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Pick of the Week: decisions, decisions

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We’ve got an embarrassment of riches coming in this week at Midtown Comics. Check out picks from Michelle, Sean, Kate, & MJbelow!

MICHELLE: Decisions, decisions! I am definitely keen to read quite a few of the volumes on this week’s Midtown Comics release list, but ultimately I’m going to have to cast my vote for volume 61 of Eiichiro Oda’s masterful One Piece. They say absence makes the heart grow fonder, and “they” must be on to something, because I’m really eager to see the rest of the crew again after the past few volumes, which featured Luffy on a solo quest to save his brother, Ace. Not only that, we’re about to embark upon the current arc of the series, which is very exciting indeed!

SEAN: We do indeed have an embarrassment of riches this week. My pick goes to Vol. 9 of Dengeki Daisy. A lot of Betsucomi manga tend to have their heroines in constant peril, and indeed that’s exactly what happens in Dengeki Daisy. What makes it work is that Teru does not whimper and wonder why all this keeps happening to her – she’s a very active Penelope, so to speak. This series has been in the middle of an ongoing very serious arc, which has been disconcerting to those who loved the comedic antics between Teru and Kurosaki. But the action and drama has also been skillfully handled, and you keep hoping that all this intrigue will end well so that the leads can live happily – if abusively – ever after.

KATE: Oh, the dilemma! I’m tempted by the first volume of The Earl and the Fairy, even if it sounds like a forgotten Lawrence Olivier/Marilyn Monroe movie, and I’m delighted to see that VIZ is re-releasing the early volumes of Skip Beat! as an omnibus. The title that most excites me, however, is the King City trade paperback. You may remember King City from the days when TOKYOPOP had a robust line of OEL comics. Though widely praised, Brandon Graham’s sci-fi comedy wasn’t a particularly good fit with the rest of TOKYOPOP’s catalog; the humor was too weird and subversive, and the art didn’t strike readers as particularly “manga-esque.” TOKYOPOP put the series on hiatus in 2007, then allowed Graham to bring the series to Image Comics. The TPB collects the entire series — 400+ pages — in a tidy, economical package. If you missed it the first time around, it’s definitely worth a look.

MJ: Wow, it really is a tough choice this week! It’s hard not to go for the final volume of No Longer Human, Usamaru Furuya’s adaptation of the classic novel, which Michelle & I fawned over in a recent installment of Off the Shelf. There’s also a new installment of Chi’s Sweet Home, and this week’s new omnibus release of Skip Beat! finally gives me a chance to get into that long-running series. In the end, though, I guess I’ll be the one to go for The Earl & the Fairy, artist Ayuko’s adaptation of the light novel by Mizue Tani, out this week from Viz. I’m always a sucker for a new shoujo series, and this one looks intriguing. I haven’t always been a fan of light novel adaptations, but having been so thoroughly won over by last year’s The Story of Saiunkoku, and eager to give this one a try!

Readers, what looks good to you this week?

Recorder and Randsell

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Most of the 4-koma manga I’ve read have been stamped from the same mold. There’s a quartet of teenage girls, each of whom has one personality trait, one talent or obsession, and one distinguishing physical characteristic. They all attend the same cram school, or live in the same dorm, and participate in the same everyday activities: studying for tests, planning trips to the beach, baking cakes. What passes for humor arises mostly from the clash of personalities or interests: the klutz accidentally pours water on the neat freak’s homework, or the brain chastises the compulsive gamer for playing another round of Warcraft instead of hitting the books.

Recorder and Randsell is an interesting variation on this theme, replacing the quartet of girls with mismatched siblings: Atsumi, a high school sophomore who looks eight, and Atsushi, a fifth grader who looks like a college student.

As one might guess from the characters’ appearance, most of the jokes revolve around mistaken identity. Atsumi’s best friend, the well-developed Sayo, pretends that Atsumi is her daughter to keep creepy guys at bay, while Atsushi’s grade-school pals dress him up as a parent so they can attend a cultural festival without a chaperone. Not all of the humor is PG-rated: in one of the series’ many running gags, Atsushi’s pretty young teacher is flustered by her student’s deceptively mature physique, her humiliation compounded by strangers mistakenly assuming that the puppy-like Atsushi is, in fact, her boyfriend.

To be sure, many 4-koma titles are built on the same foundation as Recorder and Randsell: the characters are easy to grasp; they follow clearly established patterns of behavior; and they seldom learn from their mistakes. What makes Recorder and Randsell funny is Higeyashi’s ability to devise new scenarios that yield the same disastrous outcomes; no matter what Atsumi and Atsushi do, or where they go, other people misread their respective ages. Higeyashi is also unconcerned with making her characters lovable, which grants her license to be weird, edgy, and a little mean to them — something that almost never happens in Sunshine Sketch or Ichiroh!!, where the characters’ behavior is carefully calibrated to trigger the reader’s awwwwwwwww reflex.

Also working in Recorder and Randsell‘s favor is the small but well-defined supporting cast. Meme Higeshiya gives each of these characters a clear role to play: Atsushi’s sidekicks, for example, remind us that Atsushi is on the brink of becoming a teenager, as they simultaneously envy the attention Atsushi receives from female classmates and tease him about his size. (“He’s a huge target!” one gleefully declares at the beginning of a dodge ball game.) The best supporting player, however, is Take, the Miyagawa’s next-door neighbor, a thirty-something man who can’t hold a steady job. Though we never see his face, Take is a frequent visitor to the Miyagawa household, unloading unwanted clothing on Atsushi whenever he breaks up with a girlfriend. (“Naoko gave me that shirt… Sachiko picked out those pants… Keiko bought me those shoes,” Take tells a bewildered Atsushi. “Stop or I won’t want to wear them anymore!” Atsushi complains.)

The art, like the script, gets the job done. Higeshiya plays up the physical contrast between the siblings, rendering Atsumi as a tiny, doll-faced girl with enormous eyes and Atsushi as a tall shojo prince. On closer inspection, the reader will see that Higeyashi is skillful enough to capture her characters’ respective ages through their body language and facial expressions; Atsushi clearly comports himself like a child, with wildly exaggerated movements and quicksilver moods, while Atsumi assumes the scolding posture of an adult.

I’d be the first to admit that such a slender premise couldn’t sustain a eight- or ten-volume series; by the fifth time the police arrest Atsushi on suspicion of being a pedophile, the punchline falls flat. Read in short bursts, however, the effect is like a good newspaper strip, offering an agreeable mixture of predictable and not-so-predictable jokes. Recommended.

RECORDER AND RANDSELL, VOL. 1 • BY MEME HIGEYASHI • TAKESHOBO CO., LTD. (JMANGA) • 115 pages • RATING: TEEN PLUS (13+)

Recorder and Randsell, Vol. 1

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Most of the 4-koma manga I’ve read have been stamped from the same mold. There’s a quartet of teenage girls, each of whom has one personality trait, one talent or obsession, and one distinguishing physical characteristic. They all attend the same cram school, or live in the same dorm, and participate in the same everyday activities: studying for tests, planning trips to the beach, baking cakes. What passes for humor arises mostly from the clash of personalities or interests: the klutz accidentally pours water on the neat freak’s homework, or the brain chastises the compulsive gamer for playing another round of Warcraft instead of hitting the books.

Recorder and Randsell is an interesting variation on this theme, replacing the quartet of girls with mismatched siblings: Atsumi, a high school sophomore who looks eight, and Atsushi, a fifth grader who looks like a college student.

As one might guess from the characters’ appearance, most of the jokes revolve around mistaken identity. Atsumi’s best friend, the well-developed Sayo, pretends that Atsumi is her daughter to keep creepy guys at bay, while Atsushi’s grade-school pals dress him up as a parent so they can attend a cultural festival without a chaperone. Not all of the humor is PG-rated: in one of the series’ many running gags, Atsushi’s pretty young teacher is flustered by her student’s deceptively mature physique, her humiliation compounded by strangers mistakenly assuming that the puppy-like Atsushi is, in fact, her boyfriend.

To be sure, many 4-koma titles are built on the same foundation as Recorder and Randsell: the characters are easy to grasp; they follow clearly established patterns of behavior; and they seldom learn from their mistakes. What makes Recorder and Randsell funny is Higeyashi’s ability to devise new scenarios that yield the same disastrous outcomes; no matter what Atsumi and Atsushi do, or where they go, other people misread their respective ages. Higeyashi is also unconcerned with making her characters lovable, which grants her license to be weird, edgy, and a little mean to them — something that almost never happens in Sunshine Sketch or Ichiroh!!, where the characters’ behavior is carefully calibrated to trigger the reader’s awwwwwwwww reflex.

Also working in Recorder and Randsell‘s favor is the small but well-defined supporting cast. Meme Higeshiya gives each of these characters a clear role to play: Atsushi’s sidekicks, for example, remind us that Atsushi is on the brink of becoming a teenager, as they simultaneously envy the attention Atsushi receives from female classmates and tease him about his size. (“He’s a huge target!” one gleefully declares at the beginning of a dodge ball game.) The best supporting player, however, is Take, the Miyagawa’s next-door neighbor, a thirty-something man who can’t hold a steady job. Though we never see his face, Take is a frequent visitor to the Miyagawa household, unloading unwanted clothing on Atsushi whenever he breaks up with a girlfriend. (“Naoko gave me that shirt… Sachiko picked out those pants… Keiko bought me those shoes,” Take tells a bewildered Atsushi. “Stop or I won’t want to wear them anymore!” Atsushi complains.)

The art, like the script, gets the job done. Higeshiya plays up the physical contrast between the siblings, rendering Atsumi as a tiny, doll-faced girl with enormous eyes and Atsushi as a tall shojo prince. On closer inspection, the reader will see that Higeyashi is skillful enough to capture her characters’ respective ages through their body language and facial expressions; Atsushi clearly comports himself like a child, with wildly exaggerated movements and quicksilver moods, while Atsumi assumes the scolding posture of an adult.

I’d be the first to admit that such a slender premise couldn’t sustain a eight- or ten-volume series; by the fifth time the police arrest Atsushi on suspicion of being a pedophile, the punchline falls flat. Read in short bursts, however, the effect is like a good newspaper strip, offering an agreeable mixture of predictable and not-so-predictable jokes. Recommended.

RECORDER AND RANDSELL, VOL. 1 • BY MEME HIGEYASHI • TAKESHOBO CO., LTD. (JMANGA) • 115 pages • RATING: TEEN PLUS (13+)

Apple removes Digital yaoi from iTunes

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Is Apple holding LGBTQ comics to a different standard than others? MJ looks at the question from several angles, noting that most publishers of comics with gay content don’t even bother with Apple because they don’t think their comics will pass the content restrictions. And those fears may be justified, because Digital Manga has just been told to remove some of its yaoi manga from the iTunes store. MJdoes some side-by-side comparisons with other comics and finds that Apple is letting plenty of steamy stuff through when it’s het sex. (Obviously, this post is NSFW.)

Recovering xxxHOLiC reader Lissa Pattillo looks over this week’s new releases in her latest On the Shelf column at Otaku USA.

MangaNEXT posts are still trickling in: Justin files his con report at Organization Anti-Social Geniuses and Linda (animemiz) posts a transcript of the State of the Industry panel and a Q&A with Felipe Smith.

Digital designer Karen shows off her manga collection at The Manga Critic.

Reviews: MJ and Michelle Smith chat about some new manga in their latest Off the Shelf column at Manga Bookshelf.

Lissa Pattillo on vol. 38 of Bleach (Kuriousity)
AstroNerdBoy on vol. 19 of Hayate the Combat Butler (AstroNerdBoy’s Anime and Manga Blog)
Kristin on vol. 1 of Otodama: Voice of the Dead (Comic Attack)
Kinukitty on This Night’s Everything (The Hooded Utilitarian)

Off the Shelf: GTO, Twilight, Soulless

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MJ: Well, hello there, my friend!

MICHELLE: For some reason I am inclined to respond to that with, “‘Allo, poppet!”

MJ: Well. That’s interesting indeed. I’ll admit I’m not quite sure how to respond to that. Perhaps, instead, I’ll change the subject. Read any good manga this week?

MICHELLE: I did. Kind of unexpectedly good, in both cases!

One of the things I read was the first volume of GTO: 14 Days in Shonan by Toru Fujisawa (published by Vertical, Inc.). I knew absolute nothing about the GTO franchise going into it, and therefore had no idea what to expect. The initial setup, which explains how ex-delinquent-now-teacher Eikichi Onizuka has to lay low for a while and decides to do so in his hometown of Shonan, caused me a bit of concern, since it involves the hapless protagonist getting into all sorts of trouble and a comedic sensibility that put me in mind of Detroit Metal City, which, as you know, was not my cup of tea.

Once Eikichi gets to Shonan, however, things begin looking up. He meets up with an attractive young woman named Ayame Shiratori, who was classmates with one of his coworkers. She’s heard that Onizuka has done wonders with his students and wonders if he’d help out at White Swan Children’s Home for a bit. Since he has no place else to go—and since he would like to roger Ayame—he agrees. Although the hostility of one of the students, Katsuragi, is immediate and rather over-the-top, I warmed to the series once Onizuka showed a real flair for getting through to miserable teens, each the victim of selfish parents.

He does it so naturally that it doesn’t feel like Fujisawa is imparting some Important Moral Lesson. Essentially, he treats them like people and instinctively understands how to draw them out. And he’s willing to put his money where his mouth is and defend them with everything he’s got when they are threatened. For kids who’ve come to distrust the sincerity of adults, an idiot—but a genuinely honest idiot—like him may be exactly what they need.

I’m not sure if I’m ready to track down the other GTO volumes that have come out in English, but I am at least looking forward to volume two!

MJ: Well, as Detroit Metal City decidedly was my cup of tea, I’m intrigued all-around! Like you, I knew almost nothing about GTO before Vertical announced this license, and I’ll admit I was initially hesitant, thinking it might be hard for a newcomer to jump in at this point. But it sounds like this is really not an obstacle.

MICHELLE: Not at all. Aside from a couple of brief appearances in the beginning, 14 Days in Shonan features an entirely new cast of characters. It’s interesting, too, that it’s kind of slipped into a two-week period of the main story during which most people assumed Onizuka was recuperating in the hospital.

So, what’ve you been reading this week?

MJ: Well, I didn’t fare quite as well as you, though ultimately it was a good week. I began with the second volume of Young Kim’s graphic novel adaptation of Stephenie Meyer’s Twilight. And while my reaction to the first volume was something along the lines of, “This was more readable than expected,” I’m afraid the second volume didn’t go down quite so easily.

To be clear from the get-go, none of my issues are Young Kim’s fault, and I expect I’m ultimately grateful to be reading this series in a less prose-heavy format than the original. And really, my biggest qualms about this volume aren’t even about the weirdly overt racism or the less-than-subtle lessons in sexual abstinence. What really made this volume so difficult for me to get through was my increasing anger over the fact that Stephenie Meyer did not see fit to grant her heroine even a single personal interest outside of her creepy, undead boyfriend.

Bella has no thoughts or desires that don’t revolve around Edward. She has no apparent interests in school. She doesn’t even have a hobby. Her entire existence—her very identity revolves around her feelings for a boy. And though there may have been times as a teenager when I felt utterly consumed by my feelings for whatever boy I was crushing on, those were just isolated (if intense) moments, scattered amongst the hours upon hours I spent reading, writing, playing music, arguing about politics, and thinking about the multitude of things that interested and/or enchanted me in the great wide world.

Honestly, even if this didn’t make me angry as an adult woman and a feminist, who longs to see a world filled with great, empowering fiction for girls, it makes me utterly unable to identify with Twilight‘s protagonist, even from the point of view of my distant teenaged self. Though I never like hearing female readers say they “hate” a female protagonist (because, seriously, it’s not the character’s fault she was so gravely shortchanged by her creator, is it?), I have to admit that Bella is the greatest obstacle standing between me and enjoyment of Twilight, even as a guilty pleasure. And that’s really a shame.

MICHELLE: I had a similar reaction when I read the book, in which Bella demonstrates some alarming passivity when she learns about the various creepy things Edward has been doing, including breaking into her house to watch her sleep. When I learned that a friend’s daughter was reading the series, I felt I needed to warn her parents so they’d be sure to give her the “if any boy ever does this to you, please know that it is not romantic” speech.

To address an issue specific to the graphic novel release… some folks were critical of the typeface in the first volume, I believe, as well as the placement of speech bubbles. Did you notice any discernable change in those areas?

MJ: The style of the second volume is the same as the first, in that it uses very non-comics-y fonts, and the way the speech bubbles look is also not what I’m used to in the comics I read. However, I never found this to be as problematic as a lot of critics did, and I rather like Kim’s art style, so I’m good with it. If anything, the artwork is one of the things I was able to enjoy in the book.

So, since we’re on the topic of Yen Press “manga” adaptations, shall we move on to a title we both read this week?

MICHELLE: Let’s do!

MJ: Well, when I read Kate’s review of REM’s new adaptation of Gail Carriger’s Soulless, I thought suddenly that it would be a great choice to read alongside Twilight. Both are OEL adaptations of popular novels, and both revolve around a heroine who lives in a world alongside vampires and werewolves. Unlike Twilight, I had very little knowledge of the details of Soulless, and though I expected I might like it more than Twilight, I was not really prepared for how much more.

Alexia Tarabotti is a 26-year-old “spinster” in Victorian London, a life complicated even more by the fact that she’s also a “preternatural,” a person without a soul whose purpose is to bridge the gap between the supernatural and natural worlds. Alexia’s London is filled with vampires and werewolves, most of whom are highly regarded (and highly organized) members of society. As the story opens, Alexia accidentally kills a vampire who attacks her at a party—an event that throws supernatural society into a bit of a tizzy. Fortunately, the tizzy also rather hurries along Alexia’s long-time flirtation with Lord Conall Maccon, a well-regarded werewolf who may actually be a match for her.

MICHELLE: I too knew nothing about Soulless going in and was pleasantly surprised by REM’s adaptation. Although I think I would probably enjoy the novel even more—while the relationship between Alexia and Lord Maccon is a lot of fun, the mystery plot involving missing and unaffiliated werewolves and vampires gets short shrift—the graphic novel is still tremendously enjoyable, with plenty of witty dialogue (seriously, all you need do to amuse me is mention hedgehogs), lovely supporting characters (Lord Akeldama and Ayame Sohma… separated at birth?), and a pair of strong leads whom I like and sincerely root for as a couple. I also enjoyed how enthusiastic Alexia was to make out with him once she had the chance.

MJ: Yes, it really is a treat to kind of adore both members of the story’s primary couple, isn’t it? I really do adore them both. And oh, Lord Akeldama… first of all, you’re on the nose with the Ayame Sohma (though Akeldama has the benefit of not being quite as self-absorbed), and secondly, I think one of my favorite moments in the entire volume was when Alexia, whose soulless nature allows her to render vampires and werewolves to their form closest to human with only her touch, grants his request to accompany him outside so that he can view the sunset.

I’ll also agree that reading this made me quite anxious to try the novel, and I’ll confess I’ve already bought the e-book to read on my iPad.

MICHELLE: And I’m going to buy the audiobook next time I get a new Audible credit!

There are a couple of key things that make Alexia a better protagonist than Bella. For one, to directly contrast what you said before, she actually has a life outside her love interest. We don’t see much of her hobbies, true, but she visits with a couple of friends and attends social events with her family. For another, she desperately wants to be useful, and suggests several times that she be allowed to help Conall with his work for the Bureau of Unnatural Registry. One gets the impression she’d be a rather kickass demon hunter if she weren’t living in Victorian England.

MJ: Yes, exactly, there’s a constant sense that Alexia is desperately oppressed by the constraints forced upon her, both by her place in society and her gender, and that she longs for opportunities to use her brains to really do something in the world. One of the things that makes her fiery relationship with Conall so appealing, is that they’re both characters who possess exceptionally strong will.

If there’s one issue I have with the graphic novel adaptation, aside from the lack of page time available for its non-romantic plotline, it’s that Alexia is repeatedly referred to as plain, yet is drawn by REM as a voluptuous beauty. Now, I’m not exactly complaining (she’s a voluptuous beauty that even female readers can appreciate), but it might have been a nice touch if she looked just a tad less like a comic book heroine, and more like an average woman. She’s an awesome enough character to be irresistibly attractive with or without being so conventionally gorgeous on the outside, and actually “plain” women are tragically underrepresented in comics.

MICHELLE: Yes, REM’s rendering of Alexia takes heaving bosoms to a whole new level. I was wondering how someone could remain a spinster so long with attributes like that! It’s almost like drawing Elizabeth Bennet with giant knockers, in that it makes the hero just a little less special for seeing in her what others don’t.

MJ: I think I could totally buy the heaving bosoms (let’s face it, in a corset, any woman not shaped like a stick is subject to heaving bosoms) if she’d been just a little chunkier and less dazzling otherwise. But overall, it’s a small complaint. This is the first of Yen Press’ novel adaptations that has grabbed me so immediately, and I’m not only looking forward to reading the novel, but to reading the second volume of the adaptation.

MICHELLE: Same here. And though it may be insanely early to call it, I have a feeling this will turn out to be the best novel-to-manga adaptation of 2012!

MJ: I suspect you may be right!

Show Us Your Stuff: Karen’s Collection

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Greetings! After a one-week hiatus, Show Us Your Stuff is back with a new collector: Karen, a professional designer who hails from Northern Ireland. Karen’s library isn’t the largest one we’ve featured on the site, but it’s one of the most carefully curated, as Karen routinely prunes her collection so that she has room for new series and new favorites. Like many of our other featured collectors, Karen’s taste is eclectic: you’ll find Nodame Cantabile and Honey & Clover on her shelves alongside Vagabond, Shadow Star, and X. Here’s what Karen had to say about her manga library. -Katherine Dacey

Hiya. I’m Karen, a 28-year-old digital designer from Belfast, Northern Ireland. I’ve been watching anime from about the age of 13 and collecting manga from around 17. I’m a massive bibliophile and love having so many manga at hand (though at the same time, I’ve very picky about what I buy and like to keep my collection down to just what I really like).

How long have you been collecting manga?
I started sometime during my last two years in high school, so maybe around 11 years. Back then, I lived in a town about 25 miles away from the one shop, as far as I was aware, in the whole of Northern Ireland which sold manga. On the occasional shopping trip to Belfast, I would always visit this comic store in the hopes of having enough money to buy a single volume of manga (back then it would often cost £16/US$25 or more per manga!).

What was the first manga you bought?
I think it was a volume of the Mixx edition of Sailor Moon, shortly followed by Pokemon. As I continued to buy each volume of those series as they were released, I added Shadow Star, No Need for Tenchi (I sold these a few years back), and X/1999 to the list.

How big is your collection?
Around 670 volumes, not including art books, guides, etc. though I’m doing a purge of between 30 and 40 volumes, so that will bring my number down a far bit. But then, in turn, that money is being used to help me catch up on some series that I’m a bit behind with.

What is the rarest item in your collection?
There aren’t that many “rare” items. I do have all of the original Mixx release of Sailor Moon, and the Full Metal Panic! novels seem to be a nightmare to get a hold of.

What is the weirdest item in your collection?
Mmmm, I think the weirdest would be a Japanese volume of Boundary-Scan Moon Night’s Dream (スキャンダリムーンは夜の夢) by Kumi Morikawa. (At least I think that’s the name!) I bought it during a fund-raising sale held by the Japanese Society where I live from one of the older Japanese ladies (the manga was first published in the ’70s, though the volume I have is a more recent reprint). I loved the old-style art, and, along with the other Japanese manga I have, am hoping to use it to practice my Japanese. (Yay for furigana!)

How has your taste in manga evolved since you started your collection?
I’ve gone from buying a lot of shoujo to being more of a josei and seinen fan, and whereas before I would have an interest in some shounen, it’s not something that excites me much any longer, other than some of what I think of as the better series such as Rurouni Kenshin and Full Metal Alchemist.

Who are your favorite comic artists?
At the moment, my favorite manga-ka is Naoki Urasawa. I’ve always been a fan of hardcore sci-fi, so the first one of his works that I read, Pluto, blew me away. Monster was amazing, and out of all the series I’m currently collecting, 20th Century Boys is the one I’m quickest to read when a new volume is released.

I’m also a big fan of Chika Umino, loving her work in Honey and Clover, Eden of the East (one of my favorite anime), and March Comes in Like a Lion (which I’m collecting the Japanese releases of). I hope more of her work is published in English as I would love to be able to read March Comes in Like a Lion without having to try to translate it — I’m still a beginner when it comes to kanji — or looking for other’s translations. Lately I’ve been getting more and more into Fumi Yoshinaga’s works.

I used to be a big CLAMP fan, and Tokyo Babylon is still one of my favorites, but I haven’t been that into their recent stuff, with the exception of xxxHOLiC.

What series are you actively collecting right now?
20th Century Boys, Bride’s Tale, Bunny Drop (though I may drop this after hearing how the series ends…), House of Five Leaves, Kimi ni Todoke, Library Wars: Love & Peace, The Melancholy of Haruhi Suzumiya novels, Natsume’s Book of Friends, Ooku, Ouran High School Host Club, Pretty Guardian Sailor Moon, Sayonara, Zetsubou Sensei, Wandering Son, We Were There, xxxHOLiC, and the new X omnibus edition. I’m also playing catch-up with the following: Full Metal Alchemist, Kaze Hikaru, Kurosagi Corpse Delivery Service, and the omnibus editions of both Rurouni Kenshin and Vagabond.

I’m embarrassed to say I still haven’t bought anything by Tezuka! The new version of Adolf in the next few months will probably be my first.

Do you have any tips for fellow collectors (e.g. how to organize a collection, where to find rare books, where to score the best deals on new manga)?
I don’t do anything that special in terms of physical organization. I just break the collection into two sets in terms of height — tall and normal — in order to fit as many shelves as possible into the bookcases. I remember spending a whole weekend working this out, and ended up going from having no room for more manga, to enough for another 100 volumes or so. After that I just arrange them alphabetically, and stack some vertically, to break things up visually a little, as well as help prevent manga from toppling over while set upright.

In terms of non-physical organization, I catalogue everything, both as list (http://www.akaihane.co.uk/lj/collections/manga-collection.php), as well as on Goodreads (http://www.goodreads.com/review/list/1680658-karen-murray?shelf=owned-manga). So if I had any advice, I’d recommend people to sign up to Goodreads. When you have a good few series on the go and a largish collection, it’s very easy to lose track, and spend ages sitting looking at your shelves, trying to remember what you still need to read. This site (and to a lesser extent, MyAnimeList), allows me to have a separate list for manga that I own but have not read yet, and to order them in terms of priority. It helps motivate me to get up to date with what I own. Though I still have 50 or so unread volumes! And every time I seem to lessen that number, I end up going on a buying spree.

Show Us Your Stuff is a regular column in which readers share pictures of their manga collections and discuss their favorite series. If you’d like to see your manga library featured here, please follow the directions on this page.

Apple censors still targeting LGBTQ content?

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In June of 2010, Apple’s policies for adult content in the iOS App Store received a lot of attention in the comics press after Tom Bouden’s all-male graphic novel adaptation of Oscar Wilde’s The Importance of Being Earnest was rejected from the store for its very mild sexual content, while similarly non-explicit heterosexual content seemed to be flying through just fine. Though Apple eventually agreed to accept a censored version of Bouden’s comic, Prism Comics founder Charles “Zan” Christensen gave voice to the thought on everyone’s mind at the time in his article, “iPad Publishing No Savior for Small Press, LGBT Comics Creators” at the company’s website. And though, just a year later, Apple seemed to throw its arms open wide to Christensen’s LGBT imprint Northwest Press by accepting several of Northwest’s comics into its iBooks store, publishers and fans have remained skeptical.

American manga publishers learned their lessons early on. In 2008, Yaoi Press founder Yamila Abraham—an early proponent of digital distribution—worked with a company called Fika Publishing to create apps for their comics, which feature male-male relationships. “They knew Apple had tight policies so we first attempted to get our tamest title accepted, Zesty,” Abraham told me in an e-mail this week. “There is no gay sex in Zesty. The gayest thing is two guys kissing. The School Library Journal even rated it grades 10 and up,” she said. “Apple flat out rejected it and refused to tell us why so we could modify it for a resubmission. To me it said they aren’t anti-porn, they’re anti-gay. I was extremely bitter over this.”

Given Apple’s track record, most manga publishers haven’t even tried. Of yuri publisher ALC Publishing, founder Erica Friedman says, “… we have not ever considered releasing any ALC Publishing books by iTunes. When we last published a book, Apple wasn’t the monster distributor it is now—print was still the favored distribution. Right now, I am so enraged and disgusted by Apple’s censorship—especially of LGBTQ material—that I do not consider them a viable distributor of our material.”

Jennifer LeBlanc, editor of VIZ Media‘s new BL imprint SuBLime Manga (whose titles are largely digital-only), when asked why they had not followed their parent company to the iOS platform replied simply, “Because of Apple’s strict content policy, we have no plans for developing an iOS app at this time.”

Then came Digital Manga Publishing. Most well-known for their extensive line of BL manga—ranging anywhere from sweet, chaste romances to racy adult fare—DMP announced their launch on the iPad just last November. When I reviewed their app in January, DMP’s iPad catalogue was fairly robust, populated mostly by titles from their various BL imprints, DokiDoki, Juné, 801 Media, and the fan-localized Digital Manga Guild.

On February 2nd, DMP broadcast the following message to their followers on Twitter, “Sad day, yaoi fans. Unfortunately we’ve been asked to remove our yaoi titles from our iPad app soon. Get them while you still can!”

Further inquiry revealed that the removal was, indeed, for mature content, though whether the mandate applies to all of DMP’s BL titles (and if not, which ones?) remains vague. DMP representative Kelly Orita told me that she hasn’t “been given the OK to mention which specific titles caused problems.” She said that they’d been contacted previously about removing certain pages from their titles, “… but I don’t know how far along we were in that process before they asked us to remove entire books. Internally we’ve been working in batches to take down books with explicit content—we have to take down the content, get Apple to OK the removal, then hear back from them in regards to further developments.”

When asked about the app’s rating, Orita replied, “We did provide a 17+ rating for the app, and while I can’t double check to confirm at the moment I am fairly positive all explicit books had warnings as well.”

Though at the time of this writing, BL titles still remain in DMP’s iPad store, it is unclear how many may be removed before this process is over, when the removal will be complete, or what which titles may still be available by the end. Without that information, of course, it’s difficult to determine whether Apple’s policies are being applied unfairly towards DMP’s same-sex content. Still, I did a little poking around in some popular comics apps to see what kind of content Apple apparently deems appropriate.

My first stop was DC Comics, whose mainstream, non-adult-rated app offered me volume one of Catwoman from their New 52 lineup. Here are a few screencaps taken on my iPad of the final scene in issue #1, where Catwoman meets up with Batman for a passionate sexual encounter.

(click images to enlarge – read left-to-right)

Here’s the most explicit scene from Rihito Takarai and Venio Tachibana’s two-volume Seven Days (Monday-Thursday & Friday-Sunday) series, currently available from the DMP app.

(click images to enlarge – read right-to-left)

Certainly, many of DMP’s BL titles do contain more explicit scenes, including various stages of nudity. To see if this kind of content was being censored in comics with heterosexual couples, I popped over to the 17+ Comixology app, where I was able to download issue #57 of Y: The Last Man by Brian K. Vaughan and Pia Guerra, published by DC’s grown-up imprint, Vertigo. Here are a few iPad screencaps from an early scene in that issue:

(click images to enlarge – warning: full nudity)

Given the content allowed here, it’s difficult to imagine where DMP has gone wrong, or what kind of content they could be offering that would be inappropriate in a 17+ app.

Meanwhile, fans of DMP’s BL comics looking to read them on their iPads have at an alternative in Amazon’s Kindle app, though the difference in quality is fairly brutal.

The downsides of reading DMP manga on the Kindle app are, as I understand it, pretty much the same as reading on the Kindle itself. First, though Japanese comics read from right-to-left, the Kindle app only allows page-turning from left-to-right, making for a somewhat unintuitive experience for manga readers, who must still read pages and panels in the Japanese configuration. This issue is minor, however, compared to the disparity in image quality.

Here is a page from Keiko Kinoshita’s Kiss Blue, as viewed in DMP’s iPad app (full size):

Here is the same page from the Kindle version (full size):

The iPad version is crisp, clear, and easy to read, while smaller (and especially hand-written) text requires a lot of squinting when reading from the Kindle app. This issue becomes even more pronounced when taking advantage of the apps’ two-page spreads. Two page spreads accentuate the issue with page-order as well, as you’ll note that the Kindle’s two-page spread requires that the pages be followed from left-to-right, while the content still reads right-to-left.

DMP App version (click image to enlarge to full-size):

Kindle App version (click image to enlarge to full-size):

Both apps offer the ability to zoom in on any portion of the page, but not only is the DMP app’s interface far more intuitive (zooming in and out on the DMP app is accomplished with a double-click, while the Kindle app requires the two-finger pinch-and-spread, after which the reader must tap an “X” to close out of the enlarged section), its image quality blows the Kindle app out of the water.

DMP App version (click image to enlarge to full-size):

Kindle App version (click image to enlarge to full-size):

As you can see, while the Kindle app serves as a semi-tolerable stop-gap for iPad users, the prospect of losing access to these comics in the DMP app’s superior format is a significant blow for the publisher’s fans.

Manga Bookshelf will report further information as it’s available, including names of specific titles that have been targeted for removal, and any response from Apple who, at the time of this writing, have yet to respond to a request for comment.

Disclosure: MJ is currently under contract with DMP’s Digital Manga Guild, as necessitated for her ongoing report Inside the DMG. All compensation earned by MJin her capacity as subcontractor will be donated to the Comic Book Legal Defense Fund. MJ is also a long-time Apple customer.

Seven Days: Friday-Sunday © Venio Tachibana/Rihito Takari. All rights reserved. English translation © 2011 by DIGITAL MANGA, Inc./TAIYO TOSHO CO., LTD. KISS BLUE © KEIKO KINOSHITA. All rights reserved. English translation © 2008 by DIGITAL MANGA, Inc./TAIYO TOSHO CO., LTD.

JManga not entirely global—but Yen Plus is!

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We have won the war, but not the battle: While it’s true the JManga site was made available worldwide this week, it turns out that individual series are still grayed out because the publishers have not chosen to make them globally available. Erica Friedman has the scoop, along with how you can protest this, and there’s some handy advice in the comments section as well.

At Publishers Weekly, Danica Davidson looks at Yen Press’s move into global releases with Soul Eater NOT!, which they publish in their digital Yen Plus magazine the same day it comes out in print in Japan.

I posted my picks from this week’s new manga releases at MTV Geek, and Sean Gaffney goes over next week’s list at A Case Suitable for Treatment. Lissa Pattillo travels even further into the future with a look at the best manga in the February Previews.

Seven Seas announced two new manga licenses yesterday, both tied to anime: Haganai: I Have No Friends and Mayo Chiki!

Yuusuke Marata, the creator of Eyeshield 21, has posted some interesting short manga on Twitter that use paper folding and other techniques to create a three-dimensional appearance.

News from Japan: Lots of returns and revivals this week: Naoki Urasawa is working on Master Keaton Remaster, a sequel to his Master Keaton mystery series, with a different writer. Takehiko Inoue’s Vagabond returns to Kodansha’s Weekly Morning on March 15. The anime Ano Hi Mita Hana no Namae o Boku-tachi wa Mada Shiranai is being adapted into a manga for Jump Square. The mystery series Kindaichi Case Files returns to Weekly Shōnen Magazine after a 12-year absence. Usamaru Furuya’s Bokura no Hikari Club (Our Light Club), the prequel to his Lychee Light Club, will end with the next chapter. Santa Inoue is wrapping up Dan Da Barbarian in the April issue of Comic Birz. And ANN has the latest Japanese comics rankings.

Reviews: Omar posts some short reviews of recent releases at About Heroes.

Connie on vol. 5 of Blue Exorcist (Slightly Biased Manga)
Connie on Classmate (Slightly Biased Manga)
Connie on vol. 2 of Claymore (Slightly Biased Manga)
Connie on Cold Trilogy 2: Cold Light (Slightly Biased Manga)
Jason Yadao on Osamu Tezuka’s Crime and Punishment (Otaku Ohana)
Greg McElhatton on vol. 6 of Cross Game (Read About Comics)
Connie on vol. 1 of Embracing Love (Slightly Biased Manga)
Wolfen Moondaughter on vol. 17 of Fairy Tail (Sequential Tart)
Sheena McNeil on vol. 1 of Fluffy, Fluffy Cinnamoroll (Sequential Tart)
Zack Davisson on vol. 2 of Gate 7 (Japan Reviewed)
Karen Maeda on vol. 3 of Gon (Sequential Tart)
Connie on vol. 3 of Gravitation (Slightly Biased Manga)
Sean Gaffney on vol. 11 of GTO: The Early Years (A Case Suitable for Treatment)
Sheena McNeil on vol. 7 of Kamisama Kiss (Sequential Tart)
Connie on vol. 1 of Lizard Prince (Slightly Biased Manga)
Connie on vol. 12 of Mars (Slightly Biased Manga)
Connie on vol. 8 of Natsume’s Book of Friends (Slightly Biased Manga)
Erica Friedman on vol. 3 of Ohana Holoholo (Okazu)
Kate O’Neil on vol. 8 of Pandora Hearts (The Fandom Post)
Wolfen Moondaughter on vol. 8 of Rin-ne (Sequential Tart)
Ken Haley on vol. 2 of Sailor Moon (Sequential Ink)
Patti Martinson on vol. 2 of Shugo Chara-Chan! (Sequential Tart)
John Rose on vol. 5 of Tenjho Tenge (The Fandom Post)
Matthew Warner on vol. 2 of Tokyo Mew Mew (omnibus edition) (The Fandom Post)

GTO: The Early Years, Vol. 11

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By Toru Fujisawa. Released in Japan as “Shonan Jun’ai Gumi” by Kodansha, serialized in the magazine Weekly Shonen Magazine. Released in North America by Vertical.

It’s been a while, hasn’t it? Tokyopop released the first 10 volumes of the SJG omnibuses, but then stopped 3 years ago (they seem to have stopped before they folded, in fact, so we can ascribe it to mediocre sales more than anything else, I expect). Luckily, Vertical has picked up where they left off, and say that if sales are good they may go back and re-release the first 10. That said, this is not GTO: 14 Days in Shonan, where you can simply hop right into the story with minimal info. The series was up to Vol. 21 and 22 in Japan (the volumes collected here), and it shows. New readers are advised to go here to catch up on the characters so as not to be confused.

That said, it’a not impossible to read this without huge knowledge of what has gone before. I had fallen way behind in my SJG reading, but was able to pick up where I left off with minimal confusion, mostly as this is a delinquent manga, and so just expect lots of people hitting other people. When Onizuka was in GTO, and even 14 Days, he still gets into tons of fights, but at least there he’s slightly more successful at not wanting to get involved in them. Here, in high school, there’s simply not enough impetus (beyond “getting laid”, still his primary motivation) to not be the leader of a gang. Mostly as Onizuka and his best friend Ryuji are *really good* at being gang leaders. They don’t do evil stuff, they inspire loyalty, and they protect the weak. They’re the gang you only see in Japanese manga like this.

Of course, Onizuka is still recognizable even if he’s younger (though, being that it’s school, be prepared for everyone to say Eikichi more than Onizuka – it is his first name, after all). Mostly in his complete inability to score with the opposite sex. By now we’re far along enough in the series that his friend Ryuji is living with his girlfriend, the sweet (at least sweet NOW) girl Nagisa, but Onizuka still strikes out, for the exact same reasons as in GTO: he’s an absolute idiot about it. And just like in GTO, there are girls who are clearly in love with him and would be happy to be with him if he’d only get a clue. Chief among these being Shinomi Fujisaki, who clearly likes him but is also far too similar to him for things to work out. (It doesn’t help that he sees her as a little sister.) I like the girls in GTO, who come in many different types and varieties, and the gang aspect of the plot means we get a lot who can kick any guy’s ass. Shinomi is, along with Azusa and Urumi from GTO, one of the most important women in Onizuka’s life. Expect to see more of her.

There’s also some terrific comedy here – the author likes to break up all the gang fights with one-shot chapters that are hilariously silly. Here we have two opposing tough guys trying to outbluff each other, only to have everything completely ruined by the escalating war between their respective girlfriends. Possibly the funniest chapter, though, was seeing Golgo 13-esque huge guy Usagi and his family, who are all named after Sailor Moon characters – and all look like they stepped out of Fist of the North Star. Despite having a punchline that you can see from space, it still works beautifully.

Be warned – with GTO and 14 Days in Shonan, you can sit through the manga without necessarily being a fan of big, epic fights. (well, just about.) That’s not something you can do here. GTO The Early Years shows us how Onizuka came to be the guy we know, and that means a lot of gang wars, fights, and blood. No one is killed – this still runs in Shonen Magazine, after all – but it’s a manga about young kids who get into a lot of fights. If you can respect that, there’s a lot to love here. Well, except maybe Onizuka’s hair. He did himself a big favor when he lost the perm.

Manga The Week of 3/7

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First week of the month, which means it’s a landslide. As always.

Midtown lists Zetsubou-sensei 13 from Kodansha, which I got today. It also has Cage of Eden 4, which I didn’t get today, and Air Gear 22, which I simply don’t get. In many ways. (Two very fanservicey titles, and Zetsubou-sensei. Which I suppose has service this volume as well, but… it’s not really the same.)

Vertical has the 3nd and final volume of Usamaru Furuya’s manga adaptation of No Longer Human, which promises to bring things to an appropriate finish. That means no picket-fence and two-car garage, I’m reckoning. You may have a better chance of getting that in Chi’s Sweet Home 8, which is not drawn by Furuya. (Though the mind reels at how he’d draw a chapter of it…)

Then there is the terrifying pile of Viz. Let’s start with shoujo, as we have another debut this month. The fantasy romance The Earl And the Fairy, based on a series of light novels, debuts. It looks very pretty, but I’ve heard good things about it anyway. There’s a new Black Bird, which is apparently wrapping up soon, having possibly run out of new ways to appall me. Dengeki Daisy should wrap up this current arc with an epic finish (I think… maybe? Long arc, anyway.) Kimi ni Todoke is almost caught up with Japan, but not quite, as we get lucky Vol. 13 here. La Corda D’Oro hits Vol. 15 with a new release (perhaps it’s speeding up now that it’s over in its home country). Oresama Teacher is apparently still not satisfying everyone, but I still adore it. Stepping on Roses is STILL NOT ABOUT SHOGI. And we get some re-releases of two of Viz’s most popular series, with 3-in-1 omnibuses of Hana-Kimi and Skip Beat!.

As for shonen? Bleach has a 2nd character book, showing that its fans are devoted enough to actually make a character book sell – quite a rarity in North America. There’s new Naruto and One Piece to slam into the bestseller charts. And new Psyren, which… well, probably won’t, but is still interesting. In Sunday manga, there’s new Rin-Ne and Arata. (Speaking of which, what ever happened to Sunday’s digital initiative? Did the weekly chapters die for the non-Takahashi stuff now as well?)

Lastly, there’s a new Volume of Fluffy Fluffy Cinammonroll, which just makes me hungry.

That’s a lot of manga. Is there anything you can’t live without?