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Uncontested races

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I’m sad to announce that there won’t be any Previews-related polls this month. The boys’-love category offered a clear winner, and there weren’t enough dubious debuts to populate that slate. But here are the two books that might have “won” those contests, both of which will be dutifully pre-ordered and reviewed.

About Love, written by Narise Konohara, illustrated by Tomo Ootake, Digital Manga Publishing, originally published as Koi ni Tsuiete by Souryuusha, one volume:

Wedding co-ordinator Asaka could never forget his very first clients. When he meets up once more with that very same client, the man who spends his life arranging weddings for others unexpectedly learns a few things about love himself. Heartwarmingly bittersweet, this is the eagerly awaited English-language debut of mangaka Tomo Ootake!

I know nothing about how eagerly anticipated Ootake’s debut is or isn’t, but that cover is so pretty and expressive that it almost makes me cry. Plus, wedding planner manga! A dream fulfilled!

Love Hina Omnibus Volume 1, written and illustrated by Ken Akamatsu, Kodansha Comics, originally serialized in Kodansha’s Weekly Shounen Magazine, originally published in English by Tokyopop:

When Keitaro Urashima fails his entrance exams to get into Tokyo University for the second time, he’s officially an unemployed and uneducated slacker. To make things worse, his parents have kicked him out of his house. Fortunately, his grandmother owns the fabulous Hinata Lodge and has agreed to take Keitaro in as caretaker. What he doesn’t know is that the lodge is actually a girl’s dorm and he’s the only guy around! Most guys would kill to live with five sexy ladies, but if Keitaro’s not careful, this job will kill him.

I know this series probably counts as a classic in terms of licensed manga, but I just never bothered with it. Now, Kodansha gives me a cheap-ish chance to introduce myself to this well-liked harem comedy. And I seriously didn’t want to run the risk of having to read the Tokyo Mew Mew omnibus. Cat-ears give me hives, unless they’re on an actual cat.

I’ll go through the rest of the month’s highlights tomorrow.

 

Saturday Spotlight: revisiting NANA

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There are a couple of factors influencing my choice for this week’s Saturday Spotlight. First, following last week’s news regarding the return of Wild Adapter and today’s announcement that CLAMP is resuming Legal Drug, Michelle asks on Twitter, Can we hope for NANA?

Secondly, as some of you may know, I moonlight as a singing/acting coach, and this week I had the unique pleasure of experimenting with some cross-discipline learning while coaching a group of very talented young women. As part of a week-long acting intensive, we spent a day working with scripts pulled from some of my favorite manga—beginning with dialogue only, and then later studying the ways in which the mangaka used the artwork to “direct” the scenes, from one emotional beat to the next, emphasizing the importance of body language and the spaces between the dialogue.

One of these scenes came from the fourth volume of NANA, reawakening my love for the series, and inspiring me to recommend it, at least to the 17+ crowd. Of course, even today, the best tool I have for this is an older post from 2008, Why you should read NANA.

Still the most-viewed post on the site, this “persuasion post” was responsible for my introduction to quite a number of folks in the manga blogosphere, and my feelings for the series have remained mostly unchanged since that time. If you’ve never been sold on NANA, check it out!

License request day: Dragon Zakura

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I’ve taken a shine to this week’s license request precisely because it doesn’t really resemble any of my recent wish-list items. It’s also part of an under-a-cloud subcategory, manga that explores the life of the delinquent. A wee handful of the 25 volumes of Hiroshi Takahashi’s Worst ever saw publication in English from Digital Manga. Beloved though it may be by tastemakers, Eiji Nonaka’s Cromartie High School still hasn’t found a new home since the shuttering of ADV.

So what makes me think the commercial prospects are any better for Norifusa Mita’s Dragon Zakura? I actually don’t think it would sell like gangbusters, and I can’t even clearly articulate why I’m eager to read it. All I can say is that I like its magazine provenance – Kodansha’s Morning – and that I find the covers ugly in kind of a mesmerizing way.

But what’s this 21-volume series about? It follows a former motorcycle gang leader turned lawyer decide to turn teacher. He joins the faculty at an on-the-brink-of-bankruptcy school and declares that he will lead at least five of its students to the academic Promised Land: admission to Tokyo University. That the kids are kind of stupid and downtrodden apparently doesn’t bother this academically inclined opportunist.

I can’t quite tell if this is a comedy or a drama, though it seems to lean on the serious side. This is probably a good thing, as the comedic stories of this stripe tend to be things like School of Rock, while the dramas are more like To Sir, with Love, and I can tell you which one I’d rather watch without even a soupcon of hesitation. And Dragon Zakura has won a couple of major manga awards: the Kodansha and the Japan Media Arts Festival Excellence Prize, both in 2005.

 

Manga on the Big Screen: Love*Com, NANA, and Ping Pong

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As anyone who’s seen Green Lantern or Captain America can attest, adapting a comic for the silver screen is an art, not a science. Done poorly, comic book movies alienate fans with the omission of favorite characters and glossing of seminal plotlines, or confuse newcomers with in-jokes and choppy storytelling. Done well, however, comic book movies can appeal to just about anyone who’s receptive to the genre and the characters. VIZ Pictures may not have released as many comic-book movies as DC or Marvel, but its catalog includes adaptations of several popular manga, including Aya Nakahara’s Love*Com, Ai Yazawa’s NANA, and Taiyo Matsumoto’s Ping Pong. These three films make an instructive case study, as they illustrate the pitfalls and potentials of bridging the gap between page and screen.

Love*Com: The Movie
VIZ Pictures • 100 minutes • No Rating
Risa, the tallest girl in the seventh grade, develops a crush on Otani, the shortest boy in her class. Though superficial opposites, the two are really kindred spirits, sharing an enthusiasm for Umibozu (a Japanese rap artist that their classmates detest), swapping good-natured insults, and bonding over memories of rejection for being too tall and too short, respectively.

Whether you’ve read Aya Nakahara’s charming manga or not, you won’t have too much difficulty guessing how the story will end. The problem, however, is that Risa and Otani’s journey from bickering classmates to boyfriend and girlfriend seems utterly contrived. The scriptwriter borrows two romantic rivals from different volumes in the series’ run, but only succeeds in making Mr. “Mighty” Maitake, Risa’s handsome homeroom teacher, an integral part of the story. Even then, Mighty’s arrival is a bolt from the blue, and is never satisfactorily explained; he’s simply inserted into the final act of the story so that he and Otani can compete for Risa’s affections. (And when I say “compete,” I mean it: the two play a pick-up basketball game in front of the entire school.)

The other major drawback to Love*Com is its superficial treatment of the principal characters. Though Aya Nakahara’s manga charts the ups and downs of Risa and Otani’s friendship in minute detail, the movie’s frantic pace never allows us to get to know the characters or understand why they’re drawn to each other; we simply see them walk through a variety of stock scenes — cultural festivals, school trips — without actually seeing the evolution of their feelings dramatized.

It’s a pity that the Love*Com script feels so hastily assembled, as the film has the potential to appeal to both long-time fans and newcomers. The button-cute leads have some chemistry, even if the script doesn’t give them much to do. And the script shows flashes of inspiration; a “director” surrogate periodically interrupts the proceedings to explain certain peculiar-to-manga conventions (most notably the nosebleed-as-sign-of-arousal), intoning this information over strains of Beethoven’s Moonlight Sonata. These digressions occur just a few times, but add some much-needed humor to a film that lacks the wit and honesty of the source material.

The verdict: Skip it. This flat, uninspired retelling of Risa and Otani’s courtship will bore all but the most devoted Love*Com fans.

This review originally appeared at PopCultureShock on 3/24/08.

Nana
VIZ Pictures • 114 minutes • No Rating
I admire Kentaro Otani’s chutzpah in bringing NANA to the big screen, as it’s the kind of story that inspires intense devotion to the characters; make a poor casting decision or cut a beloved character and you run the risk of angering the manga’s most devoted fans. Otani steers clear of those hazards, however, assembling an appealing cast that look and sound like their cartoon doppelgangers. The movie offers a somewhat streamlined account of the manga’s first five volumes, beginning with the two Nanas’ fateful encounter on a Tokyo-bound train and ending with Trapnest’s first visit to the girls’ apartment. Most of the dramatic juice is supplied by Hachi’s relationship with the feckless art student Shoji, and by Nana O.’s relationship with Trapnest bassist Ren.

As much as I enjoy the manga, I’ve always found Hachi’s relentless enthusiasm and boy-crazy antics irritating and couldn’t imagine why the fierce, scornful Nana O. didn’t feel the same way about her. As portrayed by Aoi Miyazaki, however, the character makes more sense. Miyazaki does a superb job of convincing us that Nana O. would befriend someone who seems too ditzy, too dependent, and too femme to hang with an up-and-coming punk act. Mika Nakashima, as Nana O., also turns in a solid performance, playing her character as a believable mixture of belligerence, determination, and vulnerability.

The other great advantage of the movie is its soundtrack. All of the rock-n-roll shoptalk and song lyrics seemed a little preposterous on the page; I had a hard time imaging why Trapnest or Black Stones commanded loyal followings, as they seemed like pallid imitations of Siouxsie and the Banshees. Seeing and hearing these acts in the film, however, transported me back to my college years, reminding me how passionately I felt about certain musicians, and how much their songs felt like an expression of my own identity. The film’s two lengthy concert scenes are highpoints of the film, offering us a window into both girls’ complicated emotional lives — their dreams, their disappointments, their improbably close relationship.

I had a few small bones to pick with the scriptwriters — what happened to Junko and Kyosuke? — but on the whole, I found NANA immensely entertaining. The true measure of the film’s appeal, however, is that my sister, who isn’t a manga maven, loved it too, and wanted to know if there was a sequel. Thank goodness the answer is yes.

The verdict: Rent it. Some die-hard fans may take issue with the casting and script, as the film isn’t as faithful to the manga as the anime adaptation is.

This review originally appeared at PopCultureShock on 3/24/08.

Ping Pong
VIZ Pictures • 114 minutes • No Rating
Based on Taiyo Matsumoto’s manga of the same name, Ping Pong focuses on a pair of friends: Peco (Yosuke Kubozuka), a flamboyant table tennis star who’s obsessed with the game, and Smile (Arata), a reticent young man whose primary motive for playing is to spend time with Peco, whom he quietly regards as a hero. Peco’s swaggering style — complete with acrobatic leaps, trash talk, and frequent dives — makes for good theater, but he’s trounced in a tournament by long-time rival Demon (Koji Ohkura). Despondent over the loss, Peco quits the team and burns his paddle. The coach, himself a former champion known as “Butterfly Joe” (Naoto Takenaka), then turns to Smile to lead his peers to victory in the next major competition, a responsibility Smile is reluctant to accept.

Like Hoosiers, Rocky, Rudy, or A League of Their Own, Ping Pong sticks close to the sports movie playbook, delivering epiphanies with clockwork precision. Smile discovers his inner competitor. Peco discovers that he can’t live without ping pong. “Butterfly Joe” imparts wisdom to Smile. And so on.

Yet for all its sports-movie posturing, Ping Pong is weirdly thrilling, thanks, in large part, to the colorful cast of supporting characters: there’s Peco’s chain-smoking grandmother (Mari Natsuki), a fierce devotee of the sport who runs a table tennis dojo; China (Sam Lee), a washed-up Chinese champion seeking a fresh start in Japan; and Dragon (Shidou Nakamura), a competitor who shaves his eyebrows in an effort to look more intimidating. The other key to Ping Pong‘s success is its fidelity to Taiyo Matsumoto’s original vision. Director Fumihiko Sori’s painstaking efforts to recreate the look and feel of the manga are evident throughout the film, from the casting decisions to the extreme camera angles, jump shots, and fleeting fantasy sequences; Sori manages to capture Ping Pong‘s heightened reality without becoming too arch or mannered.

Fans wanting a behind-the-scenes look at the table tennis action or a few pointers for their own game will want to view the omake on this two-disc set, which includes a 54 minute “making of” documentary, a short “how to” feature reviewing ping pong techniques, and the usual assortment of trailers, tv spots, and cast profiles. All in all, Ping Pong makes a great addition to your library, especially if you still have dog-eared copies of No. 5 kicking around the attic.

The verdict: Rent or buy it. The film captures the arch, surreal quality of Taiyo Matsumoto’s writing even better than the animated version of Tekkonkinkreet.

This review originally appeared at PopCultureShock on 8/28/07.

Manga on the Big Screen: Love*Com, NANA, and Ping Pong

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As anyone who’s seen Green Lantern or Captain America can attest, adapting a comic for the silver screen is an art, not a science. Done poorly, comic book movies alienate fans with the omission of favorite characters and glossing of seminal plotlines, or confuse newcomers with in-jokes and choppy storytelling. Done well, however, comic book movies can appeal to just about anyone who’s receptive to the genre and the characters. VIZ Pictures may not have released as many comic-book movies as DC or Marvel, but its catalog includes adaptations of several popular manga, including Aya Nakahara’s Love*Com, Ai Yazawa’s NANA, and Taiyo Matsumoto’s Ping Pong. These three films make an instructive case study, as they illustrate the pitfalls and potentials of bridging the gap between page and screen.

LOVE*COM: THE MOVIE

VIZ PICTURES • 100 MINUTES • NO RATING

Risa, the tallest girl in the seventh grade, develops a crush on Otani, the shortest boy in her class. Though superficial opposites, the two are really kindred spirits, sharing an enthusiasm for Umibozu (a Japanese rap artist that their classmates detest), swapping good-natured insults, and bonding over memories of rejection for being too tall and too short, respectively.

Whether you’ve read Aya Nakahara’s charming manga or not, you won’t have too much difficulty guessing how the story will end. The problem, however, is that Risa and Otani’s journey from bickering classmates to boyfriend and girlfriend seems utterly contrived. The scriptwriter borrows two romantic rivals from different volumes in the series’ run, but only succeeds in making Mr. “Mighty” Maitake, Risa’s handsome homeroom teacher, an integral part of the story. Even then, Mighty’s arrival is a bolt from the blue, and is never satisfactorily explained; he’s simply inserted into the final act of the story so that he and Otani can compete for Risa’s affections. (And when I say “compete,” I mean it: the two play a pick-up basketball game in front of the entire school.)

The other major drawback to Love*Com is its superficial treatment of the principal characters. Though Aya Nakahara’s manga charts the ups and downs of Risa and Otani’s friendship in minute detail, the movie’s frantic pace never allows us to get to know the characters or understand why they’re drawn to each other; we simply see them walk through a variety of stock scenes — cultural festivals, school trips — without actually seeing the evolution of their feelings dramatized.

It’s a pity that the Love*Com script feels so hastily assembled, as the film has the potential to appeal to both long-time fans and newcomers. The button-cute leads have some chemistry, even if the script doesn’t give them much to do. And the script shows flashes of inspiration; a “director” surrogate periodically interrupts the proceedings to explain certain peculiar-to-manga conventions (most notably the nosebleed-as-sign-of-arousal), intoning this information over strains of Beethoven’s Moonlight Sonata. These digressions occur just a few times, but add some much-needed humor to a film that lacks the wit and honesty of the source material.

The verdict: Skip it. This flat, uninspired retelling of Risa and Otani’s courtship will bore all but the most devoted Love*Com fans.

This review originally appeared at PopCultureShock on 3/24/08.

NANA

VIZ PICTURES • 114 MINUTES • NO RATING

I admire Kentaro Otani’s chutzpah in bringing NANA to the big screen, as it’s the kind of story that inspires intense devotion to the characters; make a poor casting decision or cut a beloved character and you run the risk of angering the manga’s most devoted fans. Otani steers clear of those hazards, however, assembling an appealing cast that look and sound like their cartoon doppelgangers.

The movie offers a somewhat streamlined account of the manga’s first five volumes, beginning with the two Nanas’ fateful encounter on a Tokyo-bound train and ending with Trapnest’s first visit to the girls’ apartment. Most of the dramatic juice is supplied by Hachi’s relationship with the feckless art student Shoji, and by Nana O.’s relationship with Trapnest bassist Ren.

As much as I enjoy the manga, I’ve always found Hachi’s relentless enthusiasm and boy-crazy antics irritating and couldn’t imagine why the fierce, scornful Nana O. didn’t feel the same way about her. As portrayed by Aoi Miyazaki, however, the character makes more sense. Miyazaki does a superb job of convincing us that Nana O. would befriend someone who seems too ditzy, too dependent, and too femme to hang with an up-and-coming punk act by showing us what the girls have in common. Mika Nakashima, as Nana O., also turns in a solid performance, playing her character as a believable mixture of belligerence, determination, and vulnerability.

The other great advantage of the movie is its soundtrack. All of the rock-n-roll shoptalk and song lyrics seemed a little preposterous on the page; I had a hard time imaging why Trapnest or Black Stones commanded loyal followings, as they seemed like pallid imitations of Siouxsie and the Banshees. Seeing and hearing these acts in the film, however, transported me back to my college years, reminding me how passionately I felt about certain musicians, and how much their songs felt like an expression of my own identity. The film’s two lengthy concert scenes are highpoints of the film, offering us a window into both girls’ complicated emotional lives — their dreams, their disappointments, their improbably close relationship.

I had a few small bones to pick with the scriptwriters — what happened to Junko and Kyosuke? — but on the whole, I found NANA immensely entertaining. The true measure of the film’s appeal, however, is that my sister, who isn’t a manga maven, loved it too, and wanted to know if there was a sequel. Thank goodness the answer is yes.

The verdict: Rent it. Some die-hard fans may take issue with the casting and script, as the film isn’t as faithful to the manga as the anime adaptation is.

This review originally appeared at PopCultureShock on 3/24/08.

PING PONG

VIZ PICTURES • 114 MINUTES • NO RATING

Based on Taiyo Matsumoto’s manga of the same name, Ping Pong focuses on a pair of friends: Peco (Yosuke Kubozuka), a flamboyant table tennis star who’s obsessed with the game, and Smile (Arata), a reticent young man whose primary motive for playing is to spend time with Peco, whom he quietly regards as a hero. Peco’s swaggering style — complete with acrobatic leaps, trash talk, and frequent dives — makes for good theater, but he’s trounced in a tournament by long-time rival Demon (Koji Ohkura). Despondent over the loss, Peco quits the team and burns his paddle. The coach, himself a former champion known as “Butterfly Joe” (Naoto Takenaka), then turns to Smile to lead his peers to victory in the next major competition, a responsibility Smile is reluctant to accept.

Like Hoosiers, Rocky, Rudy, or A League of Their Own, Ping Pong sticks close to the sports movie playbook, delivering epiphanies with clockwork precision. Smile discovers his inner competitor. Peco discovers that he can’t live without ping pong. “Butterfly Joe” imparts wisdom to Smile. And so on.

Yet for all its sports-movie posturing, Ping Pong is weirdly thrilling, thanks, in large part, to the colorful cast of supporting characters: there’s Peco’s chain-smoking grandmother (Mari Natsuki), a fierce devotee of the sport who runs a table tennis dojo; China (Sam Lee), a washed-up Chinese champion seeking a fresh start in Japan; and Dragon (Shidou Nakamura), a competitor who shaves his eyebrows in an effort to look more intimidating. The other key to Ping Pong‘s success is its fidelity to Taiyo Matsumoto’s original vision. Director Fumihiko Sori’s painstaking efforts to recreate the look and feel of the manga are evident throughout the film, from the casting decisions to the extreme camera angles, jump shots, and fleeting fantasy sequences; Sori manages to capture Ping Pong‘s heightened reality without becoming too arch or mannered.

Fans wanting a behind-the-scenes look at the table tennis action or a few pointers for their own game will want to view the omake on this two-disc set, which includes a 54 minute “making of” documentary, a short “how to” feature reviewing ping pong techniques, and the usual assortment of trailers, tv spots, and cast profiles. All in all, Ping Pong makes a great addition to your library, especially if you still have dog-eared copies of No. 5 kicking around the attic.

The verdict: Rent or buy it. The film captures the arch, surreal quality of Taiyo Matsumoto’s writing even better than the animated version of Tekkonkinkreet.

This review originally appeared at PopCultureShock on 8/28/07.

Harlequin Manga Quick Takes – Married by Mistake!, Caribbean Desire, and Marriage Wanted

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All titles available on emanga.com.

Married by Mistake by Takako Hashimoto and Renee Roszel Wilson

I didn’t realize when I started this that it is a further book in a series with a harlequin manga I read earlier, To Marry a Stranger. In this book, the heroine of To Marry a Stranger has been impregnated by her husband with an eye patch. Helen starts having contractions near the infamous “Mansion of Love” so of course she and her sister Lucy are stuck with having to deal with a sudden home birth in the romantically cursed house. Lucy manages to assist her sister with having twins in the space of a panel. Let me tell you, I’ve had twins and it doesn’t happen that quickly! Lucy is exhausted after assisting her sister and thinks back about her fiance Stader, who kept postponing their marriage. This Stadler guy is no prize as in Lucy’s memory he appears with wavy hair and an odd sort of cravat. Do not trust a man wearing a cravat unless you live in the early 19th century, ladies. Lucy is woken by Jack, a man with intense eyebrows and a decent suit who is wearing a tie instead of a cravat. This looks promising.

Lucy mentions the legend that if a woman spends the night of her birthday at the mansion of love, the first man she sees the next day will be her destined love. It is the day after her birthday, and Jack looks both befuddled and horrified. He’s Lucy’s ex-stepbrother and he has loved her for a long time. It turns out that Lucy’s horrible cravat-wearing fiance has decided to get engaged to an actress and travel to Lucy’s hometown in a fit of cravat-inspired cruelty. Lucy’s family promptly decides that Lucy has to pretend to have a fiance for revenge and Jack is just the person for the job. The art in this adaptation is really much better than the typical Harlequin manga title. The backgrounds might be sparse, but the character designs are distinct and attractive. What I found most amusing was the wacky facial expressions of Lucy’s family as they cheer on her fake romance. I was especially amused by the antics of Lucy’s one-eyed brother-in-law Damian who was the tortured hero in To Marry a Stranger, as he keeps popping up in chibi form with a big grin to cheer on his sister-in-law. In conclusion, men with cravats are bad, but men with eye patches or suits are good. This is what I’m taking away from this Harlequin manga.

Caribbean Desire by Cathy Williams and Takane Yonetani

The cover for this looks good, because it appears that there are wind machines blowing the male and female leads’ hair in opposite directions. Unfortunately the inside of this manga doesn’t feature the goofy fun I tend to prefer in my Harlequin manga adaptations. Emma arrives on an island to interview the rich businessman Alastair for his biography. She develops an intense dislike for the Conrad, the man currently running Alastair’s company. Emma has a secret connection with Alastair’s family, but will she reveal her secret before it is too late? And what will she do with her growing attraction to Conrad? The storyline was as predictable as Harlequins usually are, but there wasn’t really any humor to lighten things up. The art and adaptation were pretty typical, with stiffly posed characters and sketchy backgrounds. This wasn’t a good title to read right after Married by Mistake!, because it really suffered in comparison.

Marriage Wanted by Debbie Macomber and Eve Takigawa

Savanna is a wedding coordinator with an injured leg. Dash is a divorce attorney who has given up on love. Together they find love through a marriage of convenience, as one always does in Harlequin romance world. I tend to enjoy Harlequin manga very much when the art has a vaguely 1980s aesthetic. Even though this adaptation was produced in 2005, I still see a bit of a retro feel to the art with Dash’s square jaw and Emma’s bright eyes. Savanna is convinced the she’ll never find love because her limp makes her unattractive to men. Dash comes into Savanna’s store and proceeds to lecture her about the meaninglessness of weddings when he finds out that she’s planning his little sister’s wedding. Dash and Savannah spend more time with each other and decide to enter into a marriage of convenience when he needs a wife to get a promotion and she needs a husband to get her parents to stop being so overprotective. There wasn’t much humor in this title, but the art was better than average and it was fun seeing Dash and Savanna argue with each other over the value of marriage.

Access to electronic copies provided by the publisher.

Off the Shelf: CLAMP & More

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MJ: So. Hi!

MICHELLE: Yo.

MJ: I’m feeling extremely frazzled and not at all witty. How about you?

MICHELLE: Kind of sleepy, actually. Maybe readers should just think up a joke here and pretend one of us said it.

MJ: Good call. So. Read anything lately?

MICHELLE: Indeed I have! I decided to make it a CLAMP week, and first up is volume four of Kobato., currently being released by Yen Press.

I wasn’t very impressed with the first three volumes of this series, which follows the dim-witted titular heroine in her attempts to fill a magic bottle with wounded hearts so that her wish can be granted. Kobato is very compassionate, so she heals hearts pretty well when given the opportunity, but has been spending a lot of time with two particular wounded people—Sayaka, the proprietor of a kindergarten, and Fujimoto, her part-time assistant—and so hasn’t made much progress on filling her bottle. In this volume her guide, the irascible Ioryogi (some kind of supernatural being currently stuck in the body of a stuffed dog) learns that she’s only got six more months in which to complete her task. If she fails, her wish can’t be granted and he can’t regain his original body.

Getting background information on Ioryogi and his motives—mostly revealed in conversations between serious-faced animals—at last is very welcome, making this volume an improvement over the last, but I still can’t say I am enjoying Kobato. all that much. I wish I could like someone, but I just don’t. Kobato would be okay, especially as she works out her burgeoning feelings for Fujimoto, except CLAMP seems to have a fixation with her falling down as much as possible. Ioryogi is always yelling, and not even a mysterious background can make him a compelling character for me. The kindergarten employees seem to have one default emotion each. Heck, the most interesting character in the whole series is the yakuza who’s trying to close the kindergarten down. Let’s jettison everything else and just follow him for a while, eh?

Still, there are a few mysteries that will keep me reading. What is the precious thing in the Heavenly World that Ioryogi is after? What is Kobato’s wish? And why is it so important that she not remove her hat? With either two or three volumes remaining, I figure I can stick around long enough to at least see whether these questions are answered.

MJ: I haven’t gotten as far in to this series as you have, though I think I might like it a bit more. Mostly because I actually do like the title character. But I admit I rather wish CLAMP were spending their time continuing Legal Drug instead. Is that terrible of me to say?

MICHELLE: Not at all. And, in fact, they just finished Kobato. in Japan, so at least it’s not actively consuming any more of their time.

It’s not that I hate Kobato, either, but more like I feel CLAMP is doing her a disservice, if that makes sense.

Annnyways, what have you been reading this week?

MJ: Well, earlier this week, I dug into the first issue of GEN Manga, a new “indie” manga magazine available online or in print from GEN Manga Entertainment. I happened to have the print version, provided in a small, red volume about the same trim size as a standard volume of manga in the US.

GEN‘s promotional material is pretty up-front about their artists being unknown. “GEN puts on no airs about how grand their authors are. In fact, they readily admit that their authors are underground. GEN is manga the way it should be without the flash, for the fans, raw and fresh.” They make a lot of noise about the magazine’s “indie” feel, too. “This original work of graphic fiction boldly challenges the industry while breaking new ground. It presents what manga readers are hungry for, the release of fresh underground work from Japan.”

Trouble is, the stories don’t really read as ground-breaking so much as amateurish. Each of the volume’s four stories has its strengths, certainly, but it’s rarely enough to compensate for its flaws. Both Nakamura Shige’s “Wolf” and Suzuki Yu’s “VS Aliens” suffer from convoluted plotlines that fail to live up to an initial, fairly ambitious premise. Karino Arisa’s “Souls” is intriguing, but artistically immature. Mihara Gunya’s “KAMEN,” the story of a man controlled by a mask he can’t remove, holds up the best, but offers just the barest glimpse of what the story might be.

On the other hand, the volume is currently free for download, ($9.95 in print), which renders it worth checking out at the very least. Don’t get me wrong. I really like what GEN is going for, as a concept anyway, and I’ll definitely be watching to see what kind of work might come out of it in the future. There’s just not much there for me so far.

MICHELLE: I’ve certainly been interested to see what happens with GEN, but admit that I haven’t personally been tempted to try it out. I guess I’m less hungry for “fresh underground work,” especially in short story format, than I am for “much-loved classics” that offer multiple volumes to enjoy.

MJ: I admit I’d be more interested in some of these stories if I knew they were first chapters of something that’s going to be serialized. But that’s not what the promo material suggests, sadly.

So, what’s your other CLAMP selection this week?

MICHELLE: My second CLAMP selection is the Magic Knight Rayearth Omnibus Edition, which was recently released by Dark Horse.

I’ve seen the Rayearth anime, and read TOKYOPOP’s second edition of the manga (with unflipped art), so this was really my third time through the material. I’d never previously counted this as among my favorite CLAMP series, so I thought a reread might be kind of a slog, but I ended up really enjoying it! The first story arc (originally comprising three volumes) benefits greatly from being contained in one volume, where momentum propels one through the adventure at a steady clip and doesn’t let up until the not-exactly-what-one-expects ending. The remastered art looks great, the color pages are beautiful, and, in the end, Rayearth has vaulted up several levels in my esteem.

Another really neat thing about the series is how CLAMP subverts demographic expectations. (Which they continue to do with series like Kobato., which has a shoujo-sounding premise but is, if anything, seinen.) Consider this description of the plot:

Three junior high students are visiting Tokyo Tower on a school trip when they are suddenly summoned to Cefiro by its princess, Emeraude. Emeraude has been kidnapped and the students are tasked becoming the Magic Knights of legend, rescuing the princess, and saving Cefiro, which has plunged into chaos in her absence. They agree, and are outfitted with magical armor and weaponry. As they head out on various tasks, their abilities grow and weapons evolve even as they forge a tight friendship. They are absolutely determined to save Cefiro, vanquish many menacing monsters along the way, and are frequently depicted in fierce and badass poses. Eventually, they awaken some giant mecha and defeat Zagato, the high priest who is holding Emeraude captive.

Now cast the students as girls and remind yourself that this ran in a shoujo magazine. The shounen-style fantasy flare makes for a fun adventure, but there’s a pretty powerful shoujo punch waiting in the final pages. I really enjoyed this series on a reread—though I’m not too enamored of the silly comedy—and eagerly await the omnibus of the second half.

MJ: Well, wow, you’ve inspired me to want to read this as well! I have to admit that despite being a CLAMP fan, I bogged down in the first volume of the TOKYOPOP editions. But you make this sound genuinely fascinating and fun!

MICHELLE: I remember bogging down myself when I first started the anime, but this time I breezed right through the story and ended up with a greater appreciation of the characters and the art, which is often quite pretty. I’d definitely say it’s worth another look. Plus, any Tsubasa or xxxHOLiC fan should enjoy seeing where Mokona originally came from!

What’s your second pick this week?

MJ: Well, It’s a bit of a strange one, or at least strange for me. While I’m used to receiving a variety of manga for review from Viz, I admit to being quite surprised when my latest review package contained volume one of Pokémon Black and White. I can say with complete honesty that I’ve never had the slightest interest in Pokémon, and really I missed its initial craze entirely, but there it was, in my apartment, Pokémon Black and White. So without any real knowledge of the Pokémon universe, I decided to sit down and read it.

Thankfully, as a series for kids, it wasn’t as difficult as it might have been to try to pick up the basic premise, though I can’t say I actually understand what Pokémon are, or why they are being raised up for “trainers” to have battles, but that indeed is what is going on. The main character being introduced here is “Black,” a guy who is so deeply obsessed with winning the “Pokémon League,” that in order to think about anything else at all, a creature named Musha must empty his brain— literally wipe it completely clean—so that new information can be introduced into it.

Though this all sounds a bit creepy, I admit I find the concept pretty compelling (I could use a Musha of my own, these days). Unfortunately, very little is made of Black’s periodically emptied brain at the time, and the rest of the volume is pretty much devoted to his first “trainer battle” with a guy who can’t tolerate heat.

Obviously, I am not the audience for this series, and I’d be hard pressed to find a reason to buy volumes of it on my own, but it does contain some surprisingly interesting elements, along with a slew of genuinely cute creatures. I developed a particular fondness for one called a “cottonee,” that was so distressed by its inability to protect its heat-intolerant trainer from fire, that it put itself in harm’s way to try to overcome its weakness.

MICHELLE: You win the gold star for diversity in this column!

I actually do know a little bit about Pokémon because I was teaching piano at the height of its craze and, of course, wanted to get the best stickers with which to motivate my students. At one point, I could even tell you which creatures morphed into which, but now all I really remember is that Snorlax is adorable. I even had a plushie.

Anyway, even though I can’t say I want to rush out and read this for myself, it sounds like kids are for in for a treat.

MJ: I do think it is pretty vital for kids to have at least some introduction to Pokémon before trying to make sense of this bit of the series, which is actually why I didn’t end up sending it off to our own Jia Li for review, but yes, kids who are interested in the franchise should find quite a bit to enjoy in this volume, I’d think.

MICHELLE: I think kids would probably find Rayearth a lot of fun, too, actually. Dark Horse lists the age range as twelve and up (there are a few ladies in butt-floss garb) but the real issue would be whether a kid could actually lift the durn thing.

MJ: Heh, that’s good to know. I’d say that Pokémon skews younger, but it’s always nice to see manga out there that the under-13 crowd can enjoy.

MICHELLE: Definitely!

Manga the week of 8/10

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You know, for a 2nd week of the month, it’s pretty packed with stuff. There’s a lot here for almost any type of fan. Let’s get started.

First off, non-manga releases that interest me. There’s a new Complete Peanuts coming out from Fantagraphics. It may have hit the 1980s, but the quality still seems to be quite high. Can’t wait. Also, IDW is releasing a new Archie hardcover. Unlike their previous ‘Best of ‘ collections, this one focuses on a single weird Archie title from the 1960s: Archie’s Mad House. As you might guess, this comic started out with the Archie gang, focusing on really bizarre adventures. After about 20 issues or so, it dropped them and began running its own stories, including the debut of Sabrina the Teenage Witch. I’m quite interested to see what IDW does with this.

Now back to manga. Dark Horse may be delaying every other manga title in its catalogue from now till doomsday, but its bestsellers keep coming out like clockwork. This week we have Vol. 18 of Gantz, from our friends at Shueisha’s Young Jump. For a more media-oriented title, there’s The Shinji Ikari Raising Project, now up to Vol. 9. It runs in Shonen Ace and will be sure to please Evangelion fans. Well, most. Well, some. A few? All right, it will inspire arguments. But it’s popular!

Bandai has a debut this week with Tales of the Abyss: Asch the Bloody. It’s based on a video game, and is one of about 10,000 manga spinoffs of said game. Given all that, can you guess where it originally ran? If you said Comp Ace, you’re a true Manga Geek! I suspect it will be tie-in-tastic.

Kodansha is, as ever, absent from Midtown’s list. Again. However, my local shop indicates two titles coming in next week. The debut of Deltora Quest, a fantasy manga that ran in the late Comic BonBon, a magazine geared towards elementary school boys. You know, like Shonen Magazine should be but isn’t. and the 2nd and final omnibus volume of I Am Here!, which saw Vol. 1 from Del Rey and is thankfully getting a conclusion. Like all Kodansha shoujo these days, it ran in Nakayoshi.

Udon has the 2nd volume of Megaman Gigamix, which is based on a video game as well. Though, despite its name, it’s not from Konami.

Viz has the 3rd volume of Blue Exorcist, which I think most of us got this week from Diamond. There’s a new Inu Yasha omnibus, the 27th volume of the energetic and likeable Kekkaishi, and the 6th Maoh: Juvenile Remix, which this time I believe is remixed by Saint Etienne. Blue Exorcist is from Jump, the other three from Sunday. And there’s the 7th volume of Ikigami, for fans of Bokurano who want to see more series where people die nobly over and over again.

And there’s a huge pile from Yen. The biggie for me this week is the 3rd Book Girl novel, Book Girl and the Captive Fool. I’ve been thrilled with the first two in the series, a dark high school thriller with an intriguing backstory, and definitely want more. Aside from that, there’s the conclusion of the Eye-Opening Arc in Higurashi (Gangan Wing), which will no doubt be filled with gore. But don’t worry, kids, a new arc starts in October! And I have it on good authority that the Eye-Opening arc is the low ebb. It’s all uphill from here! … mostly. There’s new K-On! (Manga Time Kirara Carat), Haruhi Suzumiya (Shonen Ace), AND Haruhi Suzumiya-chan (ditto) for all your moe needs. Oh yes, and Omamori Himari 4 (Dragon Age), which I don’t read, but certainly looks moe as well. There’s the 9th volume of Sumomomo Momomo, which lost me after the first volume but I understand gets better. And there’s the 4th and last volume of Ugly Duckling’s Love Revolution, the reverse harem manga from Enterbrain’s B’s Log. I found its comedic antics more annoying than heartwarming, but admit I was not remotely its target audience. Also (last time this week, I promise) based on a game!

See what I mean? That’s a lot. What are you getting?

Now You’re One of Us

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Noriko, the young heroine of Asa Nonami’s Now You’re One of Us, initially thinks she’s hit the marriage jackpot. Not only are her in-laws wealthy and well regarded by their neighbors, they’re also quick to embrace her as a member of the family. Her husband Kazuhito is handsome and utterly devoted; her mother-in-law Kimie, generous and uncritical; and her sister-in-law Ayano, solicitous to everyone in the household, including Kazuhito’s oddly child-like brother Takehami. Even the Shito matriarch, ninety-eight-year-old Ei, welcomes Noriko to the clan by declaring her the family’s “treasure” and “future.”

Shortly after Noriko arrives at the Shitos’ Tokyo home, a strange, slightly disheveled neighbor approaches her while she works in the garden. Though Kimie is quick to dismiss him as a troubled tenant who’s fallen on hard times, Noriko can’t shake the feeling that the neighbor was about to divulge something damning — a feeling intensified by his mysterious death in a fire several days later. The Shitos’ oddly muted, impersonal response to his death further arouses Noriko’s suspicion, as do the family’s clandestine midnight meetings. Though the Shitos offer reasonable, measured responses to Noriko’s inquiries, she begins wondering if the Shitos run an illicit business… or worse.

Thanks to a fluid translation by Michael and Mitsuko Valek, Asa Nonami’s simple, unfussy prose draws the reader into Noriko’s insular world, showing us how a simple girl from a working class family is lured into the Shitos’ web. In this passage, for example, Nonami reveals Kazuhito to be a deft manipulator, appealing to Noriko’s vanity by suggesting that Ei’s endorsement carries special significance:

“Great Granny’s been watching people for ninety-eight years — she can see through them at a glance, so lots of people in the neighborhood come to ask her for advice.” He explained how delighted he was that Great Granny had taken a liking to her; it showed that he hadn’t been blinded by attraction. He felt like the luckiest man in the world for having found someone of whom his family approved.

Unfortunately, Nonami is never content to let a passage like this one stand alone; she feels compelled to explain how Kazuhito’s words swayed Noriko by telling us exactly what Noriko is thinking at the moment he gives this speech. The obviousness of Noriko’s interior monologues is especially frustrating; Nonami does a competent job of revealing her characters’ motivations and feelings through their actions without resorting to such editorial interventions.

The other drawback to Nonami’s storytelling is that she begins telegraphing the ending just a few chapters into the book. Savvier readers will quickly figure out what the Shitos’ secret is — and it’s a doozy — though they probably won’t mind wading through another hundred pages to have their ickiest suspicions confirmed, especially since Nonami manages a few surprises in the final pages.

The bottom line: Now You’re One of Us is an entertaining, atmospheric potboiler that’s probably best read in the privacy of one’s own home.

This review originally appeared at PopCultureShock on 2/8/08.

NOW YOU’RE ONE OF US • BY ASA NONAMI, TRANSLATED BY MICHAEL AND MITSUKO VALEK • VERTICAL, INC. • 240 pp.

Now You’re One of Us

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Noriko, the young heroine of Asa Nonami’s Now You’re One of Us, initially thinks she’s hit the marriage jackpot. Not only are her in-laws wealthy and well regarded by their neighbors, they’re also quick to embrace her as a member of the family. Her husband Kazuhito is handsome and utterly devoted; her mother-in-law Kimie, generous and uncritical; and her sister-in-law Ayano, solicitous to everyone in the household, including Kazuhito’s oddly child-like brother Takehami. Even the Shito matriarch, ninety-eight-year-old Ei, welcomes Noriko to the clan by declaring her the family’s “treasure” and “future.”

Shortly after Noriko arrives at the Shitos’ Tokyo home, a strange, slightly disheveled neighbor approaches her while she works in the garden. Though Kimie is quick to dismiss him as a troubled tenant who’s fallen on hard times, Noriko can’t shake the feeling that the neighbor was about to divulge something damning — a feeling intensified by his mysterious death in a fire several days later. The Shitos’ oddly muted, impersonal response to his death further arouses Noriko’s suspicion, as do the family’s clandestine midnight meetings. Though the Shitos offer reasonable, measured responses to Noriko’s inquiries, she begins wondering if the Shitos run an illicit business… or worse.

Thanks to a fluid translation by Michael and Mitsuko Valek, Asa Nonami’s simple, unfussy prose draws the reader into Noriko’s insular world, showing us how a simple girl from a working class family is lured into the Shitos’ web. In this passage, for example, Nonami reveals Kazuhito to be a deft manipulator, appealing to Noriko’s vanity by suggesting that Ei’s endorsement carries special significance:

“Great Granny’s been watching people for ninety-eight years — she can see through them at a glance, so lots of people in the neighborhood come to ask her for advice.” He explained how delighted he was that Great Granny had taken a liking to her; it showed that he hadn’t been blinded by attraction. He felt like the luckiest man in the world for having found someone of whom his family approved.

Unfortunately, Nonami is never content to let a passage like this one stand alone; she feels compelled to explain how Kazuhito’s words swayed Noriko by telling us exactly what Noriko is thinking at the moment he gives this speech. The obviousness of Noriko’s interior monologues is especially frustrating; Nonami does a competent job of revealing her characters’ motivations and feelings through their actions without resorting to such editorial interventions.

The other drawback to Nonami’s storytelling is that she begins telegraphing the ending just a few chapters into the book. Savvier readers will quickly figure out what the Shitos’ secret is — and it’s a doozy — though they probably won’t mind wading through another hundred pages to have their ickiest suspicions confirmed, especially since Nonami manages a few surprises in the final pages.

The bottom line: Now You’re One of Us is an entertaining, atmospheric potboiler that’s probably best read in the privacy of one’s own home.

This review originally appeared at PopCultureShock on 2/8/08.

NOW YOU’RE ONE OF US • BY ASA NONAMI, TRANSLATED BY MICHAEL AND MITSUKO VALEK • VERTICAL, INC. • 240 pp.