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Fulfillment

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It was just this morning that I was feeling grouchy and envious that the French have the first volume of Saint Young Men in their spoiled little hands. Who would have thought that ill will would be washed away a few hours later? What is the cause of this renewal of my normally sunny disposition, you ask?


Yup. She’s coming back, courtesy of Kodansha Comics. I love it when I can type “Fulfilled” onto the license request roster.

Updates: Deb (About.Com) Aoki delivers a terrific round-up of coverage and reactions. So many exclamation points! And the Manga Bookshelfers form our battle robot to discuss this joyous news.

Here’s the press release, which I’m sure you’ll also see in full seventy other places:

KODANSHA USA ANNOUNCES THE RETURN OF SAILOR MOON

Never-before-published Enhanced Editions of the Groundbreaking Manga SeriesShare Long-Awaited US Publishing Debut with CODENAME SAILOR V

NEW YORK, New York – March 18, 2011 – Kodansha USA Publishing, a subsidiary of Kodansha, announced today the exciting return of Naoko Takeuchi’s SAILOR MOON, one of the most significant names in comics and manga, to US publishing. Brand new deluxe editions of the acclaimed series will be released by Kodansha USA’s Kodansha Comics imprint in September 2011. Out of print for six years, SAILOR MOON re-launches along with Takeuchi’s two-volume prequel series CODENAME: SAILOR V, in print in the US for the first time—making this one of the most highly anticipated manga releases in years.

The SAILOR MOON manga, which originated in Japan in 1992 and debuted in the US in 1997, follows Usagi Tsukino, a young girl who transforms into super heroine Sailor Moon to combat evil and fight for love and justice in the name of the Moon and the mysterious Moon Princess. The first successful shôjo (girls’) manga release in the US, SAILOR MOON changed the book landscape and helped establish the foundation for the manga craze; in particular drawing attention to the popularity of comics among female readers.

Prequel series CODENAME: SAILOR V, the first of Takeuchi’s “magical girl” manga, will make its highly anticipated debut in the US alongside the SAILOR MOON re-launch. In CODENAME: SAILOR V, teenager Minako Aino fights as Sailor V against the villains of the Dark Agency before she discovers Sailor Moon.

The Kodansha USA editions of SAILOR MOON will be published on a bi-monthly schedule and follow the 2003 Japanese re-release format of the classic series. The original 18 volumes have been condensed into 12 volumes covering the main storyline, and two volumes dedicated to short stories. Each volume has gorgeous new cover art, retouched interior art and dialogue along with extensive bonus material from Takeuchi, and detailed translation notes.

One of the most recognized manga and anime properties in the world, SAILOR MOON took American pop culture by storm, with mentions in music (“One Week” by Barenaked Ladies), bestselling books (The Princess Diaries by Meg Cabot) and more. In Japan, over 15 million copies have been sold and the series has generated everything from animated features to live action musicals, a live action television series and countless merchandise.

“I’m very excited to reintroduce Ms. Takeuchi’s work to her American fans,” said Yoshio Irie, president and CEO of Kodansha USA Publishing. Irie is also the former chief editor of Nakayosi magazine in which the SAILOR MOON manga was serialized. “As we continue to build the Kodansha Comics manga list, a title like SAILOR MOON is the jewel in our crown. As the former chief editor of the work in Japan, I’m especially thrilled to finally release the prequel, CODENAME: SAILOR V, to the many fans who have been asking for it at long last.”

About Kodansha USA Publishing

Kodansha USA Publishing, LLC, a subsidiary of Kodansha Ltd. aims to bring the best names in manga to the North American market, and partners with Random House Publisher Services for distribution. www.kodanshacomics.com

About Kodansha Ltd.

Kodansha Ltd. is Japan’s largest publisher, with its headquarters in Tokyo.  Originally established in 1909 by Seiji Noma, the company is still a family-run business.  Under the leadership of Sawako Noma, company president since 1987, Kodansha continues to play a dominant role in the media world, producing books and magazines in a wide variety of genres including literature, fiction, nonfiction, children’s, business, lifestyle, art, manga, fashion, and journalism.  Recently, the company has ventured into digital distribution of content as well.

www.kodansha.co.jp/english

 

Manga Artifacts: Memories

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Given the speed with which DC Comics shuttered CMX Manga last year, it’s easy to forget that both DC and Marvel actually wanted to publish manga back in the day. Marvel’s manga output paled in comparison with DC’s, but is notable nonetheless, as Marvel helped introduce American readers to one the most influential manga-ka of the last thirty years: Katsuhiro Otomo. Like Dark Horse, Eclipse Comics, and other companies who dabbled in manga publishing in the 1980s and 1990s, Marvel licensed work that it believed would appeal to the direct market. Marvel’s first acquisition was Katsuhiro Otomo’s dystopian epic AKIRA. Between 1988 and 1995, Marvel published the story in thirty-eight issues, each colorized and flipped in a calculated bid to woo American sci-fi fans. Though Marvel never finished collecting the original issues into bound editions, AKIRA proved important nonetheless, offering many American readers their first exposure to Japanese comics.

Marvel licensed work from other countries as well — including Airtight Garage and Blueberry, both by French artist Moebius — but never developed a substantial manga catalog; aside from AKIRA, the only manga it published were two short, stand-alone stories from early in Otomo’s career: “Memories” and “Farewell to Weapons.” “Memories” was issued in two forms: the first, in 1992, was a standard, thirty-two-page pamphlet with flipped, colorized artwork. The second, in 1995, was only released in the UK; Mandarin Books re-printed “Memories” and “Farewell to Weapons” as part of a longer anthology of Otomo’s short stories. (That anthology is called Memories and is out-of print; the ISBN is 0749396873.)

Plot-wise, “Memories” is simple but effective: a three-man salvage crew accepts a job clearing the “Sargasso Sea,” a debris field in deep space. They begin receiving a mysterious transmission from a large, rose-shaped ship inside the field, and decide to investigate. Once aboard, the crew makes an astonishing discovery: the interior resembles an English manor house with a formal dining room, an immense library, and a mysterious hallway guarded by robot sentries. As the men begin searching the ship for clues to the owner’s identity, a constellation of forces — including a fierce magnetic storm — threaten to compromise their mission.

It’s a tried-and-true sci-fi plot that’s enlivened by the efficiency of the set-up and the specificity of the art. Otomo wastes few pages establishing the crew members’ personalities and reasons for accepting the assignment. Though he teases the reader with hints about what awaits the men aboard the ghost ship, Otomo doesn’t belabor the introduction, swiftly transferring the action from the salvage vessel to the “magnetic rose.” The contrast between the ships is arresting; the Disposer is cramped, with plain steel walls and banks of computers, while the ghost ship is opulent and cavernous, festooned in elk heads, gilt-framed oil paintings, mirrors, and the kind of expensive bric-a-brac one might expect to find at Thornfield or Chesney Wold.

Normally, I’m a purist about black-and-white imagery, but Steve Oliff’s expert coloring brings clarity and emotion to the work that might otherwise be absent. Many of Otomo’s finer details — the pattern in an elaborate rug, for example, or the grain in a wood panel — pop with the judicious use of color, giving the ghost ship’s interior a more palpable feel. The use of rich reds, purples, and golds colors further reinforces strangeness of the environment; we, too, want to know why this lavish ship is adrift inside a cloud of metal, glass, and machine parts. Most importantly, however, Oliff uses color to underscore the characters’ emotional state, using an intense, disturbing green backdrop in the final pages of the story to suggest their growing state of panic as they discover the ship’s true purpose.

Readers curious about “Memories” won’t have any difficulty scaring up inexpensive copies on eBay; I paid less than a dollar for a bagged and boarded one in great condition. Anime fans may prefer to seek out the big-screen adaptation, which is longer and more detailed than the source material. (More information about the anime can be found here.) In either format, this short story is surprisingly eerie and graceful, proof that even the most familiar plot lines can acquire new power in the hands of an expert storyteller.

Manga Artifacts is a monthly feature exploring older, out-of-print manga published in the 1980s and 1990s. For a fuller description of the series’ purpose, see the inaugural column.

MEMORIES • BY KATSUHIRO OTOMO • EPIC COMICS (MARVEL) • 32 pp. • NO RATING

Manga Artifacts: Memories

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Given the speed with which DC Comics shuttered CMX Manga last year, it’s easy to forget that both DC and Marvel actually wanted to publish manga back in the day. Marvel’s manga output paled in comparison with DC’s, but is notable nonetheless, as Marvel helped introduce American readers to one the most influential manga-ka of the last thirty years: Katsuhiro Otomo.

Like Dark Horse, Eclipse Comics, and other companies who dabbled in manga publishing in the 1980s and 1990s, Marvel licensed work that it believed would appeal to the direct market. Marvel’s first acquisition was Katsuhiro Otomo’s dystopian epic AKIRA. Between 1988 and 1995, Marvel published the story in thirty-eight issues, each colorized and flipped in a calculated bid to woo American sci-fi fans. Though Marvel never finished collecting the original issues into bound editions, AKIRA proved important nonetheless, offering many American readers their first exposure to Japanese comics.

Marvel licensed work from other countries as well — including Airtight Garage and Blueberry, both by French artist Moebius — but never developed a substantial manga catalog; aside from AKIRA, the only manga it published were two short, stand-alone stories from early in Otomo’s career: “Memories” and “Farewell to Weapons.” “Memories” was issued in two forms: the first, in 1992, was a standard, thirty-two-page pamphlet with flipped, colorized artwork. The second, in 1995, was only released in the UK; Mandarin Books re-printed “Memories” and “Farewell to Weapons” as part of a longer anthology of Otomo’s short stories. (That anthology is called Memories and is out-of print; the ISBN is 0749396873.)

Plot-wise, “Memories” is simple but effective: a three-man salvage crew accepts a job clearing the “Sargasso Sea,” a debris field in deep space. They begin receiving a mysterious transmission from a large, rose-shaped ship inside the field, and decide to investigate. Once aboard, the crew makes an astonishing discovery: the interior resembles an English manor house with a formal dining room, an immense library, and a mysterious hallway guarded by robot sentries. As the men begin searching the ship for clues to the owner’s identity, a constellation of forces — including a fierce magnetic storm — threaten to compromise their mission.

It’s a tried-and-true sci-fi plot that’s enlivened by the efficiency of the set-up and the specificity of the art. Otomo wastes few pages establishing the crew members’ personalities and reasons for accepting the assignment. Though he teases the reader with hints about what awaits the men aboard the ghost ship, Otomo doesn’t belabor the introduction, swiftly transferring the action from the salvage vessel to the “magnetic rose.” The contrast between the ships is arresting; the Disposer is cramped, with plain steel walls and banks of computers, while the ghost ship is opulent and cavernous, festooned in elk heads, gilt-framed oil paintings, mirrors, and the kind of expensive bric-a-brac one might expect to find at Thornfield or Chesney Wold.

Normally, I’m a purist about black-and-white imagery, but Steve Oliff’s expert coloring brings clarity and emotion to the work that might otherwise be absent. Many of Otomo’s finer details — the pattern in an elaborate rug, for example, or the grain in a wood panel — pop with the judicious use of color, giving the ghost ship’s interior a more palpable feel. The use of rich reds, purples, and golds colors further reinforces strangeness of the environment; we, too, want to know why this lavish ship is adrift inside a cloud of metal, glass, and machine parts. Most importantly, however, Oliff uses color to underscore the characters’ emotional state, using an intense, disturbing green backdrop in the final pages of the story to suggest their growing state of panic as they discover the ship’s true purpose.

Readers curious about “Memories” won’t have any difficulty scaring up inexpensive copies on eBay; I paid less than a dollar for a bagged and boarded one in great condition. Anime fans may prefer to seek out the big-screen adaptation, which is longer and more detailed than the source material. (More information about the anime can be found here.) In either format, this short story is surprisingly eerie and graceful, proof that even the most familiar plot lines can acquire new power in the hands of an expert storyteller.

Manga Artifacts is a monthly feature exploring older, out-of-print manga published in the 1980s and 1990s. For a fuller description of the series’ purpose, see the inaugural column.

MEMORIES • BY KATSUHIRO OTOMO • EPIC COMICS (MARVEL) • 32 pp. • NO RATING

I Wish I Wrote That!

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Is it really Friday already? Assuming my calendar’s not lying, that means it’s time for new installment of I Wish I Wrote That!, a monthly feature in which I provide links to a articles about comics that I’ve especially envied as a writer.

First off, I’d like to point you to Khursten Santos’ Spotlight on Fumi Yoshinaga at her website, Otaku Champloo. In it, Khursten chronicles Yoshinaga’s career and the evolution of her work, writing from the perspective of both a journalist and a fan.

A quote from Khursten’s introduction to the article:

My journey in writing this spotlight was nothing but enlightening. My rule of thumb is to try to read the artist’s work in sequence and try to see their development as a mangaka, both in art, their themes, their interests, and their stories. Strangely though, I have read Yoshinaga-sensei in various points in my life that when I started to look back, I couldn’t exactly pin-point where she started. When I started asking if she had grown as a writer, in the back of my head, I was thinking… she had always felt mature as a writer.

Khursten’s insights are valuable not only for their personal touch, but for the rich knowledge they reveal. I admire Khursten particularly for her background in manga and her understanding of visual storytelling, both of which are demonstrated in this piece. I wish I had even half her expertise!

There are a couple of pieces I’ve appreciated this month involving Tsugumi Ohba and Takeshi Obata’s shounen series Bakuman, namely this thoughtful review by Chris Mautner at the newly-revamped Comics Journal, and this charming look at the third volume by Manga Curmudgeon David Welsh.

Also from The Comics Journal, Ken Parille offers up a detailed discussion of Moto Hagio’s short manga “Bianca,” as published in A Drunken Dream and Other Stories last year by Fantagraphics. Whether or not I agree with all of Parille’s points, I simply love reading his analysis of the piece. It’s one of the most thought-provoking essays on the subject I’ve seen, and it’s made me anxious to re-read the story as well. I wish I wrote that!

Lastly, Manga Critic Kate Dacey held me in her thrall this month with her write-up of Aki Shimizu’s Quan. Filled with scans of the series’ artwork and Kate’s brilliant prose, this article not only made me envy her skill, but also her manga library!

That’s all from me this month! Readers, what do you wish you wrote?

Sing me an Opera

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Last year, Digital Manga released Reversible, an anthology of short boys’-love comics. It was a terrific idea, to provide a sampler of work by relatively unknown talents. Unfortunately, I found the reality of the book to be a bit tepid. The notion of the book has stuck with me, though, so I would like to propose that someone else take a crack at it, using Akaneshinsha’s edgy yaoi anthology Opera as its source.

I don’t have a ton of Japanese-language comics on my groaning bookshelves, but I do have a copy of an issue of Opera, thanks to Christopher (Comics212) Butcher. I can’t read a symbol of it, but I flip through it all of the time, always marveling at the sheer variety of styles it encompasses. There seem to be a range of character types and story tones, from slice-of-life to comedy to heavy drama to period pieces and even some fantasy.

It’s one of the magazines where Natsume Ono’s yaoi (created under the pen name “Basso”) has been published, including Amato Amaro. Looking at the anthology’s roster of titles at Baka-Updates, it seems like there are several one shots that could be included in an Opera sampler. Titles that reach volume length could even be published under some kind of subsequent “Opera presents…” label, but maybe I’m getting ahead of myself. (Of course, getting ahead of one’s self is what license requests are all about.)

I’ve made no secret of my fascination with comics that fall under what Erica (Okazu) Friedman has described as “the fifth genre.” I could be wrong about this, but I get the sense that Opera is very much fifth-genre yaoi, at least in the sense that it doesn’t seem at all concerned with conventional, commercial concerns of its category, taking a more inclusive and experimental approach. And the possibilities of that excite me very much.

I also think it’s smart (and generous) when publishers give you a low-risk taste of what might be considered higher-risk material. I don’t know how much of a market there is for the kind of yaoi Opera publishes, but I’d certainly relish the opportunity to explore it in depth in the form of a licensed, translated sampler. A similar approach seems to be working for Viz with SigIKKI, so maybe Akaneshinsha could partner with someone to try and expand horizons. And the magazine has a blog, so you know they’re at least a little bit down with this whole internet outreach thing.

Five Children and It by E. Nesbit: B+

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From the back cover:
‘It’ is a Psammead, an ancient, ugly and irritable sand fairy the children find one day in a gravel pit. It grants them a wish a day, lasting until sunset. But they soon learn it is very hard to think of really sensible wishes, and each one gets them into unexpected difficulties. Magic, the children find, can be as awkward as it is enticing.

Review:
After reading and really enjoying The Railway Children, I decided that I definitely needed to read more by E. Nesbit. Five Children and It was my first pick, because I’ve been curious about the book for ages. Expect to see more Nebsit after this one!

Five Children and It (1902) actually has some things in common with The Railway Children (1906). It’s obvious from the titles that both feature kids, but more specifically these kids are siblings from the city who are moving into a new house in the country. Both stories are told by a companionable and amusing narrator. In the case of the latter book, the kids meet and help a lot of new people, and a warm, feel-good tone is the result. There is, alas, less of that feeling in Five Children and It, though it’s still an imaginative and entertaining tale.

Cyril, Anthea, Robert, Jane, and “the Lamb” (the nickname for the youngest, a two-year-old boy whose given name is Hilary) have just moved into their new house, and are keen to explore. One day, when their mother has gone off to tend to her ailing mother, their wanderings take them to a nearby gravel pit, where they dig and find a strange creature called a psammead, or sand-fairy. The psammead agrees to grant the children one wish per day, the results of which will disappear at sunset, and the majority of the book is made up of their wishes and the usually unpleasant repercussions thereof.

Nothing ever seems to turn out like they hope. When they wish for money, it comes in a form unrecognizable and unaccepted by local merchants. When they wish for wings, they fail to account for how hungry the exertion of flying will make them, and end up stranded on a rooftop after stealing someone else’s dinner. When they wish they lived in a castle, it’s ill-defended and in the midst of a siege. Each time, they attempt to learn from what went wrong and get the best from their next wish, but by the time their mother returns home they’re quite ready to quit with the wishing altogether. If I had to pick a theme for the book, I’d say it’s “be content with your lot.”

What’s really nice about the story is that the kids aren’t idealized at all. In fact, Nesbit says up front that they can be tiresome, and they’re shown being disagreeable often enough. They’re also, however, shown being clever and level-headed, particularly Anthea, the oldest girl. It takes a while for them to emerge as individual characters, though, and I’m still not really sure how to describe Jane, the youngest girl. This is another aspect in which The Railway Children is the superior book, since each of those characters is memorable and distinct. I do think, though, that Anthea and Railway‘s Roberta would like each other very much. In fact, now I kind of want to read fanfic in which they hang out and are sensible together.

In the end, I definitely enjoyed Five Children and It and look forward to reading its two sequels, but it doesn’t supplant The Railway Children as my favorite Nesbit so far.

3 Things Thursday: White Day, at last!

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Just last month, on the Thursday before Valentine’s Day, I presented virtual chocolate to my manga dream boys, or at least to those who might have been, were I still a schoolgirl in my teens.I promised then that I’d share my dream girls for White Day, and that week has finally come!

So, let’s get right to it, shall we?

3 manga Dream Girls for teen MJ:

1. Nana Osaki | NANA | Ai Yazawa | Viz Media – This one just seems obvious, doesn’t it? Anyone who identifies as strongly with Nana Komatsu as I do is going to be hung up on Nana Osaki. That’s just a given, right? Nana is badass enough to fight for what’s yours, and fragile enough to need your care–just the ticket for a softhearted girl like me. Her ambition is inspirational (or at least catching), and her presence is dazzling. I’d fall under her spell in a heartbeat. If I could only choose one dream girl for my attention on White Day, Nana Osaki would be the one!

2. Yamane | Flower of Life | Fumi Yoshinaga | Digital Manga Publishing – I suppose Yamane’s a strange choice, given that I don’t even know her first name, but anyone who read my recent ‘shipping post shouldn’t be too surprised. I’m definitely the sloppy Sakai in that pair-up, and I’m not ashamed to admit it! Similar to my Valentine’s Day Doumeki pick, I see Yamane as the mature, silent type, only with an extra dollop of politeness that goes a long way with me. She’s both thoughtful and circumspect as a teenager in ways I’ll never achieve in my whole lifetime. And after reading Not Love But Delicious Foods, I have to imagine that Yoshinaga would crush on her the same way I do. Thanks for the dream girl, Fumi!

3. Orihime Inoue | Bleach | Tite Kubo | Viz Media – Though she’s clearly set up to be this series’ ditsy, big-boobed babe (and she is in a way, though “ditsy” is really missing the point), two things draw me to Orihime, her hidden strength and her flights of fancy, particularly the latter. Like Tara in Joss Whedon’s Buffy the Vampire Slayer (and, actually, Willow before season five or so), Orihime is someone whose rich inner life spills out into the “real world” in ways that make every day simply fun, for others as well as herself. Yet under all that gentle whimsy, she’s got a will of pure steel. I’d always wish for an Orihime in my life. Her love for very strange food is a bonus as well!

Even more so than with my Valentine’s Day post, I had difficulty paring this down to just three! Both Fullmetal Alchemist‘s kickass mechanic, Winry, and Paradise Kiss‘s elegant Isabella vied powerfully for spots on the list, and it was painful to have to turn them down. Why didn’t I name this column “30 Things Thursday”?? It’s a good thing I didn’t include anime characters as well. I’d have had to do a whole entry on the title character from Kino’s Journey. And the list just goes on and on.

Response for Valentine’s Day was fantastic, and though I was a bit disappointed by how few men were willing to divulge their crushes, I expect plenty of men and women will come through for me today.

So readers, you’ve waited patiently for a month to tell me about your dream girls. Comment away!

From the stack: Dengeki Daisy vol. 1

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When running through the winners of this year’s About.Com Manga Readers’ Choice Awards, I realized I hadn’t actually reviewed the first volume of Kyousuke Motomi’s Dengeki Daisy (Viz). Since I expressed puzzlement over its win in the shôjo category over two very superior titles, I thought I should go into more detail. To be honest, I can’t muster much. It’s solid enough, but I find it lacking in some essential ways.

It’s about an orphan named Teru whose older brother has died. She finds solace in communication with a mysterious person named “Daisy” who texts her via a cell phone Teru’s brother left her. Teru gets grief from her well-to-do classmates, but she holds her own. She does wind up in service to the school’s weird handyman when she breaks a window, but the handyman, Kurosaki, is concealing a protective streak towards his indentured minion. Could this jerky loner be the mysterious Daisy?

I was surprised at how little mileage Motomi got out of that question, to be honest. She seems more interested in moving into a narrative groove where Teru acts impulsively, gets into trouble, is saved by Daisy, and doesn’t realize that her taskmaster is also her text-message angel. It’s sad that Teru’s spunk only goes so far and that she’s so prone to requiring rescue. It’s also one of my pet peeves when a character withholds knowledge that could empower another and enable them to make better choices but doesn’t.

It’s conceivable that Kurosaki could have a persuasive reason to keep Teru in the dark, but it feels very by-the-numbers by volume’s end. I admit I would find it a tough sell under any circumstances. It’s hard to invest much in the series when the driving relationship is unsatisfying and, in my opinion, badly constructed.

But I’d love to hear from Dengeki Daisy partisans, especially if they feel the problems I have with the series are mitigated in later volumes. What say you?

Off the Shelf: The Lost Hour

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MICHELLE: It’s started! It’s started! No, I don’t mean Off the Shelf, I mean Daylight Savings Time! DST, I <3 you so! MJ: I’d like to share your enthusiasm, but the fact is, it’s now dark in the morning when I walk my dog. I hate getting up in the dark. Also, I am sleepy. So I am Daylight Savings Time’s March Scrooge. I’m recover in a month or so.

MICHELLE: I admit getting up in the dark is no fun, but I just love the height of summer when it’s almost 9 and still light out!

Anyway, if you can’t share my enthusiasm for DST, is there anything else you *can* feel enthusiastic about?

MJ: Well, if we’re talking about manga, mostly yes. Wanna hear about what I’ve been reading?

MICHELLE: Of course!

MJ: I’ll start with my debut manga for the week, volume one of Oresama Teacher by Izumi Tsubaki, author of The Magic Touch, a series I mostly loathed. I was quite pleasantly surprised, then, to find this volume rather to my liking.

After being expelled from her high school for repeated fighting, Mafuyu is ready to turn over a new leaf at her new school in the country. Unfortunately, she gets off to a rough start by unknowingly getting into a fight right in front of her soon-to-be homeroom teacher! Furthermore, when she tries to befriend a tough classmate, Hayasaka, he reads her energy as bloodlust, setting her up in his mind as pretty much her old, badass self. As her friendship with Hayasaka progresses (against all odds) and new truths about her teacher begin to come to light, Mafuyu finds herself struggling to reconcile who she was with who she wants to be.

That sounds a bit serious and angsty as I type it all out, but the truth is, this manga is just great fun. Unlike The Magic Touch, which I once accused of having “all the crucial elements of a fun shojo romance” while going out of its way to focus on their least interesting aspects, Oresama Teacher has got fun down pat. Its hijinks are genuinely amusing (especially Hayasaka’s consistent misreading of Mafuyu’s friendly overtures), its characters genuinely odd (I won’t even go into the deep issues of the homeroom teacher, Saeki), and its heroine genuinely spunky, which is always a winner with me.

I’m even enjoying Tsubaki’s artwork quite a bit, which I characterized as “serviceable” in my review of The Magic Touch‘s first volume. I’m finding her work here to be energetic and expressive, words I never would have used to describe her earlier series.

I should mention, too, that this is one of the few manga I’ve read where I’ve found a potential romantic pairing between a teacher and a teenaged student to be even remotely palatable. It’s still got its creepy aspects (hell, there’s not much about Saeki that’s not creepy), but the characters’ mutual backstory sets them up in a fairly unusual relationship that sort of supersedes their current circumstances. Don’t get me wrong, if I’m ‘shipping, I’ll be all about Mafuyu and Hayasaka, but the dynamic with her teacher is pretty interesting on its own.

Overall, I just really had a good time with this. It was an unexpected pleasure.

MICHELLE: That’s great to hear! I never did brave The Magic Touch, but I really like stories wherein a problem teen seizes the chance to turn over a new leaf (like Very! Very! Sweet). Plus, I have to give points for the name Mafuyu, which I don’t think I’ve run across in manga before!

MJ: Oddly, I feel this series has the potential to go kinka dark, which I doubt it actually will, but even just the fact that it could gives it a bit of oomph, in my book.

So what about you? Anything to get enthusiastic about, manga-wise this week?

MICHELLE: Mm, not exactly enthusiastic, no, but definitely optimistic.

I’ve got a debut manga of my own to discuss this week, which is Clean Freak, Fully Equipped. (Note: The volume offers no fewer than three variants on this title, punctuation-wise. Two of them are incorrect (no hyphens are required), so I’ve gone with the version that appears at the end of each chapter.) I must admit I didn’t have very high hopes for this weird little series, but it actually surprised me by eliciting a few giggles.

The basic premise is that Sata Senda was a normal little kid until an encounter with a wanton booger-squisher prompted him to develop an extreme phobia for germs. He’s able to conquer his fears when it matters, though, like when the girl he likes gets motion sickness on the bus, or when his new, equally odd friend in middle school attempts to use a precious raincoat to keep some potato plants from drowning in the rain (I am not making this up.) Gradually, he makes a few more new friends, who are accepting of his quirks.

It’s a little irksome watching Senda make progress only to have him relapse at the start of the next chapter, and the crowded and inconsistent art is certainly nothing to write home about, but the silly sense of humor goes a long way in making this series a fun read. For example, Senda’s parents find him hilarious, and they enjoy laughing at him and taking pictures of the elaborate defensive garb he’s devised for himself. Also, when the girl he likes moves away to “New York,” there’s a running gag where she keeps sending him pictures in which she’s accompanied by wild animals like lions and polar bears. Lastly, I never thought a picture of a sad bunny could be funny, but Clean Freak, Fully Equipped manages it.

In the end, it’s far from perfect, but it’s much better than I expected!

MJ: I’ve been interested in this title since it arrived in my mailbox, but I admit my first thought was… how will this go over with people who suffer from real germ phobia? Is the protagonist’s plight taken seriously enough to be relatable for them, or does it just poke fun?

MICHELLE: It is not taken even the littlest bit seriously. It’s always the source of a gag, and even to me, it seemed that Senda didn’t really have it, if he was able to get past it so easily when his friends needed him. Realism, this is not.

MJ: Good to know, good to know.

MICHELLE: What else have you got this week?

MJ: Well, this week I also checked out the second volume of the manga adaptation of My Girlfriend’s a Geek, based on the novels by Pentabu. I liked the first volume better than a lot of manga bloggers did, and I’m definitely still having fun with it, with really just a single caveat.

In this volume, our hero, Taiga, is deep into writing a BL novel for his new fujoshi girlfriend, and though he’s clearly embarrassed, he’s also pretty serious about the writing (which is damn charming, if you ask me). A trip to a school-uniform-themed cafe with Yuiko and her like-minded friends is a bit more than he can take. And an encounter with Yuiko’s elegant boss (nicknamed “Milan”) incites a sudden sense of rivalry in Taiga, causing him to foolishly proclaim his determination to become a “moe seme,” despite the fact that he’s not entirely sure what that is.

What’s charming about this series is that it winks equally at the Taigas and Yuikos of this world, making affectionate fun of both but never crossing over into satire, which would be far too cutting in this context. Pentabu actually manages to realistically evoke both the fun of being a fujoshi (or any other kind of intense fan) and the ways in which it can become isolating from those on the outside. Taiga’s experience in the cafe paints this perfectly, for instance, rendering the girls both adorable and obnoxious in their fandom, as Taiga swings between feelings of appreciation and alienation. There are some potentially deep things lurking here under the surface, and I find I’m eager to read the novels to see what’s really in there.

As a veteran of slash fandom, I find the series both genuinely amusing and a tiny bit humiliating. Fortunately, the characters are charming enough to keep the latter to a minimum.

Now to the caveat. The one thing that strikes me as odd through this entire series so far, is that though Taiga is clearly into Yuiko, and Yuiko has quite a few fantasies that involve Taiga, the two of them together actually don’t seem to have much of a sex life at all. And while I guess this could be played for humor, you’d think there would be some actual frustration on the part of our POV character, at least. I find that really strange.

MICHELLE: I’ve been considering reading the novels first, actually, especially since the second and final one just came out. That’s very interesting about the perspective on fandom; I find I experience something similar with my enthusiastic friends on occasion. Your last paragraph makes me wonder, though, whether Yuiko really likes Taiga for himself, or if she just likes the idea of him.

MJ: That’s a very good question. And though the series’ light tone makes me doubt it’ll leave Taiga ultimately heartbroken, I guess we never know!

So, what else have you got for us?

MICHELLE: The cutingest cute that ever cuted! Well, actually, maybe that’s Chi’s Sweet Home, but the second volume of Eensy Weensy Monster comes close.

Nanoha Satsuki and Hazuki Tokiwa got off on the wrong foot, when Hazuki’s shallow ways irritated Nanoha to the point where she yelled at him for being so empty-headed. Awesomely, this serves as a wake-up call to Hazuki, who realizes that he is pretty worthless. He begins spending more time with Nanoha, and by the second volume he’s developed feelings for her. He eventually confesses, which is followed by a cute period wherein he attempts to wait patiently for Nanoha to figure out how she feels about him.

This doesn’t sound like much plot, but that’s because the emphasis is entirely on the characters and their evolving feelings, something at which creator Masami Tsuda (of Kare Kano fame) excels. She’s especially good at showing how each characters’ perspective of the same moment differs, and at eventually bringing them together in a believable way. Too, I love how Nanoha, who is usually drawn in a simple, cute style, becomes lovelier when seen through Hazuki’s eyes. It’s a subtle difference, but makes a big impact.

This two-volume series is also unique for its twelve-chapter structure, which follows the couple over a year of their acquaintance, with each chapter representing a month. The story never gets too bogged down in details as a result, but still charts a satisfying path. I might wish for more, especially about their unique cast of friends, but it isn’t really necessary.

MJ: Oh, that does sound like the cutingest cute! What a great way to wrap up the evening here. I might even forget for a moment about my precious Lost Hour.

So it’s just two volumes, eh? I feel sad about this, even though you’ve already said it’s satisfying as-is.

MICHELLE: Yes, only two volumes, but, in my opinion, the first two volumes of Kare Kano were the best in that series, so it’s probably a good thing that she stopped here. Heck, maybe she agrees with me about Kare Kano. And I bet she agrees about DST, too!

MJ: Perhaps! :D

Okay, the Lost Hour has killed me. I must collapse in a heap.

MICHELLE: Collapse away!

MJ: ‘Night-‘night. *clunk*

Beast Master Volume 1

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Beast Master Volume 1 by Kyousuke Motomi

Motomi’s Dengeki Daisy is one of my favorite new shoujo series, so I thought I’d check out the earlier series Beast Master. I think often mangaka’s earlier series tend to suffer in comparison when compared with the manga that become hits. But while Beast Master doesn’t have the more stylish illustrations and emotional depth that Dengeki Daisy does, it does share the same quirky sensibility that makes it stand out from more run-of-the mill shoujo series.

Yuiko is a typical teen girl with a passion for animals. Unfortunately she has an uncontrollable tendency to smother any animal she meets with too much affection, causing them to flee from her. Leo is an animalistic boy whose demonic eyes and strange mannerisms cause him to be misunderstood by everybody he meets. Leo transfers into Yuiko’s school, and she is the first and only person to make friends with him. She treats him a little bit like a stray pet at first, but as they get to know each other a real friendship develops. Where Beast Master stands out is in its depiction of Leo. While he is handsome, his animal-like rage is contrasted with a playful mode where he’s drawn to look a little bit like a playful giant cat. It is unusual to see the male lead of the series being portrayed in an unhandsome way so many times. Although there’s a little bit of a Jane taming Tarzan dynamic in Yuiko and Leo’s relationship, seeing how she was gradually able to integrate him into school life was fun. Leo’s tendency to watch over Yuiko saves her from some sticky situations. I’m not feeling as invested in this story as I am with Dengeki Daisy, but since there’s only one more volume in this series, I’m going to finish reading Beast Master. After trying both of Motomi’s series that are available in English, I’m hoping that more from this creator gets released over here.