the best and worst decisions that I’ve made in my life, I’m currently in the process of buying a house. Thus, my spending habits must be adjusted accordingly and for the foreseeable future I’ll need to be much more selective in my purchases. That being said, there were a few manga released in December that I simply couldn’t pass up. It was a great month for Makoto Yukimura fans, whose Planetes is once again available in English in a new and improved edition courtesy of Dark Horse Comics. The most recent Vinland Saga omnibus was released, too. (Look for a review to come soon; it was excellent.) I was also very happy to see the release of Kore Yamazaki’s The Ancient Magus Bride, Volume 3 and am greatly looking forward to starting Wataru Watanabe’s Yowamushi Pedal. Also, Die Wergelder by Hiroaki Samura of Blade of the Immortal fame has made its debut. (I’ll likely be reviewing this series as well.)

Manga!
The Ancient Magus Bride, Volume 3 by Kore Yamazaki
Die Wergelder, Omnibus 1 by Hiroaki Samura
From Far Away, Volume 13 by Kyoko Hikawa
Mobile Suit Gundam: The Origin, Volume 12: Encounters by Yoshikazu Yasuhiko
Pandora Hearts, Volumes 11-19 by Jun Mochizuki
Planetes, Omnibus 1 by Makoto Yukimura
Tenjo Tenge, Omnibus 8 by Oh!Great
Vinland Saga, Omnibus 7 by Makoto Yukimura
Yowamushi Pedal, Omnibus 1 by Wataru Watanabe

Comics!
Purity: The “Post-Yaoi” Anthology edited by Anne Notation and A. E. Green
Teleny and Camille by Jon Macy

Anthologies!
Southern Exposure: Modern Japanese Literature from Okinawa edited by Michael Molasky and Steve Rabson

The Devil Is A Part-Timer!, Vol. 3

January 3, 2016 by Sean Gaffney

By Satoshi Wagahara and 029. Released in Japan by ASCII Mediaworks. Released in North America by Yen Press.

After Sariel proved to be a rather creepy and awful villain in Book 2, I was not going to be surprised if another archangel showed up to make trouble for Maou and company, and sure enough, Gabriel pops up halfway through the book to alternately threaten and be amusing. As with Emeralda, he seems to have some sort of regional accent in the original, which is conveyed by giving him a sort of ‘valley girl’ style voice – if you imagine Poland from the Hetalia books, you’re on the right track. In any case, as a villain he’s merely OK, mostly as we’re used to these guys being taken out fairly easily by now. As a comic character he’s funnier, being a whining slacker who seems to simply be very bad at his job, and he naturally ends up staying in Japan once the book ends.

That said, clearly the more important new character here is Alas Ramus, the magical child who appears from inside an apple (Ringotaro?) and immediately declares that Maou and Emi are her mother and father. She’s cute and clingy, as you’d expect from a girl who acts one year old most of the time, but she’s also a magical macguffin, so is allowed to do things like explain the plot in baby talk. Somewhat less successful is her resolution of the battle with Gabriel, mostly as the author wants to pretend briefly that Alas Ramus is returning to the fantasy world, so we get a brief “oh no, she sacrificed herself” beat. The trouble is that, as I indicated earlier, this isn’t the sort of series that would seriously do that, so of course it turns out she actually merged with Emi’s Holy Sword, which is now even more holy.

The bigger impact that Alas Ramus has is on the pseudo-harem that the books continue to tease. Chiho has a brief crisis of conscience when she realizes that, even after Maou says he depends on her, she still can’t help getting jealous about Maou and Emi raising a child together. (It’s almost as if she’s a teenager or something…) And Emi is again starting to realize that perhaps Maou is not quite the Fantasy Hitler that she wants to imagine him as, and continues to have more of the worldview that she keeps intact in order not to have a complete nervous breakdown kicked out from under her. (The cliffhanger implies the breakdown will not be long in coming.) And Maou gives us some backstory that suggests that most of the atrocities that happened while he ruled Ente Isla were less “I am evil” and more “I wasn’t really paying attention to my underlings”. And, more importantly, that he bitterly regrets that was the case. This is the best part of the book.

So while I don’t think this was quite as good as the first two books, it’s still very entertaining, and also continues the story past the anime, for those who hate to read already adapted novels. And the prose style, particularly the snarky narration, is excellent – as I’ve said before, this is one of Yen On’s smoothest translations. Definitely a fun read.

Oishinbo, A la Carte: The Joy of Rice

January 1, 2016 by Ash Brown

Author: Tetsu Kariya
Illustrator: Akira Hanasaki
U.S. publisher: Viz Media
ISBN: 9781421521442
Released: November 2009
Original release: 2005
Awards: Shogakukan Manga Award

At well over one hundred volumes, Oishinbo is one of the most successful and long-running food manga in Japan, winning the Shogakukan Manga Award in 1987. Written by Tetsu Kariya and illustrated by Akira Hanasaki, Oishinbo first began serialization in 1983 and is still ongoing although currently the manga is on indefinite hiatus following a controversy of its depiction of the aftermath of the 2011 Fukushima Daiichi nuclear power plant disaster. Between 2009 and 2010, Viz Media released seven volumes of Oishinbo, A la Carte under its Signature imprint, becoming the first food manga that I ever read. Oishinbo, A la Carte is a series of thematic anthologies collecting chapters from throughout the main Oishinbo manga. Oishinbo, a la Carte: The Joy of Rice was the sixth collection to be released in English in 2009. However, The Joy of Rice was actually the thirteenth volume of Oishinbo, A la Carte to be published in Japan in 2005.

The Joy of Rice collects eight stories and one essay in which rice, an important staple of Japanese diet and cuisine, is featured. In “A Remarkable Mediocrity,” the wrath of a wealthy businessman and gourmand who made his fortune dealing in rice is able to be appeased by the simplest of dishes. “Brown Rice Versus White Rice” examines how people can be mislead even when they make an effort to eat healthily. The structure of rice and how proper storage can make a difference when it comes to cooking it are the focus of “Live Rice.” Yamaoka, Oishinbo‘s protagonist, makes a case against the importation of foreign rice into Japan in “Companions of Rice.” In “The Matsutake Rice of the Sea,” a wager between friends over a rice dish becomes more important than they realize. Kariya opines about the eating manners of Chinese, Japanese, and Koreans in his essay “The Most Delicious Way to Eat Rice.” A debate on the proper way to eat rice is central to “No Mixing” as well. Rice takes a supporting role in “The Season for Oysters,” but once again takes the spotlight in the three-part “Rice Ball Match.”

Because Oishinbo, A la Carte compiles various stories together by theme rather than by chronology, the series can feel somewhat disjointed. Having read nearly all of the Oishinbo, A la Carte collections available in English, for the most part I’ve gotten used to and even expect this, but it seemed to be particularly glaring in The Joy of Rice. From story to story it’s often difficult to anticipate the status of the characters’ relationships with one another and those relationships are often very important to understand. For example, “A Remarkable Mediocrity” is one of the earliest episodes to be found in Oishinbo proper—it’s a little awkward to have the chapter that originally introduced several of the established recurring characters appear so late in A la Carte. Admittedly, the point of Oishinbo, Al la Carte is to highlight specific foods or themes; only a basic understanding of the underlying premise of Oishinbo and of its characters is absolutely necessary. The translation notes help greatly, but it can still make for an odd reading experience.

The Joy of Rice examines the place of rice within Japanese culture and cuisine, addressing both social and scientific aspects of the grain. Like the other volumes in Oishinbo, A la Carte, The Joy of Rice places a huge emphasis on organically and locally produced food, railing against pesticides, herbicides, and the use of antibiotics in agriculture. The series is not at all subtle about the stance it takes, and Yamaoka can frankly be a jerk about it at times. Initially I was hoping that The Joy of Rice would explore the different varieties of rice found and used in Japan, but the volume instead focuses on the significance of rice in the lives of the country’s people—the nostalgia and memories associated with it and the pure enjoyment and complete satisfaction that it can bring—which was ultimately very gratifying. However, my favorite story in The Joy of Rice, “Rice Ball Match,” uses rice to delve into Japanese culinary culture and history as a whole, which was an excellent way to round out the volume, bringing all of the manga’s themes together in one place.

Dorohedoro, Vol. 17

January 1, 2016 by Sean Gaffney

By Q Hayashida. Released in Japan by Shogakukan, serialization ongoing in the magazine Hibana. Released in North America by Viz.

Despite all its violence and loving depictions of chopped-up corpses, Dorohedoro has always had a loose relationship with actually killing characters off, given that there are several deus ex machinas in this universe able to resurrect someone from the dead given enough time and materials. No one really doubts En is eventually going to be back, for example, and even though Fujita lay at death’s door and lost an arm in the last volume, he’s fully healed early on here. This is why when we do see genuine death it has an impact, even if there’s something in the back of our heads saying “are they reeeeeaaallly dead?”.

Natsuki’s death in Vol. 13 was such a death, and it gets confirmed here in the worst way, as Ton, the one most dedicated to finding her true fate, ends up sharing it. This is actually sort of sweet and touching in a horrible way, as Ton comes across her body, now strangely mute, but can’t escape where he thinks they are. There’s even a ‘going into the light’ cliche to show off that yes, they are indeed dead. The same can’t be said for the rest of the cross-eyes, though, as even though the majority of them are horrible butchered by their boss, who they’ve finally decided is not worthy of following, we could still see them come back, as we were able to save the corpses’ heads. It’s that kind of series.

Meanwhile, En’s party is also discussing death. Sure, they have Noi, and Judas’ Ear, but there’s still some kinds of lethal blows that you just can’t fix. Luckily, there’s an operation that makes a person virtually unkillable, even if they get their brains blown out. Admittedly, the operation is almost always lethal, but that’s why you do it on someone like Noi, who already has amazing resurrection powers. I love that Noi hates this, and regards it as a safety measure because she’s too weak – something Ebisu is quick to point out is basically correct. When you have the ability to heal anyone from certain death, you get coddled a bit, whereas Noi just wants to keep punching people till their bodies are piles of goo.

And then there’s Nikaido, whose motives are becoming more and more questionable as she gains more and more of her devil powers – her usually expressive eyes get narrowed to pinpricks, and the gyoza she made in a devil-induced flurry last time seem to be dangerously addictive. It’s a bit difficult to talk about morality in a series like Dorohedoro, where even the nice and sweet people happily go around butchering passersby. But you get the sense that something here is off, that Nikaido is heading down a dangerous road. This is not helped by the absence of Caiman – Risu just does not have the same ability to restrain her weirder impulses. In the meantime, we’ve now gathered the entire cast at the department store setting, and Fujita has managed to find En’s tumor, so I suspect the next volume may contain even more gore than this one, if that is strictly possible. Assuming you can get past the gore, highly recommended as always.

Manga the Week of 1/6

December 31, 2015 by Sean Gaffney, Ash Brown, Anna N, MJ and Michelle Smith 1 Comment

SEAN: For a first week of the month, this is pretty mild. And by mild I mean there’s still 17 titles due out. But mild by comparison.

Seven Seas gives us a 2nd volume of A Certain Scientific Accelerator, as he deals with a Certain Magical Girl who is messing up his plans to not get involved.

And a 2nd Merman in My Tub, with more wacky anthropomorphism (which would make a great band name).

ASH: That it would!

SEAN: There’s also a 3rd volume of Senran Kagura: Skirting Shadows, which I had forgotten existed, likely as it’s already hit ‘caught up with Japan’. Judging by the cover, breasts are somehow involved. I wonder if someone will trip and fall into them.

The rest is all Viz. There’s a 14th Blue Exorcist, which I admit I always forget about between volumes, but it all comes back to me when I read a new one.

Aya Shouoto continues to be the new Arina Tanemura, as we can’t get enough of her work. This week we have a 3rd Demon Prince of Momochi House, and also an 8th Kiss of the Rose Princess.

ANNA: Not surprisingly, I enjoy these series. These manga are solid shoujo series, even if they aren’t standouts.

MJ: I’ve begun to enjoy them as well!

SEAN: If you like shoujo that’s so sweet as to give you cavities, the first volume of Honey So Sweet may be for you.

MICHELLE: Sometimes I do like that very thing, so I am looking forward to this one.

ANNA: Also not surprisingly this is on my reading list!

MJ: And mine!

SEAN: Kimi ni Todoke is also good at sweet, but has also been putting on the drama a bit lately as we hit Vol. 23.

ANNA: I’ve been avoiding this just because I’m not sure I can deal with all the feels.

SEAN: And it will be hard to top the concentrated sweetness that is My Love Story!!, whose 7th volume is guaranteed to require major dentistry for all its readers.

MICHELLE: Heh. Also on my list.

ASH: Mine as well! Such a wonderfully charming series.

ANNA: Ditto. One of the series I most look forward to reading.

MJ: Wow, what a lovely, shoujo-ish week.

SEAN: Naruto has a one-volume sequel coming out next week, The Seventh Hokage and the Scarlet Spring. Be warned, it’s post-Epilogue.

And there’s a 13th Naruto 3-in-1.

Lastly, if you really want to catch up, Naruto 49-72 are in a giant box. Perfect for figuring out what the fuss was all about and why Sakura fans are so angry.

Natsume’s Book of Friends 19 is the one shoujo out this week that’s more bitter than sweet, but I still love it to bits.

MICHELLE: Me, too. Much as I look forward to the others, this is the one I’m really celebrating about.

SEAN: And a 13th Nisekoi, which will answer the question “will this still sell after the harem has now been sunk in the weekly chapters from Japan?”.

One-Punch Man just gets more and more popular by the week, so I expect big things from the 4th manga volume. And also big punches.

ASH: Still thrilled we’re finally getting this series in print.

ANNA: Why did it take so long? Hooray for punching!

SEAN: Twin Star Exorcists is getting an anime soon, so I think the 3rd volume should do pretty well.

And there’s an 8th volume of World Trigger, one of those Jump series I always despair about falling further behind on.

So what are you ringing in the New Year with?

The Best and Worst Manga of 2015

December 30, 2015 by Katherine Dacey

After a two-year hiatus from blogging, I donned my critic’s cap again in 2015. I’ve enjoyed writing my quasi-weekly column, but composing a year-end list reminded me why I stepped off the reviewing treadmill in 2012: mediocre books! This year yielded a veritable bumper crop of so-so manga, titles that were competently executed but otherwise unmemorable thanks to an abundance of generic characters, cliché settings, and predictable plot twists; you’d be forgiven for feeling that you’d read many of 2015’s debuts before, even if the artists were new to the US market.

Lurking among the paint-by-number romances and boy-saves-world titles, however, were a few gems. I’ve done my best to highlight the titles that made me feel something, whether that feeling was love, hate, or a mixture of both. To that end, I’ve included my nominees for the worst manga of 2015 alongside the books that made me laugh and cry.

Best New Series: Yowamushi Pedal
By Wataru Watanabe • Yen Press
You know the rap on sports manga: American readers won’t buy it, and don’t like it. Yowamushi Pedal might just change that, however, thanks to a story that plays well across the nerd-jock divide. Onoda, the hero, is a self-professed otaku whose weekly bike rides into Akihabara have transformed him into a secret Lance Armstrong clone. Though Onoda wants to revive his school’s anime club, his amazing hill-climbing skills and stamina get noticed by more seasoned riders, all of whom convince Onoda to join the cycling team. The series’ races are nail-biting, page-turning affairs, but it’s the in-between stuff that makes Yowamushi Pedal work. Onoda doesn’t just discover a new skill; he discovers a community of people who share his passion for riding and respect his talent. In short, Yowamushi Pedal is a coming-of-age story in which a bike becomes the nerdy hero’s vehicle—pun intended—for self-actualization.

Best New Shonen Series: One-Punch Man
By ONE and Yusuke Murata • VIZ Media
One-Punch Man is the ultimate have-your-cake-and-eat-it-too manga. On the surface, it’s an affectionate spoof of shonen clichés that pokes fun at goofy costumes, over-the-top training sessions, and speech-prone villains. On a deeper level, however, One-Punch Man is a great adventure series about an ordinary but strong-willed individual who sets out to rid his city of monsters, only to discover that there’s a much greater threat to mankind than the lobster-men and were-lions that roam the streets. The result is a sincere, gut-bustingly funny manga that reads like a Silver Age superhero comic, splats and all. (Reviewed at Manga Blog on 6/12/15.)

Best New Romance Manga: Horimiya
By Hero and Daisuke Hagiwara • Yen Press
Horimiya is one of 2015’s most pleasant surprises, a teen rom-com that avoids cliché situations by focusing on the characters’ lives outside school. At first glance, its lead characters look like opposites: Kyouko is the class queen, while Izumi is a quiet loner. When they bump into each other off campus, however, they quickly realize they have more in common than their carefully constructed identities would suggest–a realization that leads to friendship and flirtation. In less imaginative hands, Kyouko and Izumi’s budding romance would be subjected to endless tests–school plays, beach trips, hot transfer students–but the authors resist the urge to trot out these over-used scenarios, relying instead on more ordinary settings for comedic (and dramatic) grist. It’s the perfect antidote to the wacky misunderstandings that drive the plots of Cactus’ Secret, Special A, and a dozen similar titles.

Best New Gag Manga: Junji Ito’s Cat Diary: Yon & Mu
By Junji Ito • Kodansha Comics
Draw a Venn diagram that shows the overlap between Junji Ito fans and cat lovers, and you’ve found the small but perfect audience for Junji Ito’s Cat Diary, a collection of anecdotes about Ito’s beloved pets Yon and Mu. Though the manga’s jokes explore familiar terrain, Ito’s exaggerated reaction shots are priceless, capturing the mixture of love and disgust that cats inspire in their owners. (Imagine Edvard Munch drawing a gag manga about cats, and you get the general idea.) Ito is refreshingly honest about the way animals change the dynamic between people, too; in some of the manga’s most memorable scenes, Ito and his fiancée compete fiercely for their cats’ affection, plying Yon and Mu with toys, treats, and cuddles. Though the prevailing tone is campy, Ito’s obvious affection for his cats helps prevents the Diary from becoming too arch. (Reviewed at Manga Blog on 12/12/15.)

Best Historic Title: Ludwig B.
By Osamu Tezuka • DMP, Inc.
Left unfinished at the time of Osamu Tezuka’s death, Ludwig B. is a fictionalized biography of Beethoven. Tezuka only completed two volumes, but oh, those two volumes! Tezuka draws evocative scenes of Beethoven at the keyboard, using striking visual metaphors to convey the sound of Beethoven’s music. Tezuka also does a good job of capturing the dynamic between Beethoven and his father, revealing the extent to which Johann’s drinking, gambling, and stage-parenting cast a long shadow over Beethoven’s adult life. Purists should note that Tezuka takes frequent liberties with the historical record, creating a mustache-twirling villain named Franz Kreuzstein to serve as a foil for the young, determined Beethoven. If you’re not offended by such creative license, however, Ludwig B. offers an interesting glimpse into Beethoven’s development as a composer, and Tezuka’s lifelong fascination with Beethoven.

Best Reprint Edition: Planetes
By Makoto Yukimura • Dark Horse
Listen up, manga publishers: if you’re going to do a new edition of a fan favorite, Dark Horse’s two-volume omnibus of Planetes is a swell example of how to do it right. The story has a crisp new translation, full-color pages, and a bigger trim size that gives Makoto Yukimura’s artwork room to stretch out. Better still, the new edition collects more chapters in each volume, allowing newcomers to read far enough into Planetes for Yukimura’s episodic character studies to gel into a more coherent story about space travel and social inequality; by the time newbies reach the end of volume one, they’ll be hooked, too.

Best Manga I Thought I’d Hate: Haven’t You Heard? I’m Sakamoto
By Nami Sano • Seven Seas
In theory, Haven’t You Heard? I’m Sakamoto is a one-note samba: the titular character is handsome, good at everything, and unfailingly logical in all situations. In practice, however, Haven’t You Heard? is the Goldberg Variations of gag manga, taking stock scenes and putting a bizarre twist on them. The secret? Sakamoto is just a little too perfect, behaving more like a well-programmed android than a flesh-and-blood person. His peculiar brand of sangfroid confounds enemies and admirers alike; no one can decide if he’s cool or crazy, or where his loyalties might lie, making it impossible to predict how he’ll respond to each new challenge. (Reviewed at The Manga Critic on 8/7/15.)

Worst Manga I Thought I’d Love: JoJo’s Bizarre Adventure, Part 1: Phantom Blood
By Hirohito Araki • VIZ Media
At the risk of becoming the Armond White of manga critics, I’m nominating Hirohito Araki’s bone-crunching, chest-thumping saga for Most Exhausting New Series of 2015. That’s because Phantom Blood is a prime example of all-caps theater, the sort of manga in which every word balloon is filled with emphatic punctuation, and every plot twist seems like the brainchild of six teenage boys hopped up on Mountain Dew. In small doses, this more-is-more approach to storytelling can be amusing, but in longer installments, the cumulative effect of so much narrative excess is numb resignation; I didn’t feel entertained so much as punched in the face. (Reviewed at Manga Blog on 5/22/15.)

Most Disappointing Manga: Shigeru Mizuki’s Hitler
By Shigeru Mizuki • Drawn & Quarterly
Shigeru Mizuki’s Hitler is one of the artist’s lesser works, uncomfortably see-sawing between character study and history lesson in its efforts to show us the man behind the Third Reich. Mizuki’s signature blend of cartoonish figures and photo-realistic backgrounds have been deployed to powerful effect in Non Non Ba and Onwards Towards Our Noble Deaths. Here, however, Shigeru’s hybrid style is a poor match with the subject; seeing Hitler reduced to a crude caricature makes it all too easy to view the book as a curiosity, rather than a serious meditation on evil. The virtual absence of the Holocaust is an even greater shortcoming; Shigeru Mizuki’s Hitler never grapples with the Fuhrer’s most disturbing legacy save for one blurry image of stacked corpses. Perhaps Mizuki felt the subject was too complex to explore in this biography, but it’s hard to imagine any dramatization of the Fuhrer’s life that fails to examine his virulent anti-Semitism.

* * * * *

So what are other folks saying about 2015’s best titles? My Manga Bookshelf colleagues just posted their Pick of the Year, with Ash Brown posting a separate, more detailed run-down of his favorite titles at Experiments in Manga. At the B&N Sci-Fi & Fantasy Blog, Brigid Alverson has posted separate lists for her favorite new and continuing series.

Manga Giveaway: Merman in My Tub Giveaway

December 30, 2015 by Ash Brown

There may only be a few days left in December and in 2015, but there’s still time for one last manga giveaway before the year is through. For 2015’s final giveaway, I wanted to be sure to feature one of the many manga series to debut in the last year, so this month you all have the chance to win the first volume of Itokichi’s Merman in My Tub as published by Seven Seas. As always, the giveaway is open worldwide!

Last week I posted my list of manga, comics, and novels that I found to be particularly notable in 2015. And just a few days ago, the Manga Bookshelf crew (myself included) declared our pick of the year. For the last few years I’ve gotten away with picking a single publisher rather than a single manga and in 2015 it was Seven Seas that caught my eye. The publisher has been steadily expanding the number and different types of manga it has to offer—Merman in My Tub was one of eighteen (if I’m counting correctly) new series from Seven Seas to debut in 2015.

So, you may be wondering, how can you win a Merman in My Tub, Volume 1?

1) In the comments below, tell me a little about one of your favorite manga to be released in 2015 (in English or not), whether it be a debut or part of an ongoing series. (Don’t have a favorite, simply mention that.)
2) If you’re on Twitter, you can earn a bonus entry by tweeting, or retweeting, about the contest. Make sure to include a link to this post and @PhoenixTerran (that’s me).

There it is! Everyone has one week to submit comments and can earn up to two entries for this giveaway. If needed or desired, entries can also be emailed directly to me at phoenixterran(at)gmail(dot)com, and I will then post the comments here in your name. The giveaway winner will be randomly selected and announced on January 6, 2016. Good luck, and Happy New Year!

VERY IMPORTANT: Include some way that I can contact you. This can be an e-mail address in the comment form, a link to your website, Twitter username, or whatever. If I can’t figure out how to get a hold of you and you win, I’ll just draw another name.

Contest winner announced–Manga Giveaway: Merman in My Tub Giveaway Winner