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Summoner Girl Volume 1

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Summoner Girl Volume 1

I think with this series, I have contracted a severe case of yokai fatigue. This manga probably won’t interest older readers who are already very familiar with monster hunting storylines from other manga, but I think it would be a fun read for younger readers. Hibiki is a summoner, given the ability to call on spirits that embody the five elements. She’s set on a quest to gather mystical jewels in order to fulfill her destiny to become High Summoner. Hibiki’s sent on quests by her overly enthusiastic grandmother who urges her to ditch school if there’s a spirit nearby that needs hunting. Hibiki is aided by a slightly dim-witted boy named Kenta who possesses some spiritual powers of his own. One aspect of the manga that I thought was interesting was the way Hibiki takes on the personalities of the spirits she summons to help her, for example becoming angry and belligerent when she summons the aspect of fire. Even though Hibiki hunts spirits, her general approach is to try to understand them instead of pounding them into submission with her considerable mystical powers. Hibiki’s spirit aides take the form of cute animals that rest on her shoulders, offering a running commentary on the action

Kubota’s art has a mobile, thin line which blends in cute drawings of Hibiki with elements of the grotesque like a yelling wrinkled grandmother, a house filled with cobwebs, and a snarling fox spirit. The plot was exactly what I’d expect from a yokai manga, without anything extra to draw me in to want to read much more of it. While Summoner Girl didn’t fully capture my attention, I think the combination of Hibiki’s good-willed approach to spirit hunting, demon fighting, and jokey sidekicks would appeal to younger readers. I wouldn’t hesitate to recommend this volume to a young teen wanting a new action series featuring an engaging heroine.

Review copy provided by the publisher

Manhwa Monday: Pre-holiday lull

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Welcome to another Manhwa Monday!

As we head into a big holiday week here in the US, the blogosphere has been quieting down, but we do have a few brief items to share.

First of all, for all you artists out there, NETCOMICS has announced a new contest via their Twitter feed, with a deadline coming up at the end of the month. Here are the details quoted from their tweets:

“Ladies and Gentlemen, ’tis time for a NETCOMICS contest! Submit your own rendition of a NETCOMICS series for $100 e-Cash!

1) Choose your favorite series.
2) Identify a scene/panel to recreate.
3) Do yer thang: bubbles, illustrations, etc.–the whole nine yards.
4) Q yourself whether or not your work is compelling/original.
5) Tweet it like there’s no tomorrow.

Deadline: Nov. 30th. Spread the word.”

And what does the Great Gatsby cover have to do with this, you ask? Nothing, really. I just like it.

In reviews this week, Angela Eastman takes a look at three final volumes from Yen Press at Suite 101. At Kuriousity, Lissa Pattillo checks out volume four of Time and Again (Yen Press). And at Manga Maniac Cafe, Julie reviews volume four of Raiders (Yen Press).

That’s all for this week!

Is there something I’ve missed? Leave your manhwa-related links in comments!

Bokurano: Ours 1-2 by Mohiro Kitoh: B

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Fifteen kids—most of them, except for one boy’s kid sister, in 7th grade—are taking part in a summer program called “Seaside Friendship and Nature School.” Chafing at the instruction to go out and observe nature, the kids decide to explore a nearby cave, where they inexplicably discover a computer lab and a strange guy who calls himself Kokopelli.

Kokopelli tells the kids he’s working on a game in which the “chosen heroes” will pilot a giant robot as it faces off against alien invaders, and offers them the chance to play. Of course, they’re all interested and when he asks them to seal their contract before explaining the rules, they comply. It’s only when Kokopelli’s subsequent demonstration claims the life of a fighter pilot that they begin to grasp that the battle—and the damage it causes—is real.

Over the course of these first two volumes, the kids begin to learn exactly what they’re in for. After the disappearance of Kokopelli, “assistance” is provided by (possibly untrustworthy) Koyemshi, a floating creature almost cute enough to be a plushie if not for his menacing set of pointed teeth. He doles out information sparingly, and it’s not until two of their comrades have died that the kids learn the truth: the giant robot will fight to defend humanity from the invaders, but derives the power to do so from the life force of its pilot.

Obviously, the kids want to quit, but Koyemshi points out that they signed a contract and warns that if they should refuse to fight, Earth will be destroyed within 48 hours. The same fate awaits if they should lose a battle. As he puts it, “Win, save the planet and die… or lose and die when your planet is destroyed. Those are your options.” Believing that they really are helping to save the world, the kids soldier on.

At this point, the feel of the story reminds me a lot of another VIZ Signature title, Ikigami. For those unfamiliar with the story, Ikigami envisions a Japan in which the government attempts to encourage its citizens to lead a more productive life by instilling in them the fear of death. Anyone could receive a death notice (an ikigami) at any time informing them that they have 24 hours left to live, and the series follows each recipient in turn as they deal with the news.

Bokurano is structured similarly, focusing on each pilot as he or she “gets the call.” There are merits and flaws to this approach: obviously, the current pilot receives a lot of attention, and it’s interesting to see how each approaches the responsibility differently. One boy cares nothing for human casualties while another carefully takes the battle out into the harbor to minimize damage. One girl uses her final hours to sew morale-boosting uniforms for the group. Unfortunately, this also means that at any given time there are about a dozen characters relegated to the background, waiting for their turn to contribute to the story.

Because of lack of time spent with individual characters, it’s hard to care about them much, despite their awful predicament. I might realize I like someone based on how he handles his turn as pilot, but I know the opportunity to see things from his perspective will be brief. The most compelling aspect of the story to me is the notion of where these invaders came from in the first place, and what the human population as a whole thinks about giant monsters in their midst.

During Kokopelli’s demonstration, as he occupies the sole chair in a circle of many, he admits that he’s as much a pawn as the kids are and that he isn’t from our planet. It would appear, then, that he is the final pilot from a previous incarnation of this “game” who was sent to Earth to find a new set of players. Is this “invasion” real? Why are there precisely fifteen enemies and no more? This may not be a game for the young pilots or the humans threatened by these monsters, but is it a game for someone, somewhere?

Dark, grim, and mysterious, Bokurano is probably not for everyone, but I’ll definitely be reading more.

Bokurano: Ours is published in English by VIZ. The series is complete in Japan with eleven volumes.

This review was originally published at Comics Should Be Good.

Review copy for volume two provided by the publisher.

Shonen Quick Takes – Hikaru no Go 21 and Arata the Legend 4

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Hikaru No Go Volume 21

It has been some time since I’ve read Hikaru No Go. I started getting it when it came out and collected up to volume 11 or so, and stopped automatically buying it because I thought at some point I’d go back and fill in the missing volumes. Even though there was a big gap for me, it wasn’t hard at all to pick up this volume and get back into the story.

Hikaru has gone pro, and much of the volume centers around his preparation for his first big international tournament. Many people have a stake in showcasing young players at the tournament. The Go associations and media think there will be more general interest if younger players are included. Hikaru and Toya play well enough in the preliminaries to be selected for the tournament, along with Yashiro and Kurata. Even though I know almost nothing about Go, Obata’s art still makes all the matches and rivalries between the players look dynamic. Hotta’s story juggles several themes and sub-plots, so even though the main storyline might be about gearing up to compete in a tournament, there’s so much other stuff going on that the plot doesn’t seem stale. Akira’s father is competing overseas even though he’s retired. He’s still on a quest to find the divine move, and the way Akira looks at his father shows some frustration that I think is going to be explored in a later volume. A Korean player is talking smack about Hikaru’s former mentor Sai, setting up a cross country rivalry. Hikaru and his teammates sequester themselves for training, and Hikaru is still falling short when playing games against Akira. I’m looking forward to seeing how the young players handle the stress of a professional tournament. Checking in on this series again reminded me of how good it is, I need to stop being such a slacker and seek out some of the volumes that I’ve missed.

Arata: The Legend Volume 4

For the first half of this volume, I felt a little frustrated. I do generally like Yuu Watase, even if some of her series are often a bit formulaic. I like Fushigi Yugi, Fushigi Yugi Genbu Kaiden, Ceres, and Alice 19th a lot. Imadoki is simple, but very sweet. I do not speak of Zettai Kareshi. The first part of this volume was frustrting. I wasn’t sure how many times Arata was going to stumble across Kotoha when she was changing. The romance aspect of this manga is really uninteresting, I don’t particularly care about Arata being tortured with guilt because Kotoha has confessed her love to him, yet he knows she’s really in love with Other Arata who is taking his place in modern day Japan. The quest element of the story is the type of plot that Watase does often, sometimes well, and sometimes not so well. Arata’s emphasis on winning through peaceful means is a little bit of a twist on the more typical shonen fighting hero.

What made me want to keep giving the series another chance were a couple things that happened a bit further into the book. There was finally a long sequence showing Other Arata trying his best to live Arata’s life in Japan. It was interesting to see how he was able to deal with school bullies and the issue of having parents when he hasn’t had a family before. The other sequence in the book that I thought had a lot more emotional resonance was when Arata and his allies accidentally stumble in to an odd orphanage filled with plucky children who immediately start relating to them as parents. Somewhere there’s a mystical barrier, but the “adults’ in charge of the orphanage are anything but human. Arata and Kotoha befriend twins named Naru and Nagu, and the revelation about who has been creating the orphanage with magic and the resolution of the episode had much more emotional impact than a lot of the previous events in Arata. So while this is not likely to be one of my favorite Watase series, there were enough good elements in this volume to make me hope that the series might continue to get better.

Review copies provided by the publisher.

7 Billion Needles, Vols. 1-2

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First published in 1950, Hal Clement’s Needle was a unique mixture of hard science fiction and police procedural. The story focused on an alien detective who crash-lands on Earth while chasing an intergalactic criminal. With his ship destroyed and his symbiant companion dead, The Hunter takes up residence inside a teenager’s body, eventually persuading his host to help him find the fugitive — no mean feat, as the fugitive can also hide, undetected, inside a human host.

The story was notable, in part, for Clement’s meticulous, detailed study of the alien’s physiology. Drawing on mid-century research on microorganisms, Clement imagined a highly intelligent, adaptable creature capable of manipulating its body to squeeze through tiny spaces and make use of its host’s sensory organs to learn more about its surroundings. Needle was also notable for the way in which Clement folded these speculative passages into an old-fashioned detective story; once The Hunter begins communicating directly with Bob, his host, the two retrace the fugitive’s steps, investigating everyone who might have come into contact with it and systematically ruling out suspects through careful observation of their behavior.

Nobuaki Tadano’s 7 Billion Needles (2008-10) draws inspiration from Clement’s novel, preserving the basic concept while tweaking the storyline to work in a graphic format. Gone are the long passages explaining how Horizon (as the alien detective is called in 7 Billion Needles) insinuates himself into his human host; in their place are more direct, dramatic scenes showing us how Horizon’s host, a sullen teenage girl named Hikaru, wrestles with the emotional and physical burden of helping him pursue Maelstrom, a shape-shifting creature so powerful he’s left a trail of dead planets in his wake.

As a result, 7 Billion Needles reads more like horror than hard science fiction, placing more emphasis on monster-hunting and raw adolescent emotion than the mechanics of Horizon and Hikaru’s symbiotic relationship. Tadano’s choices make good sense from the standpoint of pacing and visual drama; so much of the original novel took place inside Bob, it’s hard to imagine how an artist would have brought those passages to life in comic-book form. (That summary makes Needle sound impossibly dirty, but rest assured, it isn’t.) Tadano’s monster, too, is much better defined than Clement’s; Clement’s fugitive only appears in the final chapters of the book, the nature of his crime never fully explained, whereas Maelstrom, Tadano’s creation, is something out of a good B-movie, causing his host du jour to undergo grotesque transformations before going all-out alien.

The real genius of 7 Billion Needles, however, is the way Tadano uses teen angst as a key plot element. In the very first pages of volume one, we learn that Hikaru is an orphan, living with an aunt and uncle not much older than she is. As the story unfolds, Tadano seeds the conversation with nuggets of information about Hikaru’s past; in volume two, for example, we learn that Hikaru and her father had lived on a small island, where they became social pariahs, enduring threats, taunts, and vandalism from their neighbors. Not surprisingly, Hikaru is withdrawn at the beginning of 7 Billion Needles, openly defying teachers by wearing headphones in class and avoiding even the most basic interaction with her peers. Once she agrees to help Horizon, however, she must begin talking to other people — the only way Horizon can detect Malestrom’s presence is for Hikaru to interact with Maelstrom’s host. Her awkward attempts to connect with other students, and her fumbling efforts at friendship, add a raw emotional energy to 7 Billion Needles that is largely absent from Clement’s original story.

The series’ artwork is its only shortcoming. As Deb Aoki noted in her review of volume one, all the female characters have the same bland, plastic face, making them difficult to distinguish from one another. (Tadano’s rather weak efforts at creating a memorable supporting cast also contribute to the impression of sameness.) Some of the monster designs, too, lack inspiration — a key shortcoming in a genre known for its nightmarish, otherworldly imagery. When we first see Maelstrom in his true form, he looks like a tyrannosaurus rex; not until the second volume are we treated to a more terrifying and unsettling image of Malestrom as a grotesque composite of all the human beings he’s ingested. Perhaps most disappointing is Tadano’s over-reliance on the flash-boom, using big bursts of light and sound effects to indicate Horizon’s powers without really showing us what’s happening.

On the whole, however, 7 Billion Needles is an intelligent update on Needle, substituting the heat of adolescent angst and monster-slaying for the cool detachment of hard science and old-fashioned gumshoeing. Recommended.

Review copies provided by Vertical, Inc. Volume two will be released on November 23, 2010.

7 BILLION NEEDLES, VOLS. 1-2 • BY NOBUAKI TADANO • VERTICAL, INC. • RATING: 16+

7 Billion Needles, Vols. 1-2

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First published in 1950, Hal Clement’s Needle was a unique mixture of hard science fiction and police procedural. The story focused on an alien detective who crash-lands on Earth while chasing an intergalactic criminal. With his ship destroyed and his symbiant companion dead, The Hunter takes up residence inside a teenager’s body, eventually persuading his host to help him find the fugitive — no mean feat, as the fugitive can also hide, undetected, inside a human host.

The story was notable, in part, for Clement’s meticulous, detailed study of the alien’s physiology. Drawing on mid-century research on microorganisms, Clement imagined a highly intelligent, adaptable creature capable of manipulating its body to squeeze through tiny spaces and make use of its host’s sensory organs to learn more about its surroundings. Needle was also notable for the way in which Clement folded these speculative passages into an old-fashioned detective story; once The Hunter begins communicating directly with Bob, his host, the two retrace the fugitive’s steps, investigating everyone who might have come into contact with it and systematically ruling out suspects through careful observation of their behavior.

Nobuaki Tadano’s 7 Billion Needles (2008-10) draws inspiration from Clement’s novel, preserving the basic concept while tweaking the storyline to work in a graphic format. Gone are the long passages explaining how Horizon (as the alien detective is called in 7 Billion Needles) insinuates himself into his human host; in their place are more direct, dramatic scenes showing us how Horizon’s host, a sullen teenage girl named Hikaru, wrestles with the emotional and physical burden of helping him pursue Maelstrom, a shape-shifting creature so powerful he’s left a trail of dead planets in his wake.

As a result, 7 Billion Needles reads more like horror than hard science fiction, placing more emphasis on monster-hunting and raw adolescent emotion than the mechanics of Horizon and Hikaru’s symbiotic relationship. Tadano’s choices make good sense from the standpoint of pacing and visual drama; so much of the original novel took place inside Bob, it’s hard to imagine how an artist would have brought those passages to life in comic-book form. (That summary makes Needle sound impossibly dirty, but rest assured, it isn’t.) Tadano’s monster, too, is much better defined than Clement’s; Clement’s fugitive only appears in the final chapters of the book, the nature of his crime never fully explained, whereas Maelstrom, Tadano’s creation, is something out of a good B-movie, causing his host du jour to undergo grotesque transformations before going all-out alien.

The real genius of 7 Billion Needles, however, is the way Tadano uses teen angst as a key plot element. In the very first pages of volume one, we learn that Hikaru is an orphan, living with an aunt and uncle not much older than she is. As the story unfolds, Tadano seeds the conversation with nuggets of information about Hikaru’s past; in volume two, for example, we learn that Hikaru and her father had lived on a small island, where they became social pariahs, enduring threats, taunts, and vandalism from their neighbors. Not surprisingly, Hikaru is withdrawn at the beginning of 7 Billion Needles, openly defying teachers by wearing headphones in class and avoiding even the most basic interaction with her peers. Once she agrees to help Horizon, however, she must begin talking to other people — the only way Horizon can detect Malestrom’s presence is for Hikaru to interact with Maelstrom’s host. Her awkward attempts to connect with other students, and her fumbling efforts at friendship, add a raw emotional energy to 7 Billion Needles that is largely absent from Clement’s original story.

The series’ artwork is its only shortcoming. As Deb Aoki noted in her review of volume one, all the female characters have the same bland, plastic face, making them difficult to distinguish from one another. (Tadano’s rather weak efforts at creating a memorable supporting cast also contribute to the impression of sameness.) Some of the monster designs, too, lack inspiration — a key shortcoming in a genre known for its nightmarish, otherworldly imagery. When we first see Maelstrom in his true form, he looks like a tyrannosaurus rex; not until the second volume are we treated to a more terrifying and unsettling image of Malestrom as a grotesque composite of all the human beings he’s ingested. Perhaps most disappointing is Tadano’s over-reliance on the flash-boom, using big bursts of light and sound effects to indicate Horizon’s powers without really showing us what’s happening.

On the whole, however, 7 Billion Needles is an intelligent update on Needle, substituting the heat of adolescent angst and monster-slaying for the cool detachment of hard science and old-fashioned gumshoeing. Recommended.

Review copies provided by Vertical, Inc. Volume two will be released on November 23, 2010.

7 BILLION NEEDLES, VOLS. 1-2 • BY NOBUAKI TADANO • VERTICAL, INC. • RATING: 16+

Breaking Down Banana Fish, Vols. 9-10

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Hello readers, and welcome to the fifth installment of our roundtable, Breaking Down Banana Fish!

This month we take on volumes nine and ten, in which Ash faces Arthur in their final showdown, Eiji is nabbed by the fuzz, Yut-Lung reveals his vulnerable side, and government conspiracy runs amok.

I’m joined this month by Michelle Smith (Soliloquy in Blue), Khursten Santos (Otaku Champloo), Connie C. (Slightly Biased Manga), and Robin Brenner (No Flying, No Tights). Eva’s taking a break this time around, but she’ll be back with us in January as we head into the second half of the series!

Just a note: We’ll be moving to three volumes per installment beginning in January, so if you’re following along, be sure to read up through volume 13!

I would like to take just a moment to thank everyone on the roundtable for working to make time for this project. Nineteen volumes is a large commitment to make, and I have a great deal of gratitude toward these women for sticking it out, especially Eva who will have to marathon five volumes to catch up next time around! Thanks also to Viz for printing this series in its entirety. Perhaps if we’re very lucky, it might receive an omnibus treatment somewhere down the line, to put it all back in print.

Read our roundtable on volumes one and two here, volumes three and four here, volumes five and six here, and volumes seven and eight here. On to part five!
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Superman vs. Muhammad Ali

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I was six in 1978, the year DC Comics first published Superman vs. Muhammad Ali, so I can’t claim to have fond memories of reading it or seeing it on the newsstand. But as a product of the 1970s, the idea of putting a superhero and a celeb in an “event” comic makes intuitive sense to me. In 1978, it seemed like every TV show featured a special guest star or assembled a large group of Hollywood luminaries for some kind of friendly competition: remember The New Scooby-Doo Movies, in which Sandy Duncan and Cher helped the gang solve preposterous mysteries? Or Battle of the Network Stars, a forerunner of modern reality TV?

Superman vs. Muhammad Ali combines these two trends into a shamelessly entertaining package in which the world’s most famous superhero teams up with the world’s greatest boxer to defeat an alien race called… The Scrubb. (If you had any doubt that ten-year-old boys were the target audience for the original comic, look no further than the names; The Scrubb’s ruler is named Rat’lar.) Better still, Superman and Muhammad Ali duke it out in front of a distinguished audience of fictional DC characters, Hollywood actors, DC Comics personnel, and the POTUS himself, a veritable who’s-who of 1978. (At least on the cover; in the actual book, the fight takes place in front of a large, boisterous crowd of aliens that does not include Raquel Welch, Joe Namath, Kurt Vonnegut, or The Jackson Five.)

The concept was the brainchild of legendary boxing promoter Don King, who first pitched the idea to DC Comics in 1976 after seeing the media frenzy that accompanied the release of another event comic, Superman vs. The Amazing Spider-Man: The Battle of the Century. Working with editor Julie Schwartz, Dennis O’Neil and Neal Adams developed King’s Superman-versus-Ali concept into a storyline in which Superman and Muhammad Ali are ordered by alien invaders to fight each other to determine who is Earth’s greatest warrior. The winner, in turn, must go mano-a-mano with The Scrubb’s best fighter; if Earth’s representative loses, the planet will be annexed by The Scrubb as a slave labor colony.

On many levels, the Superman vs. Muhammad Ali is cheesier than a plate of Velveeta: who but a ten-year-old boy would dream up a scenario in which the fate of the world rested on the outcome of a boxing match between a fictional superhero and a larger-than-life athlete? Yet the well-crafted script keeps the idea in the realm of the… well, I won’t say plausible, but… logical, at least within the established parameters of the DC universe. Dennis O’Neil anticipates the reader’s many objections to the premise — doesn’t Superman have an unfair advantage over Ali? how could Ali possibly defeat a giant green alien who’s bigger and meaner than George Foreman? — by addressing them head-on: the big fight, for example, takes place under the glare of a red sun, thus draining Superman of his powers, while Ali proves the intergalactic versatility of the rope-a-dope when fighting The Scrubb’s best boxer.

The other secret to Superman vs. Muhammad Ali‘s success is that O’Neil captures Ali’s charisma and swagger without imitating his famous verbal mannerisms — a wise decision, I think, as it would be awfully hard to write Ali-esque dialogue without shading into parody. What O’Neil does instead is pure genius: he inserts a brief speech in which Ali explains the grammar and syntax of boxing to Superman, comparing various punches to declarative and interrogative statements. It’s hokey as hell but it works, showcasing the boxer’s quick wit and flair for metaphor while walking the reader through the basics of the sport. O’Neil’s characterization of Ali is nicely supported by Neal Adams’ artwork; not only does comic-book Ali look a lot like the real man, but he moves with the agility and speed that were hallmarks of Ali’s boxing.

If I had any criticism of Superman, it’s that DC published two different versions of the book: the cheaper, smaller “Deluxe” version includes some nice bonus material — an essay by DC publisher Jenette Kahn, preliminary sketches — but not the glorious, wraparound cover, while the “Facsimile” version reproduces the comic at its original trim size, with the full cover gracing the outside of the book. (The Deluxe version’s slipjacket only reproduces part of the original cover; the full image appears inside the book, to decidedly lesser effect.) At $39.99, the Facsimile version is nearly twice as expensive as the Deluxe version, further limiting its appeal to all but the most dedicated Superman fans.

Still, that’s a minor complaint about an eminently worthwhile project. I’d love to see DC and Marvel re-issue Superman vs. The Amazing Spider-Man in a similar, hardbound format. And if DC would really like to make me happy, they could commission a special 35th anniversary tribute to Superman vs. Muhammad Ali in which Supergirl and Laila Ali picked up where Clark Kent and Cassius Clay left off in 1978. Now that would be awesome.

SUPERMAN VS. MUHAMMAD ALI • BY NEAL ADAMS AND DENNY O’NEIL • DC COMICS • 96 pp. • NO RATING

Superman vs. Muhammad Ali

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I was six in 1978, the year DC Comics first published Superman vs. Muhammad Ali, so I can’t claim to have fond memories of reading it or seeing it on the newsstand. But as a product of the 1970s, the idea of putting a superhero and a celeb in an “event” comic makes intuitive sense to me. In 1978, it seemed like every TV show featured a special guest star or assembled a large group of Hollywood luminaries for some kind of friendly competition: remember The New Scooby-Doo Movies, in which Sandy Duncan and Cher helped the gang solve preposterous mysteries? Or Battle of the Network Stars, a forerunner of modern reality TV?

Superman vs. Muhammad Ali combines these two trends into a shamelessly entertaining package in which the world’s most famous superhero teams up with the world’s greatest boxer to defeat an alien race called… The Scrubb. (If you had any doubt that ten-year-old boys were the target audience for the original comic, look no further than the names; The Scrubb’s ruler is named Rat’lar.) Better still, Superman and Muhammad Ali duke it out in front of a distinguished audience of fictional DC characters, Hollywood actors, DC Comics personnel, and the POTUS himself, a veritable who’s-who of 1978. (At least on the cover; in the actual book, the fight takes place in front of a large, boisterous crowd of aliens that does not include Raquel Welch, Joe Namath, Kurt Vonnegut, or The Jackson Five.)

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Saturday Morning Cartoon: Super Dimension Fortress Macross

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Today’s Saturday morning cartoon is the opening to the classic Super Dimension Fortress Macross! I recently finished watching this series for the first time since I saw the early Robotech episodes in 1985.

I have very specific memories of going to my Grandma’s house after school and watching Robotech in her basement. I absolutely loved the show, but back then it was impossible to rewatch or see repeat episodes. I think many of my memories of the show actually came from reading the later novelizations. So when I was watching some episodes of Macross I could tell that I was seeing them for the first time even though I’d read the scenes before, like most of the Max and Miriya romance.

I’d put off trying to rewatch this series for a long time. I think I tend to put aside some of the things I was into as a kid, just because I don’t think adult nostalgia will ever measure up to the first experience of discovering a new fictional world. I’m leery of tarnishing memories, and think that sometimes reliving childhood fandom isn’t the most productive use of one’s time. There’s nothing worse than the sinking feeling of finding out that something you loved as a child is actually a little bit lame. I remember this sinking feeling all too well when I realized that Aslan in the Narnia books was Jesus a couple years after I first read and loved the books, which was probably around the same time I first saw Robotech. So that was one reason for my trepidation and procrastination about watching Super Dimension Fortress Macross as an adult.

I was surprised at how well this series held up. Part of it I think is due to some of the appealing character designs. It is easy to overlook the occasionally glitchy animation when the character designs are so strong.

Of course, what looks not very fluid today was absolutely groundbreaking to a 10 year old in 1985. Watching the series again, I was able to see how it really lay the groundwork for later philosophical fighting mecha shows. Macross has plenty of space opera, but for all the scenes of transforming mecha fighting aliens, at the core of the show is a longing for peace and a lot of heart. I was glad to finish rewatching Super Dimension Fortress Macross with the knowledge that my 10-year-old self did have excellent taste in after school cartoons. Macross is the reason why I to this day think that airplanes that transform into fighting robots are awesome. Really, it doesn’t get much better than that.