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The Josei Alphabet: T

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“T” is for…

Tamashii no Futago, written and illustrated by Mitsuzaku Mihara, originally serialized in Shodensha’s Feel Young, two volumes. One of Tokyopop’s most focused efforts in publishing josei centered around Mihara’s works like The Embalmer and others. Here’s another Mihara title featuring two ghosts and the people who can see them.

Teke Teke Rendezvous, written and illustrated by George (A Perfect Day for Love Letters) Asakura, originally serialized in Shodensha’s Zipper, two volumes. The aggressive exterior of agricultural student Tayoko masks a novice in the ways of love. She’s working her way through school in a hostess club, so that should help out with the experience shortage.

Ten no Hate Chi no Kagiri, written and illustrated by Waki Yamato, originally serialized in Kodansha’s mimi, one volume. I note this tale of a poetess and seer wooed from a life of celibacy and service by rival princes not so much because it sounds particularly interesting but because its creator seems overdue for introduction to English-language audiences. Yamato is quite prolific, and it seems unfortunate that none of her work is available in print and in English.

Tenpari Ninpu no Shussan Icchokusen! written and illustrated by Tomoko Tamiya, originally published by Futubasha, one volume. This comic was developed to help women overcome their fear of childbirth and to give them strategies to help them enjoy pregnancy. Do you find that cover comforting? I think it looks like something by Junko Mizuno.

Tokyo Girls Bravo, written and illustrated by Kyoko (Helter Skelter) Okazaki, originally serialized in Takarajimsha’s CUTIE, two volumes, published in French by Casterman: A girl from the sticks finally gets the chance to live in Tokyo and fulfill her punk-rock dreams, but obstacles are thrown in her path by her conservative family. Every version of the covers for this book that I’ve seen is absolutely awesome.

Licensed josei:

  • Tomie, written and illustrated by Junji Ito, originally published by Asahi Sonorama, published in English by Comics One and Dark Horse, two volumes.
  • Tramps Like Us, written and illustrated by Yayoi Ogawa, originally serialized in Kodansha’s Kiss, published in English by Tokyopop, 14 volumes.

What starts with “T” in your josei alphabet?

Great performances

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It’s not a spectacularly interesting week in local comic shops, so I’ve decided I’d rather talk about two extraordinary performances by actresses that I enjoyed over the weekend.

I saw Follies at the Kennedy Center on Friday. It’s a musical about a reunion of showgirls with a score by Stephen (Sweeney Todd, A Little Night Music, etc.) Sondheim and a book by William (The Lion in Winter) Goldman, and the original production was directed by Harold (Evita) Prince and choreographed by Michael (A Chorus Line) Bennett, and it could hardly have a more prestigious pedigree. I’d never actually seen a full production of it, though I watched and enjoyed a concert version that ran on PBS a couple of decades ago. Seeing it unfold from beginning to end forces me to conclude that it’s got some great songs, some very effective moments, and isn’t very good in terms of sustained storytelling.

The first act sketchily introduces the four leads – two former showgirls and their husbands, one pair being resolutely middle class, the other wealthy and elite – and gives a number of actresses of a certain age (in this case, Linda Lavin, Elaine Paige, Terri White, and others) the chance to bring down the house. The second act focuses more intently on the disintegration of the two marriages, and the piece ends on a spectacular note with a sequence, “Loveland,” where the protagonists each get a dazzling number that articulates their angst in song and dance.

Ostensibly, the biggest draw to the production should be Bernadette Peters, who plays middle-class Sally, the emotionally fragile ex-showgirl who has completely unrealistic hopes for the reunion, most of them centered on her unresolved feelings for rich, elite Ben (played by Ron Raines of Guiding Light fame). You would think the role would be right in her wheelhouse, but maybe she was cast too well. I rarely found myself thinking about the character (who isn’t particularly sympathetic to begin with) as much as the ways Peters’ own narrative intersects with the role.

For me, the knockout, starring performance came from Jan Maxwell as Phyllis, the chorine turned high-society matron who harbors deep (and justified) dissatisfactions under her pristine exterior. I vaguely remember liking Maxwell in some episodes of Law and Order, but I wouldn’t trade the experience of seeing her perform live for anything, even in a show as problematic as Follies. Fairness demands that I acknowledge that Phyllis is probably the best written character in the show, and she certainly gets to perform my favorite numbers (“Could I Leave You?” and “The Ballad of Lucy and Jessie”). All the same, she rips into the role with a seriousness of purpose and a focus that are marvelous to witness. While she’s hardly the best singer and dancer on the stage, her musical numbers are informed by her acting choices, particularly the sense that Phyllis is rediscovering the joy of performing and what it brings to her as an independent entity. Of the “Loveland Numbers,” hers was the one that brought down the house, even with Peters doing a creditable job with the lachrymose cabaret standard “Losing My Mind.”

As for the rest of the cast, their relative success depends on how invested they are in playing a role rather than performing a number. The audience loved Lavin’s “Broadway Baby,” but it seemed to me more of a lively night-club number than an organic part of Follies. Paige’s take on “I’m Still Here” seemed to demonstrate a mighty (and unsuccessful) struggle to make an iconic number personal. White’s “Who’s that Woman?” deservedly stopped the show, partly for the force of her performance and because it’s one of the rare moments when the show’s core concept actually coheres perfectly. White and the other showgirls perform an old favorite as ghosts of their former selves perform with varying degrees of synchronicity, at times displaying the indignities of age. (And, great as White is, the number gave Maxwell the first opportunity to show Phyllis rediscovering herself through performance.)

Raines sings wonderfully well, but his performance isn’t sufficiently complex to make selfish bastard Ben particularly involving. Danny Burstein is close to great as Sally’s long-suffering husband, Buddy. I was delighted to see the actors playing younger versions of the central quartet rewarded for their hard work in thankless roles with spot-on performances terrific songs in the “Loveland” sequence, the wittily written “You’re Gonna Love Tomorrow” and “Love Will See Us Through.” (In truth, I think Lora Lee Gayer gave a better performance as Sally than Peters did, and she gave a pretty good performance as Peters at the same time.)

Because it was devastatingly hot in our nation’s capital, we spent part of the next day in the cool comfort of a movie theatre watching Super 8. Let me tell you, there are a number of worse ways you could spend a hot afternoon. The overall narrative doesn’t offer any surprises, but the execution is packed with craft and grace notes. Sure, it’s basically J.J. Abrams writing and directing a mash note to the films of Stephen Spielberg, but Abrams avoids the worst of his inspiration and executive producer’s tendency towards cheap sentiment while crafting what’s ultimately a really entertaining, nicely paced movie. (I’ve whined before about filmmakers’ tendencies to pad out the final act of a film with totally needless hullaballoo, but there’s none of that here.)

The whole cast is strong, but I was mesmerized by Elle Fanning as I was several summers ago by her older sister, Dakota, in director Spielberg’s War of the Worlds. (Of course, Dakota Fanning was the only thing worth watching in that movie, which made the performance that much more magical.) In Super 8, Elle Fanning plays the generally thankless role of the only girl in a group of boys. I’m not quite sure if it’s because of her performance or due to Abrams’ design, but “the girl” in this case actually has agency and doesn’t just end up being a catalyst for the boys’ reactions. There’s some of that, and the boys are all good at playing their respective archetypes, but Elle Fanning is endlessly watchable and sympathetic. Honestly, I’d like to see her nominated for an Academy Award. She’s just that good.

Afterschool Charisma Volume 3

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I’m always happy to read a new volume of Afterschool Charisma. This series about teenage clones of historic figures, their vaguely menacing high school, and the seemingly normal boy trapped with them just has a certain kind of pulpy appeal that I find enjoyable. The cover model for this volume is the uncharacteristically tall teenage Napoleon Bonaparte. At the end of the previous volume non-clone Shiro got a nasty shock when an older version of himself showed up with a pint-sized resurrected Marie Curie, nicknamed Pandora. Mozart yells “Welcome to the clone world, Shiro!” Freud points out that other than the fact that there’s someone that looks a lot like Shiro, they don’t have any confirmation that Shiro actually is a clone. Shiro wants to find his dad so he can ask him about what’s going on. Mozart goes around acting unhinged, and Joan of Arc is preparing to reenact her predecessor’s fiery death.

School director Rockwell reveals a maniacal side underneath his seemingly breezy personality. The shadowy group of people orchestrating the Dolly the Sheep religion finally make themselves known as the school festival draws a variety of visitors who wish to observe the clone’s special talents. One disappointing thing about this volume for me was that we didn’t see much of Clone Freud being awesome. He’s mostly just taking in everything about Shiro, wondering who he actually is, and observing the reactions of those around him. I’m expecting something dramatic from Clone Freud in the future. The pacing for this manga is very good if sometimes a little frustrating. There’s always a dramatic cliffhanger at the end of each volume which leaves me wondering what will happen next.

Review copy provided by the publisher.

Rocket Girls by Housuke Nojiri

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From the back cover:
Yukari Morita is a high school girl on a quest to find her missing father. While searching for him in the Solomon Islands, she receives the offer of a lifetime—she’ll get the help she needs to find her father, and all she need do in return is become the world’s youngest, lightest astronaut. Yukari and her half-sister Matsuri, also petite, are the perfect crew for the Solomon Space Association’s launches, or will be once they complete their rigorous and sometimes dangerous training.

Review:
I was really looking forward to reading Rocket Girls. I’ve long been intrigued by VIZ Media’s venture into Japanese sci-fi, Haikasoru, but this is the first title in the lineup that I’ve read (unless you count Brave Story, which I read before it was grandfathered into the imprint). Alas, I ended up disappointed.

The basic plot is that Yukari Morita, a high school student weighing 37 kg. (81 lbs.) has traveled to the Solomon Islands during summer vacation to search for her deadbeat father. She ends up meeting scientists from the Solomon Space Association just when they’ve determined that they need a really light person to pilot their rocket, and when the director promises to help her find her father, she agrees. Later, her similarly petite half-sister Matsuri joins up to serve as backup. The SSA folks have a lot of trouble getting a rocket into orbit, but eventually succeed (sort of) and Yukari becomes a national hero.

I guess I was hoping for the novel equivalent of Twin Spica or something, but Rocket Girls doesn’t even come close to achieving the passion and poignancy on display in that series. In fact, it almost totally lacks any depth whatsoever. The book is about 80% dialogue, with very little insight into Yukari’s thoughts, let alone anyone else’s. As a result, many of the characters’ reactions and decisions are inexplicable. Here are some examples:

  • The director of the space program, Isao Nasuda, calls up Yukari’s mother to obtain her permission for Yukari to become an astronaut. Without asking any questions at all, her mother agrees. I could accept a similarly carefree mom in a manga comedy, but it’s harder to swallow in a sci-fi novel.
  • Very quickly, Yukari finds her father, who had no idea she even existed (having disappeared during his honeymoon). His reaction? “How about that?” What, that’s it?!
  • Yukari decides she doesn’t fancy dying in an unsafe spacecraft, but her father won’t come back to Japan with her if she outright quits, so she decides to gain weight so that Matsuri will have to take her place. And then, suddenly, she’s done with that idea. I think this is because one of the scientists guys waxed poetic about his spacefaring dreams, but I’m not sure.
  • Yukari then decides to become hyper-vigilant about the safety of the craft and goes on a hunger strike protesting some new fuel mixture. And then later, when she’s strapped in and ready to take off, the team finds a problem. Her response? “If we let every little thing scare us, we’ll never launch.” Uh, then what was that whole protest about? She even had a sign.

At first, I was bothered that none of the adults seemed to have any empathy for Yukari. They treated her as a tool and spoke dispassionately of bringing her to her breaking point so they could test the jungle-survival capabilities of the new skintight spacesuit they’d designed for her. But then I realized that I had lost all empathy for Yukari, too! Probably I was supposed to care when she nearly died during the flight, but I did not. I just wanted the book to end. After a kind of cool but very brief visit to Mir, I got my wish.

Is one slightly nifty bit near the end enough to recommend the book? I think not. There is also a sequel, but I’ve no intention of reading it.

Pick of the Week: Trio

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With Kate out of town, we’re a trio this week, perusing the expected arrivals at Midtown Comics. Check out our picks below!

DAVID: I’m not quite sure what the deal is with my pick. Shigeru Mizuki’s Onward Towards Our Noble Deaths (Drawn & Quarterly) came out months ago via Diamond, but it’s apparently just hitting Midtown on Wednesday. As I noted in my review, it strikes me as a little odd to go deep and dark before giving Mizuki’s best-known work a proper English-language release, but it’s certainly better than no Mizuki at all. This autobiographical tale of ill-used soldiers serving in the Pacific at the end of World War II isn’t quite as grim as it sounds, but it’s hardly a beach read. It’s deeply heartfelt, though, and it’s fascinating to see Mizuki apply his distinctive style to this kind of material. For those interested in the full scope of how manga can be used, this is essential reading. And if it succeeds commercially, maybe we’ll get GeGeGe no Kitaro.

MICHELLE: My pick is about as far from David’s as possible. It’s probably going to be exceedingly silly, but I am looking forward to the first volume of Bad Teacher’s Equation. It’s by Kazuma Kodaka, whose Kizuna I’ve really begun to enjoy, and is an older series, originally started in 1993. It’s a longer series, too, with its original ten volumes condensed to five for the bunko edition, which is what DMP has licensed. I admit the plot doesn’t sound thrilling—a high schooler enrolls in a particular school in order to reunite with his crush, the school nurse, but it seems the fellow is no longer as friendly as he once was and is maybe someone else altogether—but I suspect it will be a fun read anyway.

MJ: Probably my real choice would be to agree with David, whose review of Onward Towards Our Noble Deaths has made me quite anxious to pick it up, but I noticed another item on the list that intrigues me at least a little, so I’ll give it a spotlight here. I quite enjoyed Tooko Miyagi’s angsty BL melodrama, Il Gatto sul G when I first took a look at it, and even picked up a couple of its volumes in print. Its sequel, Butterfly Of The Distant Day ships this week, and I admit I’m quite interested in checking it out. After all, how often do you get to read yaoi about a “schizophrenic genius violinist”? Truth be told, I can’t resist!

Readers, what are your picks this week?

Bookshelf Briefs, 6/13/11

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This week, MJ, Kate, & Michelle take a look at a handful of titles from Viz Media and Digital Manga Publishing.

Border, Vol. 1 | By Kazuma Kodaka | Digital Manga Publishing – If you’re still mourning the cancellation of Crown, you could do a lot worse than Border, a globe-trotting adventure about an ex-commando who runs a detective agency. The story focuses on a quartet of handsome men: Yamato, a former Special Forces officer; Sogo, the team’s go-to guy for explosives and gizmos; Tamaki, a hairdresser who moonlights as a detective; and Kippei, their plucky Guy Friday. Volume one begins with two stories showing the team solving cases, then jumps back in time to explore Yamato’s military past. Aside from a few unfortunate “I’m not gay, you’re special!” conversations between Yamato and his lover, the flashback works surprisingly well, explaining both Yamato’s skills (he can repel down skyscraper walls and overpower men twice his size) and his conflicted attitudes about sex. Sexy character designs, decent action sequences, and an engaging plot complete the attractive package. -Katherine Dacey

Claymore, Vol. 18 | By Norihiro Yagi | Viz Media – I’m a big fan of Claymore, there’s no doubt, but I’ll admit the last two volumes have wearied me some. Aside from a few fascinating revelations at the beginning of volume 16, it’s been all battles, all the time in the Claymore universe lately. But though volume 18 deviates very little from that trend, it also offers at long last the confrontation we’ve been moving toward for nearly the entire series as Clare meets Priscilla on the battlefield once more. While it’s true that battles are hardly my favorite thing, even in battle manga, this kind of emotionally fraught skirmish shows off mangaka Norihiro Yagi at his best. It’s nice to finally find myself at the edge of my seat again. Bring it on, Yagi, bring it on. -MJ

The Desert Prince | By Shushushu Sakurai | Digital Manga Publishing – Superficially, the five stories that comprise The Desert Prince are very different: one focuses on the relationship between a handsome sheik and a Japanese tourist, for example, while another explores the attraction between a yakuza enforcer and his protege. Plot-wise, however, all five stories follow the same trajectory, with characters fussin’ and fightin’ until one breaks down and confesses his true feelings for the other, leading to a brief but steamy sex scene. Shushushu Sakurai’s character designs are generally appealing, though she struggles a bit to make her older men look their age; the hero of the final story, “Mister Y’s Love,” looks more like a shar-pei puppy than a retiree. What prevents The Desert Prince from being a guilty pleasure is the thinness of the writing; there are simply too many plot holes, coincidences, and abrupt reversals for any of the stories to make much of an impression, in or out of the bedroom. -Katherine Dacey

Fullmetal Alchemist, Vol. 25 | By Hiromu Arakawa | Viz Media – Oh, Fullmetal Alchemist, you never cease to thrill me. Just two volumes away from the conclusion to Arakawa’s epic fantasy-adventure, what strikes me most is just how tightly plotted this series has been since the beginning. With everything coming together as the story approaches climax, it’s clear now that there has been nothing in this entire series—not a single side character, perhaps not even a single joke—that wasn’t carefully crafted to serve that climax in one way or another. Also, between volumes 24 and 25, it’s been made clear to me that a feature on “The Women of Fullmetal Alchemist” is not only imminent, but essential. Arakawa’s women simply kick ass. Highly recommended. -MJ

Ouran High School Host Club, Vol. 16 | By Bisco Hatori | Viz Media – The perpetual brakes on the passage of time in Ouran have finally been released and Haruhi becomes a second-year student at long last. Other changes are afoot, too, as Tamaki’s domineering grandmother finally allows him to live in the main house, though this means adhering to her strict rules. Tamaki commits to the challenge admirably—even though it means giving up the host club and possibly Haruhi as well—while everyone else worries about him. Even though this storyline shows most of the characters to their advantage, I would so much rather see Tamaki and Haruhi make real romantic progress that the bulk of this volume is downright dull. I hope we can put Tamaki’s family issues behind us soon and get to the good stuff! -Michelle Smith

Twinkle Stars 1-2 by Natsuki Takaya

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I have no idea why Natsuki Takaya’s Twinkle Stars (aka Hoshi wa Utau) has yet to be licensed in the US, but when I learned that English editions were available in Singapore/Australia, I knew I had to acquire them. See the final paragraph of this post for a link where you might do the same.

I thought I might be disappointed by this series. There’s no shortage of complaining Takaya fans online, after all, and it’s not like her other series Tsubasa: Those With Wings or Phantom Dream really knocked my socks off, though I did come to like the latter by the end. After having read these two volumes, however, I am left to conclude that the chief complaint of unhappy fans is that Twinkle Stars is nothing like Fruits Basket. But why should it be? It’s a completely different kind of story, but that doesn’t mean it isn’t good!

Sakuya Shiina is a heroine in the mold of Tohru Honda, in that she has a difficult family situation but tries to keep up a cheerful front and doesn’t talk about her own problems very much. Her father contracted her cousin, Kanade, to be her guardian, though it’s unclear whether Sakuya knows that, since she seems to regard Kanade as a kind of savior (and often defends him against allegations of laziness). We don’t learn too much about Kanade, but it seems that he originally kept his distance from Sakuya, but has lately become very fond of her. As the story begins, he has actually remembered her birthday and offered to cook Sakuya’s favorites for dinner.

When Sakuya gets home from her part-time job that evening, she finds that Kanade is not alone. A young man named Chihiro is with him, and Sakuya simply assumes he’s one of Kanade’s friends. He gives her a present and tells her she’s amazing for always smiling and never giving up. Attracted to his lonely mien, Sakuya wants to meet him again, but discovers the next morning that Kanade didn’t actually know Chihiro at all! He spotted him loitering around outside with a gift box and assumed he was there for the festivities.

Sakuya becomes determined to find Chihiro and enlists the help of her two best friends, Hijiri Honjō and Yūri Murakami, who are also members of the stargazing club Sakuya has started. One of Natsuki Takaya’s strengths is in creating terrific friends for her heroine, and Hijiri and Yūri are both interesting characters in their own right. Yūri is pretty straightforward—a short but athletic fellow who is brave, forthright, and easily flustered—but Hijiri is a lot more complex, one of those refined-looking girls who loves to say things that rile other people but who is fiercely protective of Sakuya, even though she seems to adore her friend largely because of her ineptitude in various areas and doesn’t intervene to spare her embarrassment. I think I could easily read a spin-off all about Hijiri, especially since we’ve already gotten a couple of hints that she’s got secrets.

Eventually, Sakuya runs into Chihiro. She’s convinced he’s not a bad person and just wants to hear his reasons for what he did so as to understand, but he’s not cooperative. “I don’t want to tell you anything,” he says, and seems willing to concoct some fantasy persona for himself but not reveal the reality of his life. He disappears after telling Sakuya he hates her, and only then does she realize that she’s fallen in love with him.

At this point it becomes apparent that this will probably be one of those stories (like We Were There or Kare Kano) where the heroine will help heal the hero’s pain and angst. Because this is a shoujo manga Chihiro soon transfers into Sakuya’s school, and though he is initially cold and remote, he very slowly begins to warm up to Sakuya. Another thing Takaya is good at is leaving little clues about important events, and we get a couple of glimpses of Chihiro’s past that inform his behavior toward Sakuya. Primarily, she’s so vulnerable and pathetic that it moves him to protect her, and this sort of unpredictable impulse scares him.

It’s not that he actually hates her, but that he’s uncomfortable and unsure around her. This point is proven when Sakuya speaks before a group of students in an attempt to recruit new members for the stargazing club. She flounders so badly that Chihiro, spurred by the memory of another girl in a similar situation, rushes to her side to reassure her. Although he initially comes across as an irritating jerk, by the end of the second volume it’s clear that he’s mostly just awkward, and perhaps a little broken, too. Sakuya continues to be confused by his behavior, but the lingering sadness in his eyes convinces her not to give up.

The quality of the Chuang Yi edition is quite good. Physically, the paper quality is lovely, the images are crisp and clean, and the volumes come with dust jackets. The translation has a British flair, tickling me by including words like “wonky” and “vexing.” Takaya’s art looks great, but also makes for a kind of bizarre reading experience. The characters are so obviously drawn by her that they look and feel incredibly familiar, and yet they are not copies of anyone in either design or personality. Take, for example, this panel of Sakuya and Chihiro.

There’s no doubt who drew that. And they look slightly reminiscent of other characters, but one would never get them confused. It’s almost like we’re seeing some denizens of the Fruits Basket world to whom we were simply never introduced before.

Contrary to expectations, I enjoyed Twinkle Stars a lot. True, it’s not epic on the level of Fruits Basket, but again, that’s okay by me. I certainly don’t expect Takaya to keep writing the same sorts of things over and over, and I’m really looking forward to seeing what she achieves with this different kind of tale.

Twinkle Stars is not currently licensed in North America. These English editions were published by Chuang Yi Publishing in Singapore and distributed by Madman Entertainment out of Australia. They are available for purchase here, but shipping is quite expensive. I’ll be switching to the French editions from volume three onwards. The series is complete in Japan with eleven volumes.

License request day: Prix Asie 2011

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This week, we have less of a license request than a round-up of likely candidates. Tom (The Comics Reporter) Spurgeon shared this year’s nominees for the Association des Critiques et Journalistes de Bande Dessinée’s Prix Asie award, so let’s learn more!

We’ll start in the Philippines with Gerry Alanguilan’s Elmer, published in French by Editions Çà et Là. This is a family drama set in a world where chickens have achieved (or downgraded to) a human-equivalent level of sentience and emotional complexity. That’s a really neat premise, and the preview pages at the publisher’s site are gorgeous and odd. Alanguilan has worked on some high-profile franchise properties in the U.S., but I’d much rather read about the neurotic chickens.

Sanpei Shirato’s Kamui-Den, published in French by Kana, offers more from the gekiga category. This time, it’s a period piece about a young ninja fighting against dehumanizing caste systems during the Edo period. I think Viz published at least some of this a while back as The Legend of Kamui. It ran for 21 volumes in Garo. I love the cover designs, which is kind of an emerging theme.

I’m already kind of in love with Kazuo Kamimura’s La plaine du Kantô (published in French by Kana), based almost entirely on the covers, but I always thought Kamimura’s art was always the most interesting thing about Lady Snowblood (Dark Horse). This seems to be an autobiographically informed story of cross-cultural understanding set in Japan just after the end of World War II.  I have no idea who originally published it, but it sounds interesting.

Shotaro Ishinomori’s Le voyage de Ryu (published in French by Glénat) features a young man who travels a bit father in space and time than he’d intended. He wakes from suspended animation to find that his ship has crashed onto a bizarre and hostile planet. It seems like there should be more of Ishinomori’s work in print, though some publishers have made stabs in the past. I mean, he did kind of help define the super-hero for Japanese comics fans, didn’t he?

Last, but certainly not least, is Makoto (Planetes) Yukimura’s Vinland Saga, published in French by Kurokawa, which has been lurking near the top of my license wish list for years. YEARS.

Which of these do you find most enticing?

Grand Guignol Orchestra, Vol. 3

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In his review of TRON: Legacy, critic Andrew O’Hehir made a distinction between movies that are boring because they make the viewer keenly aware of time’s passage — what he calls “intentional and challenging boredom” — and movies that are boring because they overstimulate the viewer — what he calls the boredom of “endless distraction and wall-to-wall entertainment.” Kaori Yuki’s latest effort, Grand Guignol Orchestra, is a prime example of the latter, a relentlessly melodramatic horror story that never pauses to catch its breath. And while that kind of manga can be engrossing, Yuki’s unwillingness to vary the tone or pace robs Grand Guignol Orchestra of its power to shock, amuse, or arouse anything resembling a real human emotion.

In other words, it’s boring.

The third volume isn’t boring for lack of effort. There’s a lengthy set-piece in which Eles, Gwindel, and Lucille engage in hand-to-hand combat with an evil, cross-dressing nun who is, in fact, a castrato; there are several flashbacks to Lucille and Gwindel’s tortured pasts; and there’s a third-act auction in which noblemen bid for the privilege of watching a young woman be transformed into a zombie. And if those plot twists weren’t enough to hold the reader’s attention, Yuki throws in a few more for good measure: characters double- and triple-cross each other, former enemies unite against a common foe, and zombies swarm a castle, chomping on everyone in sight.

For all the sound and fury, volume three is dramatically inert. Every conversation is overwrought to the point of cartoonishness, draining the truly horrific and sad moments of their visceral power. Worse still, Yuki feels the need to include closed captions for the emotionally impaired, a function she’s assigned to the hapless Eles; when Eles isn’t playing the piano or being held hostage by one of Lucille’s enemies, her primary job is to think about the other characters: “Oh, so that’s why so-and-so has been depressed!” or “They don’t hate each other; they just can’t be together!” And so on.

The artwork, like the script, seems calculated to overwhelm rather than seduce. Yuki is a big proponent of the costume-as-character school of manga writing, substituting epaulets, eye patches, and lace for actual personality traits. As a result, every character, no matter how inconsequential to the story, wears a wackadoo outfit of one sort or another: a habit with a plunging neckline, a clown mask and a cock-eyed top hat. Yuki’s artwork is certainly arresting; her linework is very sensual, and her flair for drawing costumes undeniable, but her desire to populate every scene with elaborately dressed nuns, zombies, and masqueraders comes across as numbing excess in a story that lacks any form of narrative restraint.

I realize that many people will read this review and think I’m a killjoy, that I’ve lost my ability to enjoy a manga for what it is and not what I want it to be. And, to some extent, those readers are right; after five years of grinding out manga reviews, I’m no longer enthusiastic about stories that rely on spectacle to command my attention. But what I find more frustrating about Grand Guignol Orchestra is that there’s nothing real or interesting lurking beneath its busy surface; it’s hysteria masquerading as drama, and the constant stimulation of all-caps dialogue, sudden plot reversals, and Baroque murders becomes its own form of tedium to be endured, rather than something to be savored and enjoyed.

Review copy provided by VIZ Media, LLC.

GRAND GUIGNOL ORCHESTRA, VOL. 3 • BY KAORI YUKI • VIZ MEDIA • 196 pp. • RATING: OLDER TEEN (16+)

Grand Guignol Orchestra, Vol. 3

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In his review of TRON: Legacy, critic Andrew O’Hehir made a distinction between movies that are boring because they make the viewer keenly aware of time’s passage — what he calls “intentional and challenging boredom” — and movies that are boring because they overstimulate the viewer — what he calls the boredom of “endless distraction and wall-to-wall entertainment.” Kaori Yuki’s latest effort, Grand Guignol Orchestra, is a prime example of the latter, a relentlessly melodramatic horror story that never pauses to catch its breath. And while that kind of manga can be engrossing, Yuki’s unwillingness to vary the tone or pace robs Grand Guignol Orchestra of its power to shock, amuse, or arouse anything resembling a real human emotion.

In other words, it’s boring.

The third volume isn’t boring for lack of effort. There’s a lengthy set-piece in which Eles, Gwindel, and Lucille engage in hand-to-hand combat with an evil, cross-dressing nun who is, in fact, a castrato; there are several flashbacks to Lucille and Gwindel’s tortured pasts; and there’s a third-act auction in which noblemen bid for the privilege of watching a young woman be transformed into a zombie. And if those plot twists weren’t enough to hold the reader’s attention, Yuki throws in a few more for good measure: characters double- and triple-cross each other, former enemies unite against a common foe, and zombies swarm a castle, chomping on everyone in sight.

For all the sound and fury, volume three is dramatically inert. Every conversation is overwrought to the point of cartoonishness, draining the truly horrific and sad moments of their visceral power. Worse still, Yuki feels the need to include closed captions for the emotionally impaired, a function she’s assigned to the hapless Eles; when Eles isn’t playing the piano or being held hostage by one of Lucille’s enemies, her primary job is to think about the other characters: “Oh, so that’s why so-and-so has been depressed!” or “They don’t hate each other; they just can’t be together!” And so on.

The artwork, like the script, seems calculated to overwhelm rather than seduce. Yuki is a big proponent of the costume-as-character school of manga writing, substituting epaulets, eye patches, and lace for actual personality traits. As a result, every character, no matter how inconsequential to the story, wears a wackadoo outfit of one sort or another: a habit with a plunging neckline, a clown mask and a cock-eyed top hat. Yuki’s artwork is certainly arresting; her linework is very sensual, and her flair for drawing costumes undeniable, but her desire to populate every scene with elaborately dressed nuns, zombies, and masqueraders comes across as numbing excess in a story that lacks any form of narrative restraint.

I realize that many people will read this review and think I’m a killjoy, that I’ve lost my ability to enjoy a manga for what it is and not what I want it to be. And, to some extent, those readers are right; after five years of grinding out manga reviews, I’m no longer enthusiastic about stories that rely on spectacle to command my attention. But what I find more frustrating about Grand Guignol Orchestra is that there’s nothing real or interesting lurking beneath its busy surface; it’s hysteria masquerading as drama, and the constant stimulation of all-caps dialogue, sudden plot reversals, and Baroque murders becomes its own form of tedium to be endured, rather than something to be savored and enjoyed.

Review copy provided by VIZ Media, LLC.

GRAND GUIGNOL ORCHESTRA, VOL. 3 • BY KAORI YUKI • VIZ MEDIA • 196 pp. • RATING: OLDER TEEN (16+)