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Quick Wednesday manga links

July 18, 2012 by Katherine Dacey

Pour yourself a cup of coffee and grab a Danish — Ryan Holmberg has posted another in-depth article about the early manga industry, this time examining the influence of American cartoonists on Osamu Tezuka’s early artistic development.

Derek Bown dedicates his latest Combat Commentary column to Naruto.

Sequential Tart interviews Gina Biggs, creator of the OEL manga Red String.

And the Eisner goes to… Shigeru Mizuki’s autobiographical comic Onwards Towards Our Noble Deaths, which won the award for Best U.S. Edition of International Material — Asia. Katsuhiro Otomo also got a nod from the judges, earning himself a spot in the Eisner Hall of Fame.

Shiftylook, a webcomic initiative of Namco/Bandai, has hired manga-ka Hitoshi Ariga (The Big O, Megaman Megamix) to draw a new webcomic based on popular game Klonoa; Canadian artist and writer Jim Zub will pen the script.

Reviews: Over at Anime News Network, Carlo Santos dedicates his latest Right Turn Only!! column to such new releases as 5 Centimeters Per Second and Jiu Jiu. Closer to home, the Manga Bookshelf gang posts an assortment of brief reviews.

Patti Martinson on vol. 20 of Claymore (Sequential Tart)
Connie on vol. 2 of Dawn of the Arcana (Slightly Biased Manga)
Johanna Draper Carlson on Genshinken: Second Season Book One (Manga Worth Reading)
Erica Friedman on Jigoku NEET (Okazu)
Connie on vol. 14 of Kimi ni Todoke: From Me to You (Slightly Biased Manga)
Sean Gaffney on vol. 63 of One Piece (A Case Suitable for Treatment)
Lissa Patillo on vol. 18 of Ouran High School Host Club (Kuriousity)
Connie on vol. 2 of Princess Knight (Slightly Biased Manga)
Lori Henderson on vols. 8-9 of Rin-ne (Manga Xanadu)
Connie on vol. 2 of Wandering Son (Slightly Biased Manga)

One Piece, Vol. 63

July 18, 2012 by Sean Gaffney

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

There’s always a risk that Oda runs because he puts everything into his manga. This is not a title like Bleach, where a 5-minute fight can take three months of real time. There’s always at least ten different things going on. The difficulty is in trying to keep all that happening and not confuse or alienate the audience with too much information all at once. And in this volume, I’m afraid a lot of the time Oda doesn’t quite manage it. He’s simply trying to do too much too fast here, using too many characters that we haven’t grown to care about yet.

This is basically a volume in two halves. The first continues the melee battle on Fishman Island, as the Straw Hats get in between a civil war/coup started by Hody Jones and his brand of outlaw scum. Of course, they’re powerful outlaw scum, so King Neptune and his good guys are getting pounded. Meanwhile, Luffy has succeeded in getting Princess Shiratori outside, but this quickly leads to even more chaos. And then there’s Jimbei, who is down by the grave of the princess’ mother, feeling guilt and sadness. There are some nifty fights (Zoro is, as usual, badass) and the odd goofy comedic moment (Sanji seems to finally get better here, after briefly turning to stone (which I’m sure isn’t meant to be metaphorical at ALL.) But mostly the chaos is what’s driving everything, and this does make things incoherent at times.

Some things to note: Nami’s subplot is actually quite interesting. She’s recognized, sort of, as being an ex-member of Arlong’s crew, and certainly Jimbei’s guilt is directed quite a bit in her direction. But we don’t really see her reacting much beyond faraway looks and the occasional sweatdrop. I like to think that it’s Oda showing that Nami is finally starting to move on from her past (we get a nice page-long flashback from Nami for those readers who may have forgotten it), but also we see that she can also see things from the other side now, and is more aware of the prejudice and persecution that fish-people have suffered. Not that she’s forgiving Arlong anytime soon.

Which leads us into the big flashback. This is an unusual flashback in that it doesn’t seemingly stem from a crewmember’s past and end with them joining Luffy – unless that’s meant to be Jimbei. Instead, we meet Fisher Tiger and Queen Otohime, two characters whose dreams and ideals for their people are contrasted against each other. Fisher Tiger knows what’s right and tries to follow that, but the constant abuse of humanity against his people has ground him down. As for Queen Otohime, her naivete is contrasted with her nobility and pure stubbornness, and we learn that even if fishmen and humanity can try to move closer together, it only seems to take one person with different ideas to screw everything up. As you might guess, prejudice is not an easy fix, especially when it involves slavery.

The aftermath of the queen’s death will have to wait for the next volume, as she dies on the last page (Oda even notes there’s no room for extras this time). But it’s not going to be pretty. Oda is showing us that the world is a complex, contrasting, and sometimes horrible place. Even if he’s trying to jam it into a narrative already overstuffed with political battles and revolutions. Next volume should have a lot of fights, which will actually come as a relief after all this buildup, I think.

(Also, Oda’s response to the reader asking who the father of Makino’s child is is classic Odatroll. He clearly knows all about the Shanks/Makino shippers, and is baiting them mercilessly.)

Last week at Manga Bookshelf, July 8th-14th

July 17, 2012 by MJ Leave a Comment

With so much going on here these days, it seemed time to establish a weekly roundup. Here’s what you may have missed at Manga Bookshelf last week, July 8th-14th!

From the main blog:

The Battle Robot each chose a Pick of the Week and filed a new installment of Bookshelf Briefs.

Megan checked out The Comic Book History of Comics and Chicks Dig Comics, while Sean continued his Kliban excavation in Not By Manga Alone: Supreme and other drawings.

Sara K. continued her exploration of Chinese-language pop culture with a look at the Taiwanese feature film Cheerful Wind in last week’s installment of It Came From the Sinosphere.

Matt Blind caught up on two more manga bestseller lists, covering the weeks ending May 27th and June 3rd.

Finally, Michelle and I discussed three supernatural shoujo series—Natsume’s Book of Friends, La Corda d’Oro, and Jiu Jiu in last week’s Off the Shelf: Communicable Crankiness.

From The Manga Critic:

Kate reviewed two Vertical titles this week—volume two of The Flowers of Evil and the single volume josei manga Sakuran. She also shared details on VIZ’s new android app.

From A Case Suitable for Treatment:

Sean checked out volume three of Hetalia Axis Powers from the semi-revived Tokyopop and Olympos from Yen Press, and shared his thoughts on this week’s upcoming manga.

From MangaBlog:

Brigid shared some links, including news about the upcoming Sailor Moon anime, before heading off to San Diego. Kate tends the store in Brigid’s absence.

Offsite:

Brigid talked about manga with a reporter at The Boston Globe, and Sara K. shared some insights on learning to read Chinese (recommendation: comics!) at Hacking Chinese.

It Came From the Sinosphere: Creative Comics Collection

July 17, 2012 by Sara K. 8 Comments

Pretty, isn’t it? Before you learn more about it, here’s some history for you to read!

A Brief Demographic History of Taiwan

Tens of thousands of years ago, Taiwan was not an island, and stone age people walked from Fujian to Taiwan. Then, when sea levels rose, Taiwan became an island. Thousands of years ago, Austronesian people showed up in Taiwan. It is unknown what relationship they had with the people already living in Taiwan, but the most likely scenario is that they married each other and had kids.

In the 17th century, Europeans (primarily the Dutch and Spanish) colonized Taiwan. They never arrived in sufficient numbers to have much direct impact on Taiwan’s demographics. But the era of European colonization was the first time Han Chinese (mainly from Fujian and Guangdong) arrived in Taiwan in large numbers. And since the vast majority of the Han Chinese migrants were male (at least during the early waves of migration), if they wanted to marry or have babies, pairing up with the women who already lived there was often their only option. The same applied to the few Europeans who showed up in Taiwan, of course—at all points in Taiwanese history there have been far more white males than white females present on the island (including today).

The next time a different outsider group showed up in Taiwan was when Japan took over Taiwan in 1895. Strangely, unlike all previous migrations, the Japanese did not have lots of babies with the people already living in Taiwan, though they did of course have a few babies, which is why some Taiwanese people claim Japanese ancestry. After WWII, almost all of the Japanese people living in Taiwan left.

Then after WWII many people fled from China to Taiwan, and unlike previous waves of Han Chinese migration, these immigrants were not primarily from Fujian or Guangdong. They brought a new language, Mandarin, to Taiwan (previous Han Chinese migrants spoke Minnan or Hakka). Like most immigrants to Taiwan, they married the local people and had babies.

The most recent wave of migration to Taiwan has been coming from Southeast Asia—Phillipines, Vietnam, Indonesia, Thailand, and Cambodia. And I recall reading somewhere that 20% of all marriages in Taiwan today are between a Taiwanese person and a Southeast Asian immigrant. It seems the Southeast Asians are carrying on the old Taiwanese tradition of immigrants having babies with locals.

It should be apparent by now that Taiwan is really different from Korea and Japan. Korea and Japan can point to centuries of unified, independent rule, whereas Taiwan has never been an independent and unified nation, not even today (at least not officially). If you ask a Korean or Japanese person what ethnicity they are, they will answer “Korean, obviously” or “Japanese, obviously.” If you ask a Taiwanese person what ethnicity they are, the answers can get really complicated.

And this raises the question … what is Taiwanese culture? Is there something unique about Taiwanese culture which cannot be found in any other culture, or is Taiwanese culture just an extension of some other culture?

I cannot tell you what Taiwanese culture is, and I have heard Taiwanese people answer this question in many different ways. But I see a lot of parallels between Taiwan today and the United States in the 18th and 19th centuries. Much of the work of artists in the United States from that era was to hash out what exactly the culture of the United States was. And today, many Taiwanese artists are hashing out the question of what Taiwanese culture is. Which finally, finally brings me to the main topic.

Creative Comic Collection

Creative Comics Collection is Taiwan’s best-selling manhua magazine-anthology. By “best-selling” I mean “it sells a lot more copies than the Taiwanese edition of Shonen Jump.” I am not sure there are any American comic book magazine-anthologies which out-sell the American edition of Shonen Jump (please correct me if I’m wrong). While I don’t have sales numbers, I heard that Creative Comic Collection even out-sells the collected volumes of some of Shonen Jump‘s flagship titles, such as Bleach (though I must note this not mean there are more Taiwanese people reading Creative Comics Collection than Bleach—the vast majority of Taiwanese manga-readers would rent, not buy, Bleach, whereas Creative Comics Collection is generally not available for rent).

And, I will say this for Creative Comics Collection—it is unlike any other comic book magazine-anthology I know about. Star Girls, which I discussed in a previous post, is clearly modeled on Japanese shojo magazine-anthologies. However, Creative Comics Collection is not modelled on anything I know of. It is an entirely different beast than the entire universe of Japanese magazine-anthologies (at least based on reading Magazine no Mori—I suppose there might be Creative-Comics-Collection–esque magazines in Japan which Erica simply has not discussed).

So what is this model? It’s very simple—presearchers at the Academy Sinica team up with young artists and illustrations, and make illustrations and manhua together.

How an Issue is Set Up

Each issue of Creative Comics Collection (which from now on I’m just calling CCC) has a theme—for example, Myths and Legends, Labor, Seasonal Festivities, and so forth. Most or all of the content of that issue uses that them.

The first section of an issue of Creative Comics Collection is dedicated to color illustrations and various articles about the theme. Often, there is a color manhua or illustrated story followed by a collection of illustrations from different artists around a theme. This is actually my favorite part of the magazine because of the color, the variety of styles, and the various ways they express the themes. For example, there was one color feature where the artists had to depict various historic sites in Taiwan as comic book characters.

This is Fort San Domingo in Danshui as a comic book character:

Fort San Domingo was used by the Spanish, Dutch, and British … in other words, it has European colonization written all over it (in fact, the two puppets the character is holding represent Holland and Spain fighting each other).

This is a residence built for the Japanese imperial family in Taichung:

The writing and the diagrams explain the drawing and which aspects of the drawing represent which aspects of of the original building.

After the comics comes the bulk of the issue—black and white comics accompanied by articles from the Academic Sinica.

The academics present some research to the artist, and then the artist bases a short manhua story on the research. The academic writes a short article to follow the short manhua. The manhua stories generally run about 30-40 pages long, and the articles run about 2 pages long. They explore various aspects of Taiwan—ecology, Austronesian heritage, Chinese heritage, Japanese heritage, and so forth. Each issue has about 8 manhua/articles.

Artwork

It is rather difficult to discuss the artwork, because even though there are some regular contributors, each issue has a different set of artists. However, there is a heavy Japanese influence everywhere. This is not surprising. Since Taiwan’s earlier manhua tradition was suffocated to death by censorship (ah, martial law), today’s manhua artists only have Japanese artists, not their Taiwanese predecessors, as their role models. Unlike the manhua found in Star Girls, which tends to track Japanese art styles so closely that I can date a Star Girls manhua by looking at the same things I would use to date a Japanese manga, the artists in CCC do not seem to be bound to following Japanese styles. Instead, they are exploring their own style.

Looking through the issues, I do notice a trend.

These are all from the first issue:

Notice that there are a variety of styles, with an experimental vibe running beneath most of them.

These are all from the most recent issue:

Not as much variety in style as in the first issue, and certainly not as much of an avant-garde atmosphere. It might be inevitable that as a magazine-anthologies matures, the art style settles down.

Overall, I prefer the art of the early issues because of the greater variety and the freshness, but I also appreciate that the magazine is building a stable of maturing artists—some of whom I like a lot—while still keeping room for more artists to come on board.

Stories

And …here is CCC‘s weak point. The stories are not terrible. They are generally just not, well, very memorable. The typical CCC story is ordinary person finds unusual thing, learns more about unusual thing, and then has an ephiphany (the unusual thing, of course, is the subject of the academic’s article). Even though I don’t particularly like Kokai’s drawing style (Kokai is one of CCC‘s regular contributors) I generally like her storytelling more than the other artists because she at least puts a little pizazz into the plot. But generally, I prefer the manhua where they throw the story to hell and just focus on drawing up Taiwanese esoterica in imaginative ways.

That said, the stories (being short) go by quite quickly and balance out the academic articles nicely. Light manhua – academic article – light manhua – academic article, and so forth, makes for a better reading experience than pure light manhua or pure academic articles.

Still, my favorite section is the still the color illustrations in the beginning because they often don’t bother with storytelling in that section, instead focusing on CCC‘s strengths—a variety of art and … Taiwanana? What am I supposed to call the Taiwanese equivalent of Americana?

Availability

Availability in English … ha ha ha.

Well, a few of the manhua stories don’t have dialogue, so I suppose somebody literate in English can read them just as well as someone literate in Chinese. Some manhua stories are “available” online at the CCC website, but the resolution is so bad that I can’t read them, so if you want to look, it does not matter what language you’re literate in (or not).

CCC is quite easy to acquire in Taiwan. I’m sure it’s harder to acquire elsewhere.

Conclusion

Like I said, this is a strange beast, so I am not going to say it should be licensed, at least not in the traditional sense. Nonetheless, I think it would be nice if they translated some of the manhua and features into English and put them online on the offical CCC website so that people outside of Taiwan could get a taste of what it’s like.

It is no secret that Japanese manga dominates the Taiwanese comic book scene, and most Taiwanese people are hardly aware of local manhua (this is partially because the most commercial Taiwanese manhua packages itself just like Japanese manga, so the casual reader may not notice the difference). However one thing Japanese manga cannot do for Taiwanese readers is reflect Taiwanese culture. While I think Star Girls manhua sometimes reflects Taiwanese culture in interesting ways, it’s generally subtle and would not satisfy somebody who really, really wants to see Taiwan embodied in comic book form.

And that is the craving that CCC fills. It is Taiwanese in your face. Taiwan practically drips from its pages.

An avant-garde depiction of a Formosa magpie in a sailor suit

Like this page, which depicts a badass Formosa magpie (the Formosa magpie is often used as a symbol of Taiwan).

It might be difficult for relatively privileged people to understand this. However, if you have had trouble finding stories which reflect people like you and the culture you live in, the craving for such stories can be quite powerful.

So, I have a question for you:

Would you like to discuss specific artists from CCC in future columns?

Next time: Autumn’s Concerto, AKA Next Stop, Happiness (idol drama)

One of the reasons Sara K. enjoys living in Taiwan is that it is the crossroads of East Asia. Japan, Korea, China, Phillipines, Vietnam, Indonesia, Thailand … it all comes together in Taiwan. She thinks it is not a coincidence that Taiwan is both the crossroads of such different cultures … and is the most queer-tolerant and least-sexist place in Asia (that has more to do with Asia generally being homophobic and sexist rather than Taiwan being wonderful in that regard … but Sara K. does not know of any other place in Asia where the head of state publicly attended a gay pride parade).

Combat Commentary: Naruto (The Entire Series)

July 17, 2012 by Derek Bown 5 Comments

You know what the most disappointing thing is about Naruto?

It’s not the story that’s stagnated to the point of resembling a soap opera that’s passed its prime. Neither is it the considerably large female cast that gets absolutely no focus. Nor is it the fact that Kishimoto insists on focusing on the one character more mind-numbingly awful than the actual protagonist.

No, it’s that Naruto used to be good.

That isn’t to say that Naruto can’t be enjoyed by a very particular breed of person, but when considering the first three volumes of the manga I can’t help but wonder: What the heck happened?

As far as shounen fighters go, Naruto was something of a godsend in its early days. Rather than focus on two muscley men punching each other to death, Naruto had the audacity to focus on preteen children punching each other to death. With magic! And as anyone who has spent an extended amount of time around children can attest, this is an incredibly cathartic experience.

Rather than the admittedly much simpler, “Guy A punches Guy B very hard” repeated ad nauseum, Naruto instead had fights that were more about strategy and trickery. This led to a variety of intelligent ways in which Guy A could halt Guy B’s vital functions. Even with the addition of magic powers (Kishimoto can call it “chakra” and “chi” or whatever he wants, one’s inner energy does not give one the ability to shoot fireballs with one’s eyes!) Naruto remained intelligent and fast moving—a battle manga for the intellectual. Sort of.

(click images to enlarge)

But somewhere along the line Naruto lost its way. Focus was placed on the magic, rather than the clever ninja fighting techniques. Fights became longer and more repetitive. The biggest problem was the grave misuse of the sharingan powers. Rather than be satisfied with just two powers, Kishimoto decided at some point the sharingan needed to be so powerful that it made every other technique obsolete.

It’s a problem of escalation really. Dragon Ball experienced the same problem. After you introduce a villain that can destroy a planet, where do you go from there? By introducing a villain that can destroy planets—only he does it harder! The problem is found in most battle manga, and is a curse of the way in which manga is published. If a manga is clever and engaging then the readers will connect with it. And when they connect with it they want more. And when the readers want more the publishers squeeze the creator for everything he or she has, even if the creator’s best ideas dried out a long time ago.

It would be easy to dismiss Naruto as one of those comics that outstayed its welcome. The problem is that not only has Kishimoto never shown any signs of being close to done, but he’s single handedly responsibly for the downgrade in quality. Just like he decided Sasuke was the most engaging character anyone would want to read about, so he decided that magic eyeballs were the way of the future.

One of Kishimoto’s signature stylistic choices was having diagrams describing what happened in the action scene, as a kind of recap or to explain new techniques. I was never a fan of this, as it broke the flow of the story in favor of presenting information with more tedium than my entire undergrad program. For a while Kishimoto abandoned this—one of the only good decisions he’s made in the past few years I’d say. But as those who have been reading Weekly Shonen Jump Alpha know, Kishimoto recently brought that particular feature back—to describe yet another inane sharingan power. It’s as if Kishimoto realizes he doesn’t have that spark anymore, and so he’s reaching back to the early days of his manga. A note to the wise, perhaps try bringing back the engaging parts of your manga, not the one lousy thing that should have stayed buried.

As easy as it is to complain but not provide a solution to the problem, I’m afraid it’s too late for Naruto. The escalation has gone too far. Characters are capable of leveling mountains now—going back to throwing shuriken just won’t work. Which begs the question, why do they still bother carrying the things?

While I’m sure there are still those who read and enjoy the series, I for one have long since abandoned it to that depressing part of my mind where good manga go to stagnate. It seems that’s been happening far too often with current ongoing shounen manga. Bakuman had the right idea and got out while the getting was good.

My current negative opinion of the series isn’t going to stop me from reviewing later fights in, for some, excruciating detail. Please stay tuned, unless you like Naruto—might be a good idea to avoid those future reviews.

Monday morning manga links

July 16, 2012 by Katherine Dacey

If you weren’t able to attend San Diego Comic-Con, fear not: Sean Gaffney has posted a report detailing the major licensing news from Kodansha Comics, VIZ Media, and Yen Press. Among the most exciting announcements at SDCC came from JManga, which has teamed up with Kodansha to rescue titles left unfinished by Tokyopop and Del Rey. JManga hasn’t revealed which titles it will be releasing through its online portal, so stay tuned.

Chip Kidd announced that he’s working on a new anthology of bara manga for PictureBox. Entitled The Passion of Gengoroh Tagame: Bara Master, the book will feature a dozen or so short stories by Tagame, and will be translated by Anne Ishii.

In honor of the just-announced Sailor Moon reboot, Mike Toole takes a look at the franchise’s fascinating twenty-year history, from storylines to swag.

The Manga Bookshelf gang — myself included — weigh in on this week’s new arrivals.

File under “Not Manga, But Relevant”: Manga Bookshelf contributor Sara K. offers tips for mastering a new language. Not surprisingly, she recommends reading comics as a fun vocabulary-building exercise.

Erica Friedman rounds up the latest yuri manga news at Okazu.

DMP’s ambitious Kickstarter campaign is entering its final week. Currently, the publisher has raised enough funds for two titles — Osamu Tezuka’s Unico and A*Tomcat — but is hoping to attract additional support for a third, Triton of the Sea. Readers curious about Triton can read a short preview at Kickstarter.

Reviews: MJ and Michelle Smith dedicate their latest Off the Shelf column to supernatural shojo titles, including Jiu Jiu and Natsume’s Book of Friends. Over at Experiments in Manga, Ash Brown reviews Bond(z), Hikaru no Go, and Olympos.

Sean Gaffney on vol. 1 of Alice in the Country of Clover: Cheshire Cat Waltz (A Case Suitable for Treatment)
Kristin Bomba on vol. 20 of Claymore and vol. 9 of Rosario + Vampire Season II (Comic Attack)
Kate O’Neil on vol. 7 of House of Five Leaves (The Fandom Post)
Ash Brown on NonNonBa (Experiments in Manga)
Matthew Alexander on vol. 6 of Omamori Himari (The Fandom Post)
Anna Neatrour on Roman Holiday (Manga Report)

Bookshelf Briefs 7/16/12

July 16, 2012 by Sean Gaffney, Katherine Dacey and Michelle Smith 2 Comments

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

Dengeki Daisy, Vol. 10 | By Kyousuke Motomi | VIZ Media – It is interesting that, despite the fact that we are all rooting for Teru and Kurosaki to get together in the end, the fact that she’s still a student and he’s about 8 years older than her is never allowed to be forgotten. There’s that vague element of discomfort to the whole thing, which is why we’re happy that Kurosaki is never overly affectionate with Teru, even if everyone else is pushing him to be. As for Teru, here she finds that being the one always protected and always in danger sucks, especially when she gets beaten (literally) by Akira, who the author is clearly trying to show is a troubled child but we haven’t seen enough of his past to sympathize yet. Teru ends up wanting to get stronger and the the one who’s protecting. Admirable sentiment, especially as her friend Rena may be in trouble soon. We’ve caught up with Japan, so it will be a wait till the next volume, but always highly recommended. –Sean Gaffney

Fairy Tail, Vol. 20 | By Hiro Mashima | Kodansha Comics – Nirvana is taken care of right at the very beginning of this volume, leading us to expect most of thee volume will be a ‘breather’ and more comedic. Not at all. From Jellal’s arrest (I’m sure we’ll never see him again, wink wink) to the fate of Wendy’s Guild, this is a volume filled with heavy emotional moments. And Mashima is very good at those, better perhaps than his big shonen fights. I particularly liked Natsu’s talk with Gildarts – the clueless mage asks about Lisanna, and Natsu’s reaction is like nothing we’ve ever seen before – clearly her death affected him greatly. (Gildarts himself is fun, being that powerful yet goofy ‘dad’ type the guild has needed for a while.) As the volume ends, though, we start a new arc, with Natsu and Wendy in a land filled with opposite-personality duplicates of everyone. No doubt hijinks will ensue. –Sean Gaffney

Kobato, Vol. 6 | By CLAMP | Yen Press – CLAMP has a long and not-so-proud history of leaving series unfinished: witness X/1999, Clover, and Legal Drug, three stories that never got the ending they deserved. I’m pleased to report that CLAMP provides a satisfactory resolution to Kobato, tying up all the plot threads in a manner that should appease all but the most cynical of readers. If the storytelling is lazy at times — and what says “lazy” more than characters explaining things to one another that they’d presumably know? — CLAMP wins points for its elegant, graceful artwork and warm-hearted portrayal of even the most difficult characters. Their redemption may strike some readers as unbearably sappy, but honors the story’s greater message of selflessness and courage. – Kate Dacey

Kobato, Vol. 6 | By CLAMP | Published by Yen Press – And so Kobato comes to an end. It actually wraps up better than I expected it to, though I would’ve vastly preferred the ending if the final chapter had been omitted. Even now, there are several elements of the story that still feel half-formed—I feel like it could’ve truly been compelling if only I could’ve cared about anyone, but I never managed to do so. And while I would stop short of saying it all feels rushed, CLAMP takes the shortcut approach of having large amounts of backstory conveyed via dialogue, which gets a bit tiresome. At one point, one of the characters, having been lectured at length about a past for which he was present, cries, “I recall it all!” I doubt CLAMP was making commentary on the awkwardness of the exchange, but that remark still prompted a snicker from me. Ultimately, not bad but not a keeper, either. – Michelle Smith

Rin-Ne, Vol. 9 | By Rumiko Takahashi | VIZ Media – I really wish that Rin-Ne had more obvious flaws and faults, as it’s just not quite dull or bad enough to justify my dropping it. At the same time, however, there’s so little substance here that it’s like reading air. There’s no forward plot momentum here – even when Rinne’s father appears again, it’s in a fairly comedic story about a dead ramen owner. What we get instead are basic short stories about ghosts who cannot pass on unless they have aired out their grievances. That said, one thing that Takahashi’s work has kept throughout, from UY to Ranma to now, is that humans are basically horrible jerks. The ghosts are petty and perfectly happy damning others to their fate, while the loved ones they left behind are cruel cheaters who didn’t care in the first place. It lends a tart air to this otherwise generic supernatural comedy. –Sean Gaffney

Skip Beat!, Vol. 28 | By Yoshiki Nakamura | VIZ Media – For those who wanted more focus on the not-quite-romance between Kyoko and Ren, this is the volume for you. A near-deadly car accident leaves Ren having post-traumatic flashbacks to his time in America, and at last we start to get an idea of what actually happened that broke him so much. I liked the fact that, even though Kyoko is once again his guiding light and moral conscience, he also relies on advice from his friend Rick, which is… actually used in a pretty funny way, but whatever seems to work for him. As for Kyoko, it seems to finally be dawning on her what her feelings for Ren are, and she’s none too happy about it. That said, things seem to finally be moving forward for those two, so no doubt Vol. 29 will be filled with hideous complications that will screw everything up. Just as we like it. –Sean Gaffney

Slam Dunk, Vol. 22 | By Takehiko Inou | Published by VIZ Media – This is one of those in-between volumes, where the excitement of the Prefectural Tournament has passed but the Nationals have not yet begun. A few important things happen, though, with the most significant being that Hanamichi finally seems to grasp that, at his present skill level, he’s nowhere near as good as Rukawa. When the rest of the team goes off to a week-long training camp, Hanamichi stays behind with Coach Anzai for some rigorous practice. Although I prefer the fast-paced, volume-spanning games, there is still something satisfying about a volume like this, in which intense hard work pays off with measurable, definitive progress. If only real life were as simple as sports manga! – Michelle Smith

Toriko, Vol. 10 | By Mitsutoshi Shimabukuro | VIZ Media – Jump manga, especially the type brought over here, tend to follow certain patterns. Thus you know that there’s going to be a volume or two – or four – that are 200 pages of nothing but fights. This doesn’t necessarily mean I have to like it, though, and this volume had me flicking pages quickly to try and see what would happen after our heroes eventually triumphed over the bad guys. Not to say there isn’t a bit of cost – Toriko has now lost an arm, and I wonder what plot contrivance will let it grow back – and Teppei is another in a string of powerful yet dumb/weird guys we’ve seen in this series. But this volume didn’t even have people eating food – it was just punching, punching, punching. MORE FOOD, PLEASE. –Sean Gaffney

Pick of the Week: Nagato, Sakuran, 13th Boy final!

July 16, 2012 by Sean Gaffney, Katherine Dacey, Michelle Smith and MJ 3 Comments

SEAN: It’s rare for me to recommend a manga purely on the basis of OH MY GOD IT’S SO ADORABLE, if only because there are so many other moe titles that ply on that trait that I dislike. Puyo’s alternate universe take on the 4th Haruhi Suzumiya novel, however, The Disappearance of Nagato-Yuki-chan is an exception. The artwork may not be perfect, especially at the start, but otherwise this is basically Haruhi reimagined as a cute romantic comedy starring Kyon and Yuki. (Don’t worry, Haruhi won’t stay away for long). Funny in a cute way, angsty in a cute way, and romantic in a very cute way, this is for everyone who thought that Haruhi’s story would be great if only everyone was simply nice to each other. And wait till you see Ryoko Asakura. (Of course, non-Haruhi fans likely won’t get the same value, but…)

KATE: Midtown Comics isn’t listing Sakuran among this week’s new arrivals, but the book’s official street date is July 17th, so Sakuran is my pick. I’ve always been torn about Moyocco Anno’s work: though I love her stylish art, I wasn’t crazy about the gender politics of Happy Mania and Flowers and Bees. Sakuran, however, made into an Anno convert. Not only is it beautifully illustrated, it’s told with humor, grit, and surprising sensitivity, given the subject matter. The story also boasts one of the fiercest, most complicated heroines in recent memory; Kiyoha isn’t someone I’d like to emulate (or even spend time with), but I came to admire her tenacity and survival skills.

MICHELLE: There are other worthy entries on this list, but I only have eyes for 13th Boy. As was my rationale with Ouran High School Host Club a few weeks ago, it’s impossible for me not to pick the final volume of a beloved series when it’s my last opportunity to do so. 13th Boy is easily one of the strongest, most interesting and surprising manhwa series to be released in America; if you’re at all curious about comics from Korea, you owe it to yourself to check it out.

MJ: Well, I’m with both Kate and Michelle this week. But since I’ll get another crack at Sakuran whenever it does show up on Midtown’s list, this week I’ll side with the final volume of 13th Boy. For some perspective on this pick, I think by now you all know how much I love the beautiful coats and shirtsleeves in Pandora Hearts (another of this week’s bounty), and just how much sway that holds with me… and I’m still picking 13th Boy. Make of that what you will.

Readers, what looks good to you this week?

Alice in the Country of Clover: Cheshire Cat Waltz, Vol. 1

July 16, 2012 by Sean Gaffney

By Quin Rose and Mamenosuke Fujimaru, based on the game by Quin Rose. Released in Japan as “Clover no Kuni no Alice – Cheshire Neko to Waltz” by Ichijinsha. Released in North America by Seven Seas.

I was less than impressed with the first spinoff from the Alice books, Bloody Twins. This second one promises a much longer and more involved plotline – it’s 7+ volumes in Japan – and like the heart volumes has Alice bonding with a lot of people while clearly being romantically paired off with only one of them. Here it’s Boris, the Cheshire Cat of Alice’s dream world.

The premise, supposedly, of the ‘Clover’ world is that the player, playing Alice, did not actually pick anyone while playing the ‘Hearts’ game – which involved a love based on passion. So the world changes to the ‘Clover’ country, where Alice once again interacts with most of the cast she knows (Julius is gone, and I missed him), along with a few new characters, and tries to see if she can find a love based on ‘companionship’. The manga thus fairly unapologetically plots out one of the ‘routes’ you can take as Alice in the game.

What this means in terms of an actual manga plotline is that Alice is uprooted from her comfortable life at the amusement park (as I said, different world from the Hearts manga) and dumped into a lonely forest. Much of this first volume involves her fear and uncertainty at having her life turned upside down right after she decided to stay there and not return home to her sister. Luckily, she eventually finds Boris, and through a series of wacky situations, ends up staying at the Hatter’s place and getting a new job.

Like Bloody Twins, this manga is focused far more on the romance than the Hearts manga. Alice’s sister is mentioned once or twice, but the implication we get at the end of Hearts is never brought up. Instead, we get the Hatter, and the Twins, and above all Boris, all trying to get into Alice’s pants. I’d mentioned in Bloody Twins that there was a far more sexually suggestive air to the book, and that continues here – at one point the Hatter says ‘So maybe you’ll *stay* if I make you *come*’ and his implication is clear. Of course, this manga series – and the original games – were written for female fans, not male ones. As a result, the tendency to try to keep all the harem characters virgins so as not to offend male otaku is absent. Nothing actually happens here, but I would not be terribly surprised if Alice and Boris come together – so to speak – in the future.

This volume does tend to get a little aimless at times, and risks being as light and frothy as Bloody Twins was. The good thing, though, is that it’s not afraid to show how emotionally damaged all its cast is. Alice and Boris are both filled with doubts and unfulfilled needs, and can’t communicate well at all – part of Alice’s worries are that Boris doesn’t love her as much because he’s a cat deep down. Meanwhile, thankfully Peter White and Ace are both in this universe as well, and they’re as insane as ever – Peter is the worst stalker ever, and Ace always seems to be one step away from a mass murder spree. If the title can balance its romantic comedy elements with the discomfort at its heart, it should prove just as fun as the original.

SDCC Round-Up

July 15, 2012 by Sean Gaffney

Once again, I was not at San Diego Comic Con this year, but I have access to The Internet, so can offer my unsolicited opinions anyway. :) SDCC over the last few years has been more ‘media’ oriented than ever, so it’s no surprise that the manga news was relatively quiet, though there were a couple of ‘big news’ items.

Viz was the first panel, and didn’t have any major print manga announcements. However, they did debut their Android VizManga app at last. I downloaded it to my phone. There were initial hiccups with zooming and availability, but as I look at the site this morning, both are fixed, though the zoom seems to be very fussy – I had to go forward and back a bit to get to the size I wanted. I didn’t initially have my Excel Saga volumes available for download, but that seems to have resolved itself as I type this. No doubt there will be improvements and upgrades, but this is a good first step for Viz in stepping away from the iMarket. The other big news of interest for manga fans was the Nausicaa boxset, which looks impressive, and apparently will have a poster.

Kodansha came next. Obviously, their big push was for Sailor Moon, which has done very well for them. I was a bit disappointed that they did not announce the two ‘short story’ volumes that come after the 12-volume re-release – I hope there isn’t a hold-up with Takeuchi. (The rumor is she asked them not to put the extras in the NA versions, though that is of course merely a rumor.) They discussed previously revealed releases: Genshiken: 2nd Season in September; Missions of Love (aka Watashi ni xx Shinasai!) in November, and Battle Angel Alita: Last Order 16 in December, which moved companies in North America just as it did in Japan. Alita also gets an omnibus so folks can catch up on what they missed – I presume the omnibus is only of Last Order, rather than the original series.

The new announcement was that of Negiho!, a spinoff/alternate universe of the original Negima series that was not written or drawn by Akamatsu but apparently had his consent. The premise is that the majority of the female students in Negi’s class are kindergartners, and Negi is their 15-year-old teacher that they all get crushes on. It started in one of Kodansha’s magazines for kids, but rapidly moved to a shonen spinoff Bessatsu Shonen Magazine as everyone realized it was more otaku-oriented. It’s meant to hit all the moe and cute buttons at once, so if you like cute little moe girls, you should enjoy it. Further, deponent sayeth not. >_>

JManga was the big news of last year’s SDCC, and they did their best to make this year the same. They are close to finally getting the iOS and Android apps for their site, and those should be going live in October – and that includes Android tablets.

They announced a few new titles coming out in the next couple of weeks, the big surprise of which to me was Sun-Ken Rock, a martial arts yakuza manga set in Korea that runs in Shonen Gahosha’s Young King. It’s… a very, very Young King title, let me tell you, and I would definitely expect to hit that ‘yes, I am over 18’ button if you plan on reading any of it.

There’s also a much-anticipated BL title: Dousei Ai (Same-Sex Love), from the author of After School Nightmare. It’s an old Biblos title from the 1990s, so I’m going to guess it ran in Be x Boy. It apparently has a complex plot with multiple protagonists.

JManga also announced at the last minute (literally: they got the OK to announce it minutes before the panel) that they will be working with Kodansha to rescue some of the old North American titles that were coming out via Tokyopop and Del Rey but are now either out of print or were killed for low sales. They can’t say what they are, but there are several I’d love to see. Love Attack? Kindaichi Case Files? Moyashimon? School Rumble? The possibilities are limitless! Speaking of Kodansha, they’re joining with Shueisha and Futabasha to sponsor a translation contest for JManga, the grand prize being a trip to Japan. Contestants get either a shoujo Shueisha title, a seinen Kodansha title, or a seinen Futabasha title. No word on whether the winners end up on the site – if so, it would mean Shueisha would join Kodansha in finally letting some of their works on the JManga site. Which can only be great. All in all, a very good panel for JManga, and I’m pleased to still see them doing well 1 year on.

Normally, Udon’s video-game based manga is not one I pay attention to all that much. (We can basically guess Silent Mobius was cancelled by now, right?) But this time around they announced the start of an artbook line, with Evangelion’s Chronicle: Illustrations leading the way. The intriguing one for me is the Read Or Die archive, which apparently takes in both the OAVs and TV, and a Haruhi Suzumiya book as well. Most artbooks are 75% pictures and 25% text at the back, so get imported a lot by fans who don’t care they can’t read 1/4 of it. If there are some cool interviews or the like with these, it would definitely justify a purchase.

Yen Press also had a few goodies to tell us about. The big one was leaked a little early by Amazon.uk (really, Amazon takes all the fun out of company panels these days), but that’s OK. It’s BTOOOM!, a survival game title for the video game fan from Shinchosha, running in their Comic Bunch line. The covers, at least in Japan, are parodies of real-life ‘game covers’ you’d see for the X-Box, Playstation, etc. – let’s hope those can stay. It should do quite well for action fans.

Another intriguing title for Yen was Momoiro Shoten e Youkoso, aka Welcome to the Erotic Bookstore. This is a comic essay series from Media Factory (did it run in Flapper?) about, well, a bookstore that decides to add a few toys to their line. It’s going to be digital only, possibly both to avoid bookstore issues with the content and also as it would cost less than printing it out. I’m definitely intrigued, though – these sort of titles almost never get licensed over here.

Lastly, there is Another, a 5 volume (4 + prequel) manga based on a horror light novel, which Yen has also licensed. Yen says it hopes to put out more novels in the future, which hopefully shows that Book Girl is at least not selling poorly. The manga ran in Kadokawa Shoten’s Young Ace, and is about a classroom that features a girl that everyone seems to ignore, and who looks like Abiru Kobushi from Zetsubou-sensei. Between Higurashi/Umineko and this, Yen seems to be dipping its toes more and more into the horror market. Hopefully it sells scarily well! (slap) I’m sorry, that pun was uncalled for.

Shonen Jump Alpha had one new announcement, with a series so new I don’t have a picture of it. From what I have seen of Takama-Ga-Hara, though, it seems the sort of manga that is very much in line with all the other Jump manga that currently run in Alpha. It’s ‘that Jump sort of manga’, if you know what I mean. They’re also speeding up Blue Exorcist a bit in order to catch up with Japan; it will be appearing 2 chapters a week for a month, then will be every month, 2 weeks after Japan (as with the other Weekly Jump titles).

There was some disappointment on Twitter that the popular mid-level Jump series were once again ignored by Viz. Sket Dance, Kuroko no Basket, Beelzebub, Medaka Box, and Nisekoi. All but the last even have anime series that could be tied in. Though, notably, none of them have anime series with a dub. The reason that we’re seeing Takama-Ga-Hara and Barrage, I expect, is that they’re low-risk high-reward investments. They’re the type of title casual Jump readers like. If they sell well, great. If they bomb in Japan and end after 3 volumes, well, a new series can replace it that is also low-risk. On the other hand, licensing, say, Sket Dance would require releasing 24 volumes in a hurry to catch up with Japan. Same goes with all the others I listed. Nisekoi is popular in Japan, and only has a few volumes to its name, but it has a different problem; it’s a romantic comedy with no supernatural content. I can’t even recall the last Jump manga Viz licensed without some type of fantasy element. Was it Strawberry 100%? In any case, I’d love to see all these titles, but sadly can understand why they were once again not mentioned at Jump’s panel.

And so that’s a wrap; I don’t think today has any major manga content, at least not of the ‘new licenses’ variety. Any thoughts or opinions? For a slumping market, I thought this was a pretty good SDCC; certainly we’re seeing more evidence that digital is the wave of the future.