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Manga Shopping Bag: March

March 27, 2013 by Anna N, MJ and Sean Gaffney 2 Comments

ANNA: Welcome to Manga Shopping Bag, a new monthly feature that will showcase what exactly the Manga Bookshelf crew has been spending their hard-earned money on. We’ll cover both print and digital purchases, and highlight a few shopping deals along the way.

I don’t order from RightStuf very frequently, but sometimes they have deals that are so good you would have to be crazy to pass them up. Right now, they have discounted sets and individual volumes of 20th Century Boys, and I decided to dive in and get the volumes that I need to finish off the series. These bargain bundles are only good until April 4th, so snag this series while you can! I stopped reading at around volume 13 but always meant to get back to the series, so I’m looking forward to being able to experience the rest of Urasawa’s masterwork.

I also picked up Demon Love Spell 2 and I ordered Gundam: The Origin Vol. 1, which is coming out on March 26th. I’m looking forward to being able to read about perverted demons and giant mecha.

On the digital front, I decided to pick up volumes 1-3 of Please Save My Earth on the Viz iPad app. I’ve read a few volumes of this when it was first coming out but didn’t collect it, so I’m looking forward to reading this properly for the first time.

I was also really happy to see that Vertical was moving into digital editions for 7 Billion Needles, Twin Spica, and Drops of God, but since I already own print volumes of Twin Spica and Drops of God, I decided to pre-order the first volume of 7 Billion Needles. I am super happy that Twin Spica is coming out digitally, since the print volumes are going out of print.

I think that was plenty of manga shopping for me for March, what are you buying?

MJ: I’ve been feeling giddy on the digital front as well, especially regarding Viz’s new wealth of older shoujo—much of which I missed completely when it was being released in print. I picked up first two volumes each of From Far Away, Red River, and Angel Sanctuary (the first two of which Michelle & I discussed in this week’s Off the Shelf), and I plan to follow all these series through to the end, now that I can.

In print, I picked up volume one of Dark Horse’s new release of CLAMP’s Tokyo Babylon. I already discussed much of the content, but I guess this is my opportunity to report that it’s an absolutely gorgeous edition. Dark Horse’s large trim size and smooth, bright white paper really make the most of the series’ clean lines and deep blacks. I suspect I’ll hang on to my well-loved Tokyopop volumes for nostalgia’s sake, but Dark Horse’s edition is vastly more beautiful. I should note that though this officially retails for $19.99, Amazon lists it at $10.98, which is an impressive savings. I’ll be preordering the second volume soon.

As you can see, 80s and 90s shoujo is where my money most often goes. I don’t see that changing anytime soon.

Lastly, this may sound a little silly, but I saw a couple of sets of Fumi Yoshinaga’s Antique Bakery for sale on ebay that were just too good to pass up. I picked them both up to give as gifts. I just couldn’t let them go unsold. I should note, too, that a few of these volumes are currently on clearance at Akadot Retail.

SEAN: Generally I tend to review the print manga I buy (hence go read my blog or the Briefs for those opinions), but there’s quite a few digital titles that I’m revisiting thanks to Viz. One of the more interesting is Bleach, a series that I’d grown increasingly jaded about once I realized that it was better to read it in chunks of 20 so that I could read in real time. Back with the first few volumes, though, it’s a different beast, and almost seems like it’s going to be about death and how we ceremonialize and respect those that have gone before us. It also has Rukia’s drawings, which are hysterical, and Orihime’s crush on Ichigo, which is adorable. It’s easy to see why it became popular, in the days before it was battles lasting for 52 weeks.

I’ve evangelized about Excel Saga quite a bit, both on my blog and on Twitter, and it’s just fantastic to see that Viz has made nearly the entire series available on digital, including the hideously out of print Vols. 7 and 8. Now, I’ve gotten some flak about pimping this out on the Excel Saga forums, most of whom live in England or Europe and are thus regarding me as a brat dangling their favorite toy just out of reach. Sigh… international rights are still a bear. But for North American fans, it’s a great way to see that the anime is not the be-all-and end-all in regards to this series, and there’s plenty of plot and characterization excellence to be found among the biting satire and zany humor.

ANNA: Early Bleach is pretty great, and I’m also very excited about the older shoujo series that are coming out digitally.

Readers, what have you been spending your manga money on this month?

Manga 101

March 26, 2013 by Brigid Alverson

Jason Thompson’s House of 1000 Manga column this week offers a concise history of manga in the U.S. from 1961 to the present.

Mike Toole muses about prequels, sequels, and spinoffs, and why we sometimes see only part of a manga or anime franchise in translation.

Next week’s Shonen Jump will include a one-shot manga, Sakuran, by Psyren creator Toshiaki Iwashiro.

Ken H. writes about the creator Shotaro Ishinomori, in preparation for a month’s worth of reviews of his work.

Reviews

Matthew Warner on vol. 53 of Bleach (The Fandom Post)
Rebecca Silverman on vol. 1 of Btooom! (ANN)
Connie C. on Detroit Metal City, Nana, and 21st Century Boys (Comics Should Be Good)
Connie C. on The Embalmer, Black Jack, and Anesthesiologist Hana (Comics Should Be Good)
Lesley Aeschliman on vol. 5 of Fullmetal Alchemist (Blogcritics)
Angela Eastman on vol. 2 of Jiu Jiu (The Fandom Post)
Connie C. on Iron Wok Jan, Moyasimon: Tales of Agriculture, and Toriko (Comics Should Be Good)
Ken H. on vol. 1 of Kamen Rider (Comics Should Be Good)
Vom Marlowe on vol. 10 of Loveless (The Hooded Utilitarian)
Rebecca Silverman on vol. 66 of One Piece (ANN)
Kristin on vols. 11 and 12 of Oresama Teacher (Comic Attack)
Ken H.on Skullman (Comics Should Be Good)
Kristin on Trigun: Multiple Bullets (Comic Attack)

It Came from the Sinosphere: Ashes of Time

March 26, 2013 by Sara K. 2 Comments

This movie is a critics’ darling and a box office flop. It often gets placed on lists of “Best Chinese-Language Movies”—for example, this movie is ranked at #35 in the Hong Kong Film Awards list of 100 Best Chinese Movies (this is a bit like the AFI 100 list).

This movie is also plain weird.

The Story

Ouyang Feng contracts sword fighters and martial artists to carry out paid assassinations. His best friend is Huang Yaoshi. Someone called Murong Yang wants Ouyang Feng to kill Huang Yaoshi for jilting his sister. Then Murong Yin (the sister) comes to ask Ouyang Feng to kill Murong Yang (her brother) for getting between her and Huang Yaoshi, and … *sigh* … I quit this synopsis.

I don’t want to spoil anything, and even if I did write a comprehensible plot summary (which would be spoilerful), it would completely miss the point. Just know that this takes place in a desert, there are love polygons, and that the men, at least, are all skilled fighters.

More Background

This is a film by Wong Kar-wai, one of Hong Kong’s most recognized film directors. He’s the only Chinese-language director who has won an award at the Cannes Film Festival. He’s famous for making movies with lots of lush visual imagery that explores personal relationships and memories, which describes this specific film to a T.

This film also features many of Hong Kong’s top stars of the era.

This movie is supposedly a prequel to Jin Yong’s Condor Trilogy. Indeed most of the main characters (Ouyang Feng, Huang Yaoshi, and Hong Qi) are also significant characters in the trilogy, and a few of the plot points in this movie (specifically Ouyang Feng’s relationship with his brother’s wife) are also mentioned in Jin Yong’s work. But this movie is so different, that I would describe it as fanfiction loosely inspired by the Condor Trilogy rather than an actual prequel (though being a work of fanfiction doesn’t mean that it has any less merit).

It took a lot of time to shoot this movie, which caused it to go over-budget. To try to get some more cash, the makers of this movie spent about a week putting together a spoof of the The Eagle-Shooting Heroes, which ironically made more money than Ashes of Time itself.

In 2005, Wong Kar-wai put together Ashes of Time Redux. I haven’t seen it (I saw the original film), but I’ve read that the story is easier to understand in the “redux” version.

The Cinematography

I generally don’t talk much about cinematography or editing, since I know close to nothing about such things. However, even someone like me who has never taken a film class in her life can tell that this movie has great imagery. This movie also makes creative use of moving light/show, such as in scenes where light shines through a twirling wicker cage, which causes the light to shine in moving lines across the actors’ faces.

Wicker cage shadows!

Another example is this scene with a woman on horseback, in which the light reflected off the water makes the woman’s face look almost white (the whiteness of her face is starkly contrasted with her otherwise dark surroundings).

The woman on horseback with light reflecting off the water (this is really hard to convey in a single screenshot)

Reflections in the water is actually a theme in this movie.

And the desert is … very scenic. I won’t say “beautiful,” since that’s not the intention, but it certainly has visual impact.

I’m sure somebody who actually knows something about cinematography could make more insightful comments.

Position in Wuxia

This is obviously a wuxia film, and it’s the kind of wuxia film which defies what many non-Asians imagine wuxia is. Though there are a few furious fights, they are also furiously brief, therefore I can’t enjoy this film in the same way I would enjoy a Lau Kar-leung film for the exciting kung-fu choreography. It’s also not a tearjerking melodramatic romance. This, in a way, makes it the opposite of a Jin Yong story, since Jin Yong stories tend to be very high in technically-detailed fighting and melodramatic romance (soap operas with swords!)

This is a quietly-meditative kind of wuxia story, which uses the psychologically heightened setting of wandering fighters to look at personal relationships (I’ve seen this before in novels, though not in a movie—in fact, I’m impressed it works at all in a film format). The relationships aren’t there to make drama; the drama is there to reveal the relationships.

The Pacing

If you haven’t guessed it already, this is a slow movie, and it’s not until the end that the various bits and pieces of the story cohere into something that feels complete.

Being familiar with The Eagle-Shooting Heroes makes it a little easier to understand what is going on, but not much easier. I understand why this bombed at the box office.

On the other hand, I did not find the film boring at any point. Aside from the eye-catching imagery, the individual moments were usually pretty interesting, even though it was sometimes hard to understand what was connecting the various moments together.

And the fact that this film feels so disjointed actually helps make its point. It’s a film about memory and personal reflection, and when we think back on our own memories, we generally think of them in sets of particular vivid moments, rather than a linear narrative.

Personal Relationships and Regret

This movie is basically about how we let our personal relationships deteriorate, how we fail to value the most meaningful things in life, and how we mourn for that loss when it’s too late. The most positive reviews I’ve seen of this movie came from people who watched it after a breakup, and a few people recommend watching it alone (then again, some people recommend watching it in a theater if possible to fully experience the cinematography).

The current state of my life is not such that I can fully appreciate this film. It does not speak to what are currently my deepest personal issues. Therefore, I feel that I haven’t felt the full impact of this film. Perhaps I should revisit this film again when my life is different.

However, the film still has some relevance to my current life. I have spent most of my life in San Francisco, and prior to moving to Taiwan, I had spent all of my life living in northern California (aside from brief trips to other places). Modern technology makes it much easier to maintain the relationships which are most important to me … but not being in the Bay Area has meant that relationships which are not so close, but still valuable, have gradually withered away.

During my first year in Taiwan, I didn’t think at all about returning to the United States since I was still dazzled by the novelty of being on a different continent, but now I often think about returning, and of all the things I should do to re-establish myself before it’s too late (the United States as a whole, and my neighborhood specifically, has changed since I left, and if I wait too long, I will only be able to return as a stranger). The fact that I think so much about returning also affects my relationships here in Taiwan—I’m afraid to go deeper into relationships, lest they break when I leave. Heh, maybe this film is a preview of how I’ll feel after I return to the United States, in which case, it’s a bit scary.

Availability in English

This movie is readily available with English subtitles, and they don’t suck. Since this movie is in Cantonese, I actually used a combination of Chinese and English subtitles to watch it, so I was able to compare the two. While I’m certain the Chinese subtitles are closer to what is being said in Cantonese, most of the departures in the English subtitles make the English feel more natural, and a more literal translation would feel much stiffer.

Non-Conclusion

I think I need to see the film again before I have a conclusion. And seeing the film again right now wouldn’t count—I need to wait at least six months before seeing the film again. I might conclude that this film is really deep, or I might conclude that it’s bullshit dressed up with impressive cinematography. Perhaps I’ll watch the redux version next time.

Next time: Burning Moon (manhua)

Sara K. finally went to Sun Moon Lake. She had been warned that she shouldn’t get her expectations too high, but she thinks Sun Moon Lake is gorgeous, and that Nantou County is fantastic. She suspects the people who find Sun Moon Lake disappointing/boring either have a different temperament from her, were doing/seeing the wrong things, or simply had super-high expectations (Sara’s learned to never have super-high expectations during travel).

Welcome to the Erotic Bookstore, Vol. 1

March 26, 2013 by Sean Gaffney

By Pon Watanabe. Released in Japan as “Momoiro Shoten e Youkoso” by Media Factory. Released in North America digitally by Yen Press.

This was definitely one of the most intriguing announcements of SDCC, and I wondered what sort of title it would be like? How mature were we walking here? Was it plot-oriented, or just a slice-of-life gag comedy? Well, having now seen it, slice-of-life is definitely the road it travels down. If it weren’t for the sex talk, this would be almost a typical workplace gag manga. It’s just that here, the workplace sells pornography and sex toys as well as the regular used books, and the clientele it gets can be a little special.

There’s only one scene that I would call so questionable that I’d grab it away from the under-18s (where the bookstore staff goes to the shooting of a porn movie… the most explicit parts of which are drawn using cute cat mascots instead), but make no mistake about it, this book is about a sex shop, and every single chapter is filled with sex talk. Masturbatory aids, adult videos, exhibitionists, voyeurs, you name it, they’re all in here. The author, by the way, is also the narrator/star, but mostly serves to stand aside and make snarky comments – she doesn’t get involved in any of the activities.

Judging by Watanabe’s other two titles, she seems to specialize in slice-of-life gag works like this. It’s broken up into short 8-page chapters, which examine the lives of the owner and staff, the varied customers, and also gets quite philosophical at times. The general rule of thumb in this book seems to be that sexuality is good and nothing to hide provided that it’s not hurting other people. This seems to be an especially good moral to have in times like these, where propriety is seen as everything.

The title is also quite funny, in a mild “causes a smile” way usually, but sometimes the more risque humor made me jaw drop a bit. It’s mostly about the shop, its merchandise, and the customers, but the real world intrudes quite a bit – you see Watanabe having to bust middle school students pretending to be over 18, dealing with yakuza and undercover police (she wasn’t arrested, but had to give a statement – no uncensored porn, please!), and going on karaoke nights with her co-workers. She’s also a female, and quite tall, so there’s talk about how sex shop customers react at having to pay for things through her. And yes, her manga skills do come up once or twice, as she tries drawing things for the shop. We also see her naivite occasionally, such as when she tries to lure more females into the store, only to find that this depletes the much larger male customer base (as they feel even more uncomfortable).

Overall, it’s a cute little title. That said, I wouldn’t get it unless you like slice-of-life mild humor stories, sexual content or no. The style is very “superdeformed” and abstract, so there’s no real nudity or sexual situations. It simply is what it is, a cute title about a woman who manages a used bookstore that has a back room filled with sex stuff.

Pick of the Week: Blood & Mecha

March 25, 2013 by MJ, Sean Gaffney, Michelle Smith and Anna N Leave a Comment

MJ: We’ve got some interesting titles to choose from this week—not a lot in the way of long-standing favorites, but quite a bit of variety. Given my initial reaction to this series’ cover images, I’m surprised to hear myself saying this, but I’m giving my vote this week to volume two of Yuuki Kodama’s Blood Lad. I enjoyed volume one quite a bit—more than my colleagues, I believe—so I’ll be delving into the second volume with a great deal of optimism. Apparently, otaku vampires are my thing after all! This title was a surprise hit for me, and I’m really looking forward to continuing with it.

SEAN: We’ve finally hit the last bad end of Higurashi: When They Cry, and it’s a really bad end, as you’d expect with the title Massacre Arc. The arc after this is a bit contested among fandom, but everyone seems to love this one, which may end in tragedy but is the emotional catharsis of every other arc that came before it. It may not run in Jump, but the precepts of Friendship and Training (well, living through the arcs could be considered training in a way) are here in spades, and will help to achieve Victory in the Festival Accompanying Arc. No victory here, though. But oh so close.

MICHELLE: I think I’m gonna go with Durarara!! Saika Arc this week. As I wrote in a recent Off the Shelf, so far “this is shaping up to be a lot more linear than the original, and I’d say a definite improvement.” The story’s self-contained, so one could start here, but be prepared for a disorienting glut of characters at first. Since you’d encounter the same even if you started at the actual beginning, though, there’s really no difference.

ANNA: I think Mobile Suit Gundam: The Origin comes out this Tuesday, and I am genuinely excited for that. Based on the Japanese Aizoban editions and produced by Vertical, this is a manga that should be a treat to own.

Readers, what looks good to you this week?

Bookshelf Briefs 3/25/13

March 25, 2013 by Sean Gaffney, Anna N and Michelle Smith Leave a Comment

This week, Sean, Anna, and Michelle look at recent releases from Kodansha Comics and Viz Media.

Dawn of the Arcana, Vol. 9 | By Rei Toma | Viz Media – Dawn of the Arcana is shaping up to be a decent fantasy adventure! Nakaba and friends are presently in Lithuanel, attempting to broker an alliance with Senan, but the foreign land is no stranger to ruthless political machinations, as Nakaba soon knows all too well, thanks to her power, the Arcana of Time. In fact, this volume makes it clear that the ability to see into the past and the future is far more of a curse than a blessing, as Nakaba learns just what it is that her attendant Loki has been hiding and soon faces a terrible choice. Meanwhile, her husband, Caesar, sails home to an uncertain fate. A little bit of sloppy plotting and art that’s a bit too simple keep this title from achieving true epic status, but it’s still quite entertaining. Highly recommended. – Michelle Smith

Genshiken: Second Season, Vol. 2 | By Shimoku Kio | Kodansha Comics – Most of the original cast of Genshiken has moved on by this volume – Sasahara barely appears, Saki is absent, etc. But Madarame has always been Genshiken’s heart, so it’s no surprise that he can’t drag himself away from the narrative for long. Which is good, as it’s becoming clear that he’s having a mini-harem form around him. Not that he’s aware of it or anything. It’s good as this is a goldmine of humor, and allows Genshiken’s funniest characters – particularly Sue, who gets her own omake devoted to how awesome she is – shine. But what the 2nd season really seems to be about is Hato and his gender identity, and that’s handled quite realistically and sensitively. In short, it may be a second season with a new cast, but Genshiken still does what it’s always done best – give otaku nerds depth and heart.– Sean Gaffney

Kimi Ni Todoke, Vol 16 | by Karuho Shiina | Viz Media This is one of those shoujo series that is just always excellent. We see Sawako and her friends move forward with more self-awareness and maturity into their developing relationships. Sawako senses some distance between her and Kazehaya and attempts to deal with the issue. Kento attempts to develop his relationship with Ayane. Some of the best moments in this manga are when characters are just sitting and talking to each other, as Kento and Kazehaya discuss their relationship woes. Shiina’s use of paneling and shifting perspective makes everything visually interesting even when most of the manga focuses on heartfelt discussions as opposed to action. – Anna N

Psyren, Vol. 9 | By Toshiaki Iwashiro | Viz Media – I’ve been more of a fan of the modern day parts of Psyren than the dystopian future, though the leveling up of the Elmore Wood kids helped a lot in Vol. 9. Still, in a manga where the future can change such as this one, it’s hard to invest in it. Which is why it’s good to see a subplot with someone like Amakusa, a slimeball who is determined that since the world is destroyed, he may as well rule it. There’s always going to be people like him around after a tragedy. Luckily, he’s merely small fry, getting taken out merely by Marie getting very mad… and crumpling the entire building into a ball around him. Still, there’s no getting around it – this is a “fighting volume” of a Jump series, meaning that the plot mostly takes a pause… with the exception of Nemesis Q’s creator, whose big appearance is the cliffhanger of this good but not great volume. – Sean Gaffney

Rin-Ne, Vol. 11 | By Rumiko Takahashi | Viz Media – One of the big reasons that I go on about Sakura having her negative emotions stolen when she was in the afterlife is that she’s so normally passive that it’s hard to get a grip on her and understand her, and thus she runs the risk of becoming dull. Dull Takahashi characters make me sad. That said, the start of Vol. 11 continues to make me think there’s something to it, as Sakura gets some candy that allows her to not see ghosts… including Rinne himself. And, in her own subtly, low-key way, she realizes that she’s bored out of her gourd without them. (On the bright side, she does miss the many, many attempts on her life.) Other than that, we get the usual: ship tease that doesn’t really go anywhere, unhappy spirits who can easily move on because the whole things a misunderstanding, and lots of violence. Rin-Ne is what it is. – Sean Gaffney

Strobe Edge, Vol. 3 | By Io Sakisaka | Viz Media – This third volume of Strobe Edge is primarily devoted to Ando, who is being groomed to take over the rival spot from Daiki now that he’s been quickly paired off. It’s always fun seeing the so-called player who’s found a girl that he’s genuinely fallen for, but can’t make that clear. Ando’s player tendencies have a serious past to them, much like every other character in this series. The pain of teenage love, and the fact that it doesn’t work out most of the time, is why we read Strobe Edge, a series that so far has no real bad guys. Even Mayuka seems beset by doubts when she shows up towards the end. But of course, if things remain as they are, we won’t have a plot, so that’s no surprise. Strobe Edge is slow paced, and may frustrate some people, but its bittersweet feelings seem just about right for me. – Sean Gaffney

License Request Day: Another Look At Medaka Box

March 24, 2013 by Sean Gaffney

By NisiOisiN and Akira Akatsuki. Released in Japan by Shueisha, serialization ongoing in the magazine Weekly Shonen Jump.

Back in 2010, I did a License Request post regarding a Shonen Jump manga called Medaka Box, and explained why I thought it was a great series, and also why I thought it was unlikely to get picked up. Well, it’s now almost two and a half years later, and the series is still running in Weekly Jump, and gotten two anime seasons (which, sadly, animated the least interesting part of the manga) and has more reasons I’d love to see it licensed… as well as even more reasons it won’t. So let’s discuss.

Since my original post, the manga has kept going, and gotten even more ludicrous. It now projects to be over 20 volumes, and just began a new arc after faking readers into thinking it was ending – the 2nd time the authors have done that! It’s introduced even more overpowered characters, including Najimi Ajimu, who can seemingly control the narrative and utilizes her 12,858,051,967,633,865 skills to waltz around the story being smug. And it still has a small core of hardcore fans who enjoy discussing what it’s really trying to say – even if they all disagree with each other, and half of them are fans of the series but despise the lead.

So, why do I want to see this series over here? Let’s see…

1) Tons of strong female characters, including many leads, several of which have no romances whatsoever. Medaka Box sails through the Bechdel test, honestly. Medaka herself is currently one of two Jump series with a female lead (and the other, Novice Policewoman Kiruko-san, may not last long). We also meet characters such as the aforementioned Najimi Ajimu, Youka Naze (a genius mad scientist with a knife sticking out of her bandaged head), Hansode Shiranui (who is primarily comic relief in the anime-adapted shows, but proves to be far more dangerous – and far more broken – than everyone expected), and Mukae Emukae (who makes anything she touch rot and die, including animals and, presumably, people. )

Each arc has at least one or two major female antagonists or protagonists, and some are entirely female, such as the Jet Black Bride arc. Now yes, there is some romance, with some characters falling in love or obsessing over a person. But it’s not a requirement. More to the point, almost every single female in this series beyond about chapter 26 can kick anyone’s ass right ways from Sunday. I have never seen such a larger group of BAMFs. It’s pretty amazing.

2) Examination, parody, and deconstruction of shonen themes. Many series do this subtextually, but Medaka Box goes right ahead and makes this text. Misogi Kumagawa, who is easily the most popular character among Western fans of the series (and probably Japanese fans as well – the anime did a final episode just devoted to him as if to make up for its likely cancellation), often refers to events by saying “If this were in Weekly Shonen Jump”. Ajimu takes it one step further, and seems entirely aware that this is a serial – it’s made into a plot point, and once led to one of the greatest lines in the entire series, “Manga that go longer than 10 volumes just coast on their success, and this has already gone three volumes over that. So just watch… I’ll end this manga before the anime begins.” (Spoiler: she didn’t.)

But it’s not just pointing out the series is fictional. Medaka Box goes to great pains to mock and undercut many of Shonen Jump’s most treasured values, with several monologues noting that while Jump is supposedly about “Friendship, Training, Victory”, the reality is that the stronger characters defeat the weak ones, so more power always wins. And indeed that is the case throughout Medaka Box. Medaka is insanely powerful, so she wins despite everything. The only exceptions are characters who are (temporarily) stronger than she is. Kumagawa is set up to rebel against this – his entire purpose in life is to be the one representing the weak, loser characters whose only purpose is to fail.

But with all that said, the beauty of a series like Medaka Box – and something that a few of its fans don’t quite get – is that for all that it’s deconstructing Jump series, it also IS a Jump series, and thus in the end it serves what Jump strives for after all. This is not a series that will end with our heroes broken and Medaka humiliated and tarnished – that’s not its goal. Its goal is to show the wonders of humanity in all its forms, even when humans are equipped with various types of superhuman abilities. (Medaka Box sometimes seems like X-Men there’s so many people with insane superpowers.) It may say Jump is all about who is most powerful, but Medaka succeeds because of the bonds she has with Zenkichi – and his bonds with all the others.

3) It’s simply fun. Everyone acts gloriously over the top, almost in a Higurashi sort of way. The series is peopled with larger than life superheroes, so it’s only natural that they are larger than life. Kumagawa can be terrifying or hysterically funny, often in the same chapter, and his juvenile pursuit of seeing girls’ panties, girls in naked aprons, and girls in “hand-bra jeans” (don’t ask) is a nice reminder that all these superhuman geniuses really are teenagers after all. There’s fun wordplay, and later volumes introduce Nienami, who seems determined to be the ultimate boke just to have everyone scream at her. You’re never quite sure if the manga is a parody or not – which is the point, of course.

Now, I mentioned I don’t think this will be licensed. Why? I already discussed in my prior post that it starts off very slowly. In fact, it’s quite mediocre for the first few volumes. (You know, the ones they chose to animate). But let’s update things.

1) It’s now over 20 volumes and counting, and is not a huge hit the way Toriko or Bakuman were. This is reason #1 with a bullet.

2) It would make the translators cry. There is an entire ARC given over to battles using kanji and wordplay, culminating in a final confrontation involving the Japanese game where the next person starts a word with a syllable that the previous person ended with. Oh yes, and there’s a chapter where Ajimu tries to inspire Zenkichi by recalling about 25 old Shonen Jump heroes, many of whom never appeared over here and would require extensive translation notes – something which Viz has never used in its shonen series.

3) One character, Shori Wanizuka, walks around at times with a revolver sticking out of her mouth, sucking on the barrel. Oh, Viz would just LOVE that.

4) Medaka herself. Not since Ichigo Kurosaki has there been a more polarizing lead character in Shonen Jump. Medaka is meant to be a deconstruction of the “Mary Sue” sort of character – she is perfect at anything she tries, has a killer body, is genius level IQ, a physical powerhouse, etc. Despite this, Medaka throughout the series is shown to have difficulty with basic humanity. This is a thread that exists in a lot of NisiOisiN’s works, where he shows the basic disconnects anyone that far ahead of/in front of us would have with average people.

As such, a lot of the time, Medaka is unlikeable, particularly when dealing with Zenkichi, her childhood friend. Now, one of the main plots in the series is showing that she is gradually improving at human interaction, and is not a superhuman freak but merely a teenage girl like everyone else. Of course, character development is frequently not welcome by some fans, who form their opinions and then refuse to change them ever. I’d argue that a majority of the fans support Zenkichi or (especially) Kumagawa as a “main character”, seeing Medaka as an antagonist. In addition, a small minority of fans seem to suffer from “nice guy syndrome”, demanding that Medaka treat Zenkichi nicer because, well, he’s the male love interest and why won’t she learn her place?

5) For those who like Jump for its BL elements, you’ll find some of that here as well. (There’s a couple of yuri teases too.) That said, Medaka’s figure and habit of exhibitionism can also put off female readers who might see the title as pure fanservice.

With all that said, I remain fascinated by this series, one of the most addictive I’ve seen in Jump in years. Even with all the pitfalls, I’d still love to see someone take a chance on it. Hey, it’s licensed in France! Can North America be that far away?

Drama Diary: My Princess Eps. 8-16

March 24, 2013 by Anna N 3 Comments

Here’s my first My Princess post covering the beginning of the series, if you haven’t read it before!

The second half of My Princess becomes more serious as the political machinations pick up and everybody has to deal with Events From The Past, as one does in kdramas. The restoration of the Monarchy is going to go up to a public vote, so the President and other politicians are very interested in the outcome. The President supports the Monarchy on the surface because he owes Hae Young’s Grandfather a great deal, but in reality he is not thrilled about a new ceremonial Korean Monarchy pulling focus from the elected government. The toppling of the Monarchy is aided by the evil Yoon Joo, who gets a willing accomplice in Seol’s sister Lee Dan. Lee Dan manages to steal a royal artifact from Seol’s house and starts claiming to be the real princess. Professor Nam tries to head off Yoon Joo, but isn’t entirely successful. While most of the time in kdramas the evil second woman isn’t particular sympathetic, I thought that Yoon Joo was so irredeemably bitchy that as a viewer I wouldn’t really be satisfied unless she was somehow seriously maimed by a runaway truck at the end of the series. Unfortunately, no maiming of Yoon Joo actually happens.

Please die in a fire, evil lady!

Seol and Hae Young are pushed apart by the rumor that his father persecuted her father and caused his death. Seol is dedicated to bringing back the monarchy in order to restore his reputation, and the idea that Hae Young’s father might have caused her tragic early life is very painful to her. One of the repetitive aspects of this kdrama that actually gets a bit wearying as the series goes on is the sheer number of times that Seol runs away from Hae Young, only to be reunited with him a half hour later. Also, it seems like the South Korean government just places travel bans on people willy nilly, as everyone is always fleeing to the airport only to be told that they are unable to leave the country. Seol’s constant fleeing might have decent motivations, but it does make me question her sanity in avoiding a brooding rich diplomat who clearly adores her.

Seriously, would you run away from a man with this face!?

As things begin to get worse for the would be Monarchy, Professor Nam and Hae Young begin to grudgingly work together. One of the most amusing things about this series are the random displays of alpha male posturing when they start arguing over ridiculous things like cuts of meat in an attempt to establish who is doing a better job looking out for Seol.

Who is more handsome!
I am!
No, I am!

This series manages to last for 16 episodes purely because Seol and Hae Young are each determined to suffer in silence and not burden each other with their problems. While this might be noble, it is a bit infuriating that Seol never comes out and tells the Professor or Hae Young how badly Yoon Joo is bullying her, although both men figure out what is going on. Hae Young ends up solving many problems through his sneaky diplomatic skills, but by putting the Monarchy first, the Princess and the Diplomat might have to put romance aside.

So cute, I can’t stand it.

Hae Young and Seol are one of my favorite couples out of all of the kdramas I’ve watched so far. The actors have great chemistry. The relationship between them has an amusing dynamic, because while Hae Young tends to act in a very high-handed manner most of the time, when Seol decides to get back at him by doing something like pretending to go to a marriage meeting he immediately drops his arrogant pretenses and starts acting overly concerned. I enjoyed rewatching this series, because I was reminded of some of my favorite moments, like Seol trying to erase her slightly perverted internet history and Seol and Hae Young bonding by sitting together in an antique car museum exhibit. The final episode pairs everybody off nicely, and while I would like to see the villains of the series be punished even more, there’s something to be said for the comfort found in happy endings.

Watch now at DramaFever!

Off the Shelf: Shoujo Fantasy Double Feature

March 23, 2013 by MJ and Michelle Smith 22 Comments

MJ: Good morning, Michelle! I greet you this morning, dizzy with the particular brand of glee that can only be brought on by epic shoujo fantasy. How about you?

MICHELLE: Much the same, actually! With a side of gratitude that the epic shoujo fantasy in question is a) completely available in English and b) in the process of becoming easier to obtain!

MJ: Indeed it is! And really, it is a dream come true. When manga publishers first began launching their various digital initiatives, one of the things many of us hoped for was that these venues would eventually become a platform for re-releasing out of print manga. In particular, I expressed a hope that we might see some of Viz Media’s “scads of fantastic 80s and 90s shoujo,” most of which has become difficult to obtain in print.

Fortunately, Viz seems to be on the same page, as they’ve recently begun releasing some of these older shoujo series in digital form! They began with one of my favorite series of all time, Saki Hiwatari’s 21-volume epic Please Save My Earth (volumes 1-6 are available now), originally serialized in Japan beginning in 1987, followed recently by three series from the early 1990s, Kaori Yuki’s Angel Sanctuary, Chie Shinohara’s Red River, and Kyoko Hikawa’s From Far Away. This week, Michelle and I decided to delve into the latter two of these series, whose first volumes are now available at both vizmanga.com and on Viz’s mobile apps.

Michelle, would you like to choose which we’ll discuss first?

MICHELLE: I’m inclined to save the best for last, which means that in my personal opinion, Red River should go first!

I actually own all of Red River in print, but had never read any of it ’til now. It has the distinction of being the final series in the now-defunct “shojo” imprint to reach completion. Though it starts off rated for older teens, I have a distinct memory of the later volumes being shrinkwrapped, so presumably sexy times will eventually ensue.

Anyway! Both of the series we’re going to discuss today involve a modern-day Japanese schoolgirl being transported to an unfamiliar environment. In the case of Red River, things are looking good for fifteen-year-old Yuri Suzuki. She has just passed the entrance exam for the high school of her choice and shared a first kiss with her good friend turned love interest, Satoshi. But on the evening of her family’s celebration dinner for her achievement (the exam, not the smooch), she begins to notice that water is acting strange around her. Soon, a pair of arms is reaching out to her from fish tanks and bath tubs, trying to pull her in. Though she manages to avoid water for a little while, she’s eventually captured via a puddle and transported to the Hittite Empire in 14th century B.C., where a scheming queen seeks to use her as a sacrifice to ensure that her son (currently sixth in line for the throne) becomes king.

MJ: Fortunately, Yuri quickly becomes acquainted with Kail, third son of the king and no friend to his stepmother, the scheming queen. Though he’s a notorious player (whose methods of “saving” Yuri generally involve pretending she’s his sexual conquest—something he’d clearly like to achieve in reality as well), Kail appears to be genuinely trustworthy, at least when his own life is on the line. Unfortunately, though Yuri is grateful for his protection, her desire to return to her own land drives her to recklessness, placing both her life and that of a devoted slave, Tito, in peril.

As it happens, I agree with your choice of which to discuss first (and why), which isn’t to say that I disliked Red River in the slightest. It’s immediately engaging and action-packed, with a relatable, plucky heroine and a fascinating historical setting. Even playboy Kail manages to be a genuinely attractive love interest, despite my weariness with his classic rake persona. What does weaken this story, however, is just how easy things are for Yuri, at least in this first volume.

While it may seem odd that I’d consider her path “easy” at this point—she has been marked for death, after all—there are some ways in which things really are inexplicably so. The issue of language, for instance, is immediately discarded, as Yuri finds she can suddenly understand the Hittite’s tongue simply by kissing Kail (insert inappropriate “tongue” joke here). Because of this, she’s able to grasp her situation immediately, including recognizing exactly where (and when) she is. Also, by being under Kail’s protection, she’s also suddenly a princess, with the ability to stop executions and generally direct people to do her bidding, which puts her in an immediate position of power, at least within Kail’s realm.

MICHELLE: Your last paragraph there neatly encapsulates my main criticism of Red River, though there are things about Kail that bother me, too. (I don’t think he’d follow through with the threat, but dialogue like “Now stop grousing or I’ll bed you for real” will never sit well with me.) It feels a little like Shinohara is squandering this rich environment and the potential for adventure in favor of romance. True, Yuri does end up in peril by the end, but it’s due to her impetuous, uninformed insistence on retrieving her clothes from the scheming queen and pretty much just a plot device designed to allow Kail to swoop in and save the day.

However! This series does run for 28 volumes, so I am willing to acknowledge that the story could move beyond its origins and go interesting, complicated places.

MJ: Wholeheartedly agreed! Despite my quibbles (and I do share your discomfort with Kail’s threats—hello, rape culture), 28 volumes of 90s shoujo fantasy is not something I can possibly reject, and my expectations are high!

MICHELLE: Of course, 14 volumes of shoujo fantasy is nothing to sniff at, either. Want to do the honors of introducing From Far Away?

MJ: I’d love to! Though half the length of Red River, Kyoko Hikawa’s From Far Away took several years longer to complete, running in Hakusensha’s LaLa magazine from 1993 to 2003. And if the first volume is any indication, this was time well-spent.

High school student Noriko has been experiencing a recurring dream set in a mysterious land filled with gorgeous landscapes and unfamiliar wildlife. As she walks home from school with her friends on one ordinary afternoon, television news anchors warn of a terrorist threat involving small bombs planted around the city by a recently captured suspect. While her friends hash out theories about Noriko’s dream—whether it’s a past life, a portal to another dimension, or pure fantasy fueled by Noriko’s sci-fi author dad—Noriko’s attention is drawn by a stray ball, leading her to an abandoned paper bag which explodes just as she approaches.

Though no trace is left of her body, Noriko is presumed dead. Meanwhile, Noriko has fallen into the same world she’s been dreaming about, where she is identified as “The Awakening,” a supernatural being prophesied to grant power over the legendary Sky Demon—the most destructive evil known in that world—to any nation that possesses it.

MICHELLE: Like Yuri, Noriko is fortunate enough to encounter a formidable ally right off the bat, though things are distinctly less easy for them. Izark might be a powerful warrior who saves Noriko from the political factions attempting to capture her (not to mention gigantic caterpillar things), but the language barrier prevents them from understanding one another and her fear and confusion seems to get on his nerves. Still, he’s unable to ignore her when she’s obviously upset and she comes to trust him. The non-verbal storytelling here is great, and I love that Noriko grows ashamed of her earlier behavior and starts trying to learn the language so that they may better communicate.

Despite being an imaginary fantasy world, the setting here feels more real than the Hittite setting in Red River, and has an abundance of the adventure feeling that I was missing in the other series.

MJ: My feelings exactly, Michelle, on all counts. And really, much of this story’s strength is due to the author’s inclination to prioritize adventure over romance, at least in the first volume. Though strong, roguish Izark is clearly leading man material by any shoujo fan’s standards, both he and Noriko are entirely focused on survival at this point in the story, with no romantic action to be found.

Another factor in From Far Away‘s success as fantasy-adventure is its overall complexity and sense of intrigue. While Red River‘s villain is firmly established from the beginning, things are less clear-cut in Noriko’s new world. With every nation competing for control over The Awakening, everyone is a potential enemy, and it’s not clear at all whom we should be rooting for—including Noriko herself! Though it seems fair to hope that our heroine can’t really be the harbinger of evil, it’s little more than a hope this early in the story, and Izark’s origins and intentions are even less clear. Furthermore, the series is already peppered with some extremely interesting supporting characters, including pint-sized seer Geena Haas, her mercenary father Agol, and a whole host of potential enemies who are aggressively hunting The Awakening.

Perhaps most telling is the fact that as soon as I finished From Far Away‘s first volume, I rushed to purchase the second. I suspect I’ll begin reading it the moment we’ve finish this column.

MICHELLE: I also wanted to immediately proceed to the second volume! I actually read and reviewed the first five volumes of From Far Away a little over three years ago, and though I no longer remember specifics, I remember feeling that it just kept getting better and better.

I do want to mention a couple of random thoughts. Something about the setting of this world—probably the huge insects and people standing whilst piloting flying craft/creatures—reminds me of Nausicaä of the Valley of Wind, and it’s not a comparison in which From Far Away suffers. Too, I wonder if the story will take on a Life on Mars idea… like, is Noriko dead/injured in the present day or is she really experiencing all of this? Granted, it doesn’t seem at all like Hikawa plans to go in this direction, but what with the bombing and witnesses to Noriko’s disappearance, it makes me wonder.

MJ: I’ve been wondering that, too, Michelle! Unlike Yuri in Red River, Noriko really is assumed to be dead in her world—and reasonably so—which immediately puts her mortal status in question, and also raises questions about what place she’ll have back in her world if she really is alive and able to return. I also can’t help being curious about Noriko’s father, whose career as a science fiction writer just makes him… interesting. And potentially involved somehow? Who knows?

I think it’s pretty obvious that we find this series compelling.

MICHELLE I’d say so!

Of course, no column like this would be complete without me throwing in a plea for Basara to be the next out-of-print epic shoujo fantasy in VIZ’s catalog to receive the digital treatment.

MJ: I second that plea and add (predictably) Akimi Yoshida’s Banana Fish! Because, let’s face it, Yoshida’s New York is every bit the fantasy that is Tamura’s post-apocalyptic Japan. Bring ’em on, Viz!

Read Red River and From Far Away at vizmanga.com.

Weekly Shonen Jump Recap: March 18, 2013

March 22, 2013 by Derek Bown Leave a Comment

Well, this is the week that One Piece is not the best manga chapter in the magazine. But not so much thanks to the merits of the other contenders, rather it’s because One Piece was on hiatus this week. It’s kind of amazing how the only way other manga seems to have a chance is when One Piece isn’t around to act as a comparison.

Toriko Ch. 226
It looks like Sunny and Tommyrod’s fight is about to come to a close. Considering how large this arc is and how many fights we have to get through, I’m not surprised that one of the main fights of this arc is going to be resolved in what will apparently be less than five chapters. It definitely helps that this week’s chapter explains where Sunny got his power up from. As long as they’re done with style, I don’t mind unexplained power ups, but the fact that we actually got an explanation helps a great deal. This arc has been a lot of fun, and while it may not be the best for non-action fans, anyone already enjoying Toriko is most definitely enjoying this along with me.

Bleach Ch. 530
I generally avoid places where manga fans congregate, but even my absence from tumblr wasn’t enough to keep me from feeling the waves of “shipping enthusiast” metaphorically breaking over me. There’s just a sense—a disturbance in the force I suppose you could say—whenever I see something that could be used as fuel for shipping debates. And while I try to avoid those debates with a passion, I can’t help but chuckle every time I find a nugget. I’ll leave you to find out what exactly I’m talking about here.

As for the chapter itself, I’m continuing to enjoy seeing the previous generation. Ryuuken was a lot more sympathetic than I thought he would be, after all the times we’ve seen him in the manga before. It’s the small pieces in the manga that make it all the more enjoyable. Ultimately though, I can’t wait to find out what the deal is with the apparent Vasto Lorde revealed at the end of the chapter. I think Bleach fans will recognize that particular design, hm?

Cross Manage Ch. 025
After all the romance and relationship elements this manga has been throwing at us, I’ve started to refer to it as a shoujo manga in disguise. This was the first chapter in which a clear shounen element was introduced. Until this point, we’ve never really heard the characters flat out say how much they want to win. Seeing them confronted by an insurmountable opponent and having them decided to win no matter what is such a shounen element that I’m surprised it took so long to introduce into this series. Here’s hoping Cross Manage has a chance to keep moving forward.

One-Punch Man Ch. 009
One-Punch Man‘s greatest charm is its refusal to play by the rules. When faced with the villain’s lair, do the heroes fight their way up from level one to the very top? Nope. They just blow the place away. Fortunately for the villains, the real complex is underground. Still, there is a sense of logic to the series. After all, if you have the power to demolish a building of bad guys, why not just do that, rather than bothering to fight your way through the complex? One-Punch Man is a satire not just of the superhero genre, but of shounen action adventure series in general. Granted it does make for shorter arcs, but we already know how each fight will end, so why not have some fun with the tropes of the genre?

Dragon Ball Z Ch. 007
Quick question, was the Kamehameha ever shown in color in the original Dragon Ball manga? If yes, was it colored yellow? Did the anime get the color wrong by coloring it blue? It’s not like this would be the first time that an anime got the color scheme wrong. However, if it never was colored in the manga before, then why is it being colored yellow here? It may not seem like a big deal, but it’s such an arbitrary change, and I can’t see how anyone wouldn’t know what color the Kamehameha is meant to be. It’s only the most iconic attack of the series, and in every incarnation I’ve seen it in it’s been blue. And yet, somehow, they got the color of Picolo’s attack correct. Does anyone know who exactly has been coloring these chapters? Because either they made the silliest mistake in the world, or I’ve had it wrong this entire time. I’m going to stick with the colorist making a mistake until proven otherwise.

World Trigger Ch. 006
I liked this chapter. I can’t really put my finger on why exactly why I liked it more than other chapters (after the first one), but there’s just something about this week’s that works better. Perhaps it’s the interaction with the other Border characters. Perhaps it’s seeing Yuma lay the smack down on the pretentious Ai. Perhaps it’s Jun’s unexpected reaction. Perhaps it’s Yuma having to explain to Osamu that he, Osamu, was the one to save everyone (the only one who Yuma saved was Osamu, when the latter couldn’t protect himself). Either way, I’m looking forward to seeing whether this series continues to rise or starts the rapid descent into cancellation.

Nisekoi Ch. 066
Once again, Nisekoi manages to combine adorable and hilarious in the same neat package. The class finally have to switch seats, but because of the teacher’s relaxed attitude, they keep switching them over and over. Again, this is a chapter that needs to be read; it’s just too funny and adorable to explain without spoiling the experience. Just be warned, this chapter contains Shu’s crowning moment of the series.

Which was your favorite chapter this week? Or are you holding out choosing until One Piece returns next week? Do you have any suggestions that would make this column better? We’ve been running this for a while, so I would love to get feedback for what I could be doing better.

If you want to hear more, check out the Manga^3 Podcast Archives. Or go directly to last week’s episode, Episode 039 – March 11, 2013 – Women in Shonen Manga | Toriko Vol. 1