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Dona Dona in manga and anime

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One thing that I’ve always found a little odd the few times I’ve run across it is the occasional reference in manga and anime to the Jewish folk song “Dona Dona.” It generally is used as a shorthand way of referencing certain doom or despair for a particular character. I guess it is because this song that I’ve generally understood as a Holocaust metaphor (based on what I was told in Sunday School) is inexplicably popular in Japanese Elementary schools?

Here are a few references I’ve found, but I’m sure that there are plenty out there that I’ve forgotten or haven’t encountered yet. If you have any more please send them in and I’ll add them to the page. Thanks to ace Dona Dona spotter David Wolkin!

One of the longest and most overt references ever takes place in in Revolutionary Girl Utena, there’s a version of the song used when Nanami transforms into a cow (song kicks in at the end of the clip):

Here’s a panel from Detroit Metal City Volume 7:

And Slam Dunk Volume 1:

Do you have any Dona Dona references to share? Please let me know!

PotW: House of Five Leaves & other stories

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It’s another big week for manga arrivals at Midtown Comics. See below for recommendations from the Manga Bookshelf bloggers and special guest Michelle Smith!

DAVID: My pick for this week is the third volume of Natsume Ono’s Eisner-nominated House of Five Leaves from Viz, and I’m really happy to be able to add that adjectival phrase in front of the title. The series is about an out-of-work samurai who falls in with a gang of kidnappers under the seductive influence of the gang’s charismatic ringleader. Don’t let the warrior protagonist and criminal endeavors fool you: this is a very introspective, character-driven series that looks at the consequences of individual choices. Ono has a wonderfully distinctive style that’s graceful and understated but still forceful. Ono will be a featured guest at the Toronto Comic Art Festival May 7 and 8, and if you want to familiarize yourself with her work before then or just be a fully informed Eisner voter, you should really give this series a try.

KATE: Well, nuts, I was going to name House of Five Leaves my pick of the week as well before David said everything I might have said, only more eloquently. So I’m going to choose the sixth and final volume of AKIRA instead. I’d be the first to admit that Kodansha could have done so much more with the latest edition of this iconic series — unflipped artwork, fancy paper, essays and artist interviews, hardcovers — but I’m glad to see Katsuhiro Otomo’s work readily available again in stores; every other Otomo series that’s been licensed for the US market (Domu: A Child’s Dream, The Legend of Mother Sarah, Memories) is out of print, making it difficult for newer manga readers to discover this seminal artist for themselves. Otomo’s influence on popular culture can’t be understated; his postapocalyptic vision of Tokyo, which has been aped by countless comic artists and film directors, is simply one of the most original, beautiful, and iconic renderings of a city that’s ever been committed to paper.

MICHELLE: I’m certainly happy to see the fourth volume of Udon’s Silent Mobius: Complete Edition appearing on the list of new arrivals at last, but I am going to have to cast my vote instead for the fifth volume of Kaoru Tada’s classic shoujo romantic comedy, Itazura Na Kiss. Tada’s work is extremely different from that of Katsuhiro Otomo, and yet it was perhaps just as influential in its own way. Quite a few shoujo scenarios that we regard today as cliché started with Itazura Na Kiss, but it doesn’t read as dated in any way. In this particular volume, genius male love interest Naoki discovers and abandons his goal in life while ditzy protagonist Kotoko begins to realize that she has no dreams of her own, since she’s been wrapped up in thoughts of Naoki for the last five years. I suppose that might not sound like much, but in the context of this slice-of-life series, it counts as real and important progress. Highly recommended.

MJ: First, let me echo Kate’s sentiment, in that I was fully prepared to name House of Five Leaves, even if it was a repeat on the list, but given how beautifully David recommended it, my vote feels quite unnecessary. With that in mind, I’ll give a shout-out to Jun Mochizuki’s Pandora Hearts. I reviewed the series’ fifth volume in today’s Bookshelf Briefs, and though Mochizuki’s work is not without flaw, it’s also full to overflowing with beauty and real feeling. From the pretty, pretty pages of G Fantasy, the virtues of Pandora Hearts extend far deeper than its attractive surface. If you can only buy one volume of manga this week, buy House of Five Leaves. If you can afford more, take a good look at Pandora Hearts.

So readers, what are your Picks this week?

Bookshelf Briefs 4/18/11

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This week, MJ, Kate, David, & Michelle take a look at slew of comics (and one light novel) from Viz Media, Oni Press, Yen Press, and TOKYOPOP.

Book Girl and the Suicidal Mime | By Mizuki Nomura | Yen Press – “Warmly despondent – that’s the kind of story I hope it will be,” Nomura says in this light novel’s afterword. Her hope is fulfilled, and she manages to add healthy doses of humor and suspense along the way. It’s about a high-school literature club that consists of a fetching goblin who literally eats prose and a boy who keeps her in snacks in the form of handwritten stories. They’re drawn into the romantic woes of a classmate, and their efforts to help her take some darkly unexpected turns that force the boy to confront painful events from his own past. It’s a quirky, thoughtful celebration of the power of stories, and it features interesting, well-developed characters with complex problems. I haven’t read many light novels, but I’m looking forward to reading more installments in this series. – David Welsh

Karakuri Odette, Vol. 6 | By Julietta Suzuki | TOKYOPOP – After the introduction of Travis, an advanced robot who wants Odette for his bride, in volume five, I was a little worried about this, the final volume of the series. Happily, I needn’t have been. Manga-ka Julietta Suzuki avoids any semblance of hijinks, framing her story instead around Grace, an earlier model of robot made by Travis’s creator, and the pain she feels over no longer being considered Papa’s precious masterpiece, and the relationship between Odette and her protector and friend, Asao. This leads to many poignant and bittersweet moments, as Odette realizes for the first time that nothing stays the same forever. It’s a lovely end to a lovely series. -Michelle Smith

Nura: Rise of the Yokai Clan, Vol. 2 | By Hiroshi Shiibashi | Viz Media – Until someone licenses GeGeGe no Kitaro for the US market, yokai lovers will have to make do with this solid, if uninspired, story about a teenage boy who’s caught between the demon and human worlds. The second volume finds Rikuo tapping more readily into his yokai powers in order to save his friends — a marked improvement over the first volume, in which Rikuo spent more time trying to deny his abilities than make use of them. Rikuo’s yokai pals also get more screen time in volume two, giving the story a much-needed jolt of humor and weirdness. Much as I like the artwork and the concept, however, I’m still not taken with Nura; the stories follow all-too-predictable predictable patterns, and the main characters — the human ones, at least — aren’t well-rounded enough to be genuinely memorable. -Katherine Dacey

Pandora Hearts, Vol. 5 | By Jun Mochizuki | Yen Press – Everyone knows by now that I think Pandora Hearts is stylish, and to some extent that’s its greatest weakness. Though Jun Mochizuki uses her obvious Carroll/Tennial influence to create much beauty on the page, it is exactly that influence that encourages her least effective impulses. While the story she’s created is wonderfully compelling, she risks losing the thread, time and again, by tangling it up in useless references that don’t serve the series at all. The Cheshire Cat? The Mad Hatter? These names are not only meaningless in the context of her story, but actually harmful to it, making it appear as if she doesn’t trust it to stand up on its own. Fortunately, in volume five, Mochizuki steps back from the Wonderland-heavy muddle and remembers to tell her story, in all its beautifully twisted, heart-rending glory. Still recommended. – MJ

Salt Water Taffy: The Seaside Adventures of Jack and Benny: Caldera’s Revenge Part 1 | By Matthew Loux | Oni Press – If you haven’t treated yourself to any of the previous installments of Loux’s series, I’d recommend you correct that at your earliest convenience. Young brothers Jack and Benny are spending the summer at the deceptively peaceful seaside town of Chowder Bay. A potentially dull family vacation is saved by the fact that Chowder Bay is weirder than Key West and Provincetown combined, with totally true tall tales of giant lobsters, ghosts, and hat-stealing eagles lurking around every corner. This time around, the boys try and help a giant squid reunite with his parents, complicated by the interference of a determined sperm whale and an ominous ghost ship. Loux’s style is a joy, lanky, witty, and evocative, and this chapter is a real treat for anyone who’s having a hard time waiting for their own summer vacation to start. -David Welsh

Stepping on Roses, Vol. 5 | By Rinko Ueda | Viz Media – “I really enjoy drawing Stepping on Roses as it continues to have this stereotypical, melodramatic storyline,” says mangaka Rinko Ueda in her author’s notes for volume four. And, sure, I get where she’s coming from. There’s something cozy and comforting about by-the-book romance that I’m certainly not immune to. There’s a reason why that structure works, and it only takes a single spark of real personality to ignite the fire of heart-pounding romance. Trouble is, there’s no spark here to be found. Ueda has perfected the structure and she draws very prettily indeed, but she fails to make it personal, leaving our hearts to beat quietly on. Volume five has a few interesting moments thanks to a sub-plot involving the Ashidas’ devoted butler, but the series’ primary romance remains as empty as ever. Not recommended. – MJ

Time and Again, Vol. 5 | By JiUn Yun | Yen Press – Exorcist Baek-On is full of haughty scorn when he encounters a farmer who believes that his beautiful new wife is really an angel. When he forces the man to see the truth, it results in the husband killing his wife then belatedly realizing she did truly love him. This outcome leaves Baek-On reeling—was he wrong to interfere? has he been living his life the wrong way?—and sends him to a family friend for some advice. Although the volume is a little light on our main characters and doesn’t provide the same kind of character development as the previous volume, it still fleshes out the world well, filling in bits of Baek-On’s family history while offering twisty takes on traditional Asian folk tales. I’m looking forward to the sixth and final volume very much. -Michelle Smith

From the stack: Onward Towards Our Noble Deaths

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There are several very welcome text pieces in Drawn & Quarterly’s handsome production of Shigeru Mizuki’s Onward Towards Our Noble Deaths – a foreword by Frederik L. Schodt, extensive translation notes, and an afterword by the creator. My favorite extra has to be an interview with Mizuki in which the legendary mangaka is simply not having it.

He’s not being difficult or unpleasant, but he’s not really game for the standard questions that legendary cartoonists generally get asked. His answers tend to be much shorter than the inquiries that triggered them. He won’t play into the “trailblazing artiste” narrative, nor will he won’t deprecate himself. He won’t list his influences, trash commercial comics, or paint the creation of Onward… as an artistic or personal struggle.

Of course, my favorite bit of the interview is when Mizuki is asked which of his works he’s most proud of and would like to see made available in English:

SM: I would have to say GeGeGe no Kitaro.

I would have to agree with him. Grateful as I am to have any of his work licensed and in translation, it feels kind of odd to start with one of his darker works. It would be like if Osamu Tezuka’s Ayako had been licensed before anyone had a chance to read Astro Boy. Of course, GeGeGe no Kitaro is a Kodansha property, some of which was published ages ago in the publisher’s bilingual comics initiative, so that complicates things. It’s also beloved and probably very expensive, so one can’t precisely fault other publishers for not waiting. Of course, Onward… was a Kodansha property as well, originally serialized in Gekiga Gendai, so it’s nice to see the publisher continue to work with other houses rather than keep everything for themselves.

And Onward Towards Our Noble Deaths has numerous merits in its own right beyond being part of Mizuki’s body of work. It’s based on Mizuki’s experiences as a soldier serving in Papua New Guinea during World War II and portrays the hardships and ill use average soldiers endured at the hands of their superiors. These abuses range from routine, almost desultory physical punishment – “New recruits are like tatami mats: the more you beat them, the better they are.” – to the overall military culture that paints surrender as the worst kind of shame and promotes dying in battle, no matter how senseless and futile the effort, as every soldier’s highest calling (aside from victory, obviously).

Mizuki doesn’t need to do much beyond merely portraying this mindset in order to condemn it. His cast of everyman grunts doesn’t pontificate about its fate. They gripe about the shortage of food, the isolation, the grueling routine, the danger and disease. The overarching injustices they face and the ways that these will doom them always loom, and the soldiers are keenly aware of them, but they’re rarely addressed directly in the text. This is welcome, because it keeps subtler, more effective condemnation from becoming an obvious screed, and it’s also natural in a way. It makes sense to me that these powerless people are reluctant to address the fact that their day-to-day suffering is almost certainly for nothing, and that the people responsible for their fate know that and don’t care. As a result, it’s a very straightforward, chronological narrative. The soldiers arrive, conditions deteriorate, they face unthinkable danger and impossible choices, and things end badly. The approach serves Mizuki’s aims well.

The visual style can be jarring at times. Mizuki paints lushly realistic backdrops and peoples them with cartoonish figures. That isn’t problematic by itself, as I’m more than happy to embrace the combination of cartoonish and gruesome in works like Tezuka’s MW and Ode to Kirihito. There are moments when Mizuki’s particular stylization is not just dissonant with his subject matter but directly at odds with it. This is particularly evident in more violent scenes when body parts are flying, and Mizuki’s strict adherence to his character aesthetic sometimes results in panels that look more ridiculous than horrific. He’s also dealing with a large cast, and individuality tends to get lost in terms of design and simple space to develop characters thoroughly. Ironically, it’s the higher-ups who make the strongest impression. Again, that fits, since they’re the ones with the most agency, and it reinforces the brutal expendable status of the rank and file.

It’s an effective piece on the whole, and I’m glad I had the opportunity to read it. The overall level of restrained sincerity is welcome and makes the piece stand out in the field of autobiographic comics. I’m also pleased that Drawn & Quarterly chose to mark the occasion of Mizuki’s proper English-language debut with proper introductory pieces providing an overview of his career and impact. If it doesn’t seem like the ideal piece to use for Mizuki’s reintroduction, it certainly does him credit.

 

Fond memories

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In the wake of yesterday’s sad news about Tokyopop, I thought I’d use this random weekend question to look back on the positive. Regardless of our individual opinions of the company and our varied reactions to its fate, it published some great comics during its run. So I’d like to ask what your favorite Tokyopop title was?

For me, the answer is surprisingly easy: Ai Yazawa’s Paradise Kiss, a heartfelt and sophisticated look at the lives of budding designers and the girl who serves as their model and muse. This series was among those that really expanded my idea of what comics could be in terms of style, tone, and content, beyond being a wonderful and memorable story in its own right.

How about you? What Tokyopop title stands above the rest in your memory?

 

Yaoi Quick Takes from Blumanga – Cute Devil and Blood Honey

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Cute Devil by Hiro Madarame

Tohru is the strong silent type. He wears glasses and serves in the student council. One day a boy with an angelic face named Fuuta asks if he’ll be his friend. Due to Fuuta’s striking looks, he’s treated like a princess by everyone at school. Fuuta pleads with Tohru with limpid watery eyes, and the two start hanging out together. While Fuuta might look like an angel, he’s actually a sexually rapacious demon and he’s picked Tohru to be his lover. I didn’t care for the story very much, because there wasn’t very time spent on character development. Also, I don’t find the fairly typical in yaoi dynamic of one character forcing himself on the other very entertaining. The chapters in the manga are all fairly similar, as Fuuta and Tohru play out the same dynamic in their relationship over and over again. That being said, Fuuta’s rapid personality shifts were funny and Madarame has some very attractive character designs.

Blood Honey by Sakyou Yozakura

Yuki is a vampire with a very sensible job of working at a blood bank. His favorite blood donor is Mayuzumi, a teacher who seems to enjoy donating blood more frequently than the average person. It turns out Mayuzumi is so hot blooded, he needs to get rid of excess blood so he doesn’t lose his temper. When Yuki is propositioned by his boss, Mayuzumi comes to his rescue and offers to give blood to Yuki for the rest of his life. Blood Honey switches the point of view for various chapters. Yuki’s featured at the start of the volume, Mayuzumi deals with temptation and his feelings for Yuki in the next, and the third story focuses on Yuki’s vampire nephew Kiri. Kiri’s a notorious playboy who keeps trying to insert himself into Mayuzumi and Yuki’s life, so they send him off to live in a temple along with a slightly corrupt priest. Yozakura’s art is simple and a bit on the cartoony side, as Mayuzumi’s temper seems to always show him overreacting to everything. I liked the linked short story format of this volume.
Review copies provided by the publisher

Tokyopop Memories

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Like most other manga fans, I was surprised to read about Tokyopop shutting down. Soliloquy in Blue has a post listing what might be the final volumes of many Tokyopop series. Here are some of the things I’ll miss about Tokyopop:

Josei

Perhaps contributing to low sales, Tokyopop was one of the few companies to publish longer josei series earlier than almost anyone else. Some of the classic josei series they published include:

Happy Mania
Tramps Like Us (Kimi Wa Petto) – One of my favorite Josei series of all time
Paradise Kiss
Suppli

Clamp

Now that Dark Horse seems to have taken over printing many of Clamp’s historic series with new translations, hopefully this means that many of these series won’t go out of print. I’m not counting on anything though, especially with the recent Dark Horse staff layoffs. Tokyopop published Cardcaptor Sakura, Tokyo Babylon, Wish, and more.

Manhwa

This is simultaneously good and bad because the glut of manhwa that Tokyopop pushed out during the boom years probably contributed a lot to financial problems later on. But I’ll always be fond of Queen’s Knight, which was the first Manhwa title I really enjoyed.

Sailor Moon
It seems weirdly cyclical that Tokyopop is shutting down just when the flagship title that touched off the manga craze in the US is going to be published by a different publisher. I previously about how stumbling across the Tokyopop editions of Sailor Moon got me interested in manga again after a long absence.

Some of my favorite completed Tokyopop series include:
Marmalade Boy
Mars
Kare Kano
Karakuri Odette
Gatcha Gacha
Planetes
Fruits Basket

Current series I’ll miss:

Skyblue Shore
Shinobi Life
Stellar Six
Alice in the Country of Hearts
Silver Diamond
VB Rose
Demon Sacred

I thought that recently Tokyopop had been picking up much more interesting shoujo titles, and I’d increased the number of series from them I was actively following. I’m sorry I won’t be able to see the conclusions of many of these series.

TOKYOPOP Is Shutting Down

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It’s with a heavy heart that I direct you to this piece at The Beat, which reports that TOKYOPOP is shutting down at the end of May. I have a feeling the worst of the sadness is yet to come, as I start to fully process which beloved series will be left in limbo.

Rather than dwell on that depressing thought, I figured I’d outline what is left on TOKYOPOP’s production calendar through the end of May, according to Amazon. Hopefully we will still get all these books. Maybe we won’t.

APRIL RELEASES:
(already in stock)
V.B. Rose 12
Silver Diamond 9
Gakuen Alice 16
Ratman 4
The Secret Notes of Lady Kanoko 2
Future Diary 10
Karakuri Odette 6 (at least this one got an ending!)
NG Life 9
Shinobi Life 7
Neko Ramen 4
Priest Purgatory (Volume one? There’s another one in May…)

(forthcoming)
Saving Life 1
Foxy Lady 4 (still says pre-order though its release date has passed)

MAY RELEASES:
Hetalia: Axis Powers 3
Maid Sama! 9
.hack//G.U. 4 (novel)
Priest: Purgatory
Happy Cafe 8
Fate/Stay Night 11
Sgt. Frog 21
Maid Shokun 1
Sakura’s Finest 1
Samurai Harem 8
Deadman Wonderland 5
AiON 3
Hanako and the Terror of Allegory 4 (an ending!)
Butterfly 2
Ghostface 1
The Stellar Six of Gingacho 3
Clean Freak, Fully Equipped 2 (another ending!)
The Qwaser of Stigmata 2 (see comments)

Series finales that had been scheduled but will now not materialize include V. B. Rose, Portrait of M & N, Alice in the Country of Hearts, and The Secret Notes of Lady Kanoko.

UPDATE: Sean Gaffney of A Case Suitable for Treatment has compiled a similar list, but also rounded up releases that will now never come to pass. You can find his post here.

UPDATE 2: A look at the (extremely depressing) list of removed items at RightStuf suggests that those May titles are not going to be released after all. This means that Karakuri Odette and NG Life were the last series TOKYOPOP actually managed to complete.

UPDATE 3: Several of the releases originally scheduled for early May have begun to appear in comic shops. No Hetalia or Maid Sama!, unfortunately, but we’ll at least get the final volume to Hanako and the Terror of Allegory.

TOKYOPOP shuts down US publishing

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Having just entitled a post “WTF Friday,” it was tempting to name this “The REAL WTF Friday.” And as I find I have little stomach for reporting this news, I’ll do it as simply as possible.

Reported by Heidi McDonald at The Beat this afternoon: End of an era: Tokyopop shutting down US publishing division

The news was confirmed by ANN.

There will surely be a great many opinion posts & essays in the wake of this, and probably more news as well. I’ll plan to add particularly worthwhile links here. Expect a more thorough news post later on from Kate.

Readers, thoughts on this unpleasant development?

ETA: Michelle Smith, level-headed as always, takes a look at what books we might hope to see through the end of May.

ETA 2: Brigid Alverson asks an important question about OEL creators’ rights at Robot 6.

ETA 3: Kate’s terrific piece is up, and Heidi McDonald rounds up links, which means I don’t have to.