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MMF Links: Mulling on Sexism

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The subject of sexism in the Color trilogy became central in yesterday’s new contributions to the Manhwa Moveable Feast, beginning with David Welsh’s post “Good girls don’t.

I’m not really inclined to appreciate Kim Dong Hwa’s The Color of… trilogy as an accurate representation of its time. I’m not a cultural historian, so I have no idea what things were like for women in pre-industrial Korea. I just know that I don’t really care for its portrayal of “good” women as passive and patient, no matter how elegantly drawn it is. “I think that the process of a girl becoming a woman is one of the biggest mysteries and wonders of life,” the creator said in an interview. I wish he had thought harder about that mystery and hadn’t imposed what strikes me as such a male notion of wonder upon it.

David goes on to discuss Kim’s treatment of Ehwa’s sexually active friend, Bongsoon.…

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Off the Shelf: MMF Edition

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Welcome to the fourth installment of Off the Shelf with MJ & Michelle! Joining me as always is Soliloquy in Blue‘s Michelle Smith.

We’re going to shift our format a bit this week with a special look at Kim Dong Hwa’s Color trilogy (The Color of Earth, The Color of Water, and The Color of Heaven) published in English by First Second. Kim’s trilogy is the subject of this month’s Manhwa Moveable Feast, so I suspect it’s no surprise to hear that this is something both Michelle and I have been reading.

The Color trilogy traces the coming-of-age of Ehwa, a young girl in pre-industrialized rural Korea, from her first spark of sexual curiosity to her eventual marriage to her true love, Duksam. The story is also heavily focused on Ehwa’s relationship with her widowed mother, a tavern owner who discovers new love for herself in a traveling artist known only as “The Picture Man.” …

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MMF: Wednesday Update!

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June’s Manhwa Moveable Feast has just begun its third day and things look lively! Here’s a quick rundown of the most recent contributions from participants.

First, from Erica Friedman at Okazu (hosted here for lack of yuri) comes a review of the third book in the Color series, The Color of Heaven.

While Erica praises the book’s artwork, she takes issue with its metaphoric vision of a woman as an eternally rooted being with no purpose other than to wait for a man to distinguish her from the lot.

“I felt that the language of the book was both very beautiful and awkward. Laced heavily with unrealistic platitudes that are increasingly heaped upon our heads, many of them about the “lot of women,” I began to find the dialogue burdensome. Women, we are told, are plain trees in the winter that wait …

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The Laughing Cavalier by Baroness Orczy: B

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From the back cover:
The year is 1623, the place Haarlem in the Netherlands. Diogenes—the first Sir Percy Blakeney, the Scarlet Pimpernel’s ancestor—and his friends Pythagoras and Socrates defend justice and the royalist cause. The famous artist Frans Hals also makes an appearance in this historical adventure. Orczy maintains that Hals’ celebrated portrait of The Laughing Cavalier is actually a portrayal of the Scarlet Pimpernel’s ancestor.

Review:
What a perfectly abysmal blurb that is. Egads.

The Laughing Cavalier, one of two prequels to The Scarlet Pimpernel, tells the story of a penniless foreign adventurer who passed down his exceptional qualities—such as “careless insouciance”—to his descendant, Sir Percy Blakeney, the hero of the more famous work. This fellow, a half-English rogue enjoying the life of a vagabond in The Netherlands, goes by the name of Diogenes and has for companions/minions two fellows calling themselves Pythagorus and Socrates. When Gilda Beresteyn, sister of one man and former love of another who together conspire to kill the current ruler, overhears of these plans, Diogenes and his men are hired to spirit her away so that the assassination atttempt may proceed without her interference.

What follows is essentially a lot of what one would expect. Diogenes’ swaggering merriment (and, indeed, I ought to have counted the number of times his countenance, eyes, or laugh are described as “merry,” because the total would easily be in the triple digits) and saucy attitude make him the perfect adventure hero, capable of deftly handling many abrupt reversals in his fortunes. Gilda is the feisty and sensible noblewoman who is indignant at her plight at first but eventually comes to see that her captor is far more honorable than he originally seemed. The would-be traitor, Stoutenburg, is reduced to impotent fury by Diogenes’ constant smirking and eventually has his plans ruined and loses Gilda, whom he had planned to eventually woo back to his side.

As a story, the plot is not very deep or complicated. It takes fully one quarter of the book to simply arrange the details of the caper, making one antsy for Gilda to just get abducted already! Once she is, most of the rest of the book is comprised of simply moving her from place to place. The conclusion is fairly predictable, too. That the two leads end up together is neither a surprise nor a spoiler—this is a story leading to eventual parentage, after all—but it’s still fun to read their banter, even though Gilda’s sudden realization of her feelings comes rather out of the blue. I could very easily picture their relationship unfolding on screen—perhaps because it’s not exactly a new idea. (The Princess Bride comes to mind.)

I also really enjoyed the setting. I don’t think I’ve ever read a book taking place in The Netherlands before, so all the snowy landscapes, misty windmills, and icy rivers fit for nocturnal journeys on ice skates offered something new and different, even if the story itself did not. Also, there were tons of nifty Dutch honorifics and swear words! If you ever want to insult a Dutchman, apparently all you need do is call him a “plepshurk.”

In the end, I enjoyed The Laughing Cavalier and will read the follow-up volume, The First Sir Percy, at some point in the near future.

This review has been crossposted to the Triple Take blog, where K and I did a “double take.” You can find her review here.

MMF Guest Review: The Color of Heaven

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Review by Erica Friedman

In any series focusing on the passage of a girl from childhood to womanhood, the focus almost invariably tends to be on the relationship between the young woman and her partner. Their recognition of their interest in and eventually, desire for, one another takes up a great deal of the narrative.

In Color of Heaven, Ehwa’s journey to adulthood is told through the shifting relationship she has with her mother – a woman who has chosen the same fate as the one Ehwa now embraces. They both sit and wait for the man they love to return to them to give their lives meaning.

Ehwa, at the opening of the book, has already matured beyond her best friend and peer. While the other girl speaks of the men she might have and the wedding she aspires to, Ehwa has already set that phase aside…

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Manhwa Monday: MMF Begins!

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Today marks the beginning of June’s Manga Moveable Feast, which is actually a Manhwa Moveable Feast, hosted right here! I start things off with an introduction to the series, Kim Dong Hwa’s “Color” Trilogy. Though this story of a young girl’s coming-of-age is Eisner-nominated (the first manhwa series to become so) it’s been a controversial one among reviewers, so this Feast is sure to be full of interesting (and perhaps heated) discussion.

Daniella Orihuela-Gruber chimes in first, with a review of the full series at her blog, All About Manga. Daniella takes issue with both the series’ (literally) flowery language and its portrayal of the lead character’s easy relationship with her single mother. The review is heavily personalized, mainly due to what Daniella sees as similarities between her own family and Ehwa’s.

“While I realize that Ehwa and I live in much different times…

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MMF: An Introduction to the Color Trilogy

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“I think that the process of a girl becoming a woman is one of the biggest mysteries and wonders of life.” – Kim Dong Hwa

Kim Dong Hwa’s Eisner-nominated “Color” trilogy, The Color of Earth, The Color of Water, and The Color of Heaven (published in English by First Second), follows the life of Ehwa, a young girl in a rural Korean village, as she grows from childhood to adulthood. According to Kim, he began writing The Color of Earth after sitting with his sick mother and thinking about what she might have looked like over the years, tracing her life back to her youth. The series focuses heavily on Ehwa’s sexual awakening, from a child’s curiosity to the confusion of young adulthood, as well as her relationship with her widowed mother.

The books are filled with poetic language, particularly flower metaphors, as Ehwa’s mother tries to explain to her the nature of men and women. …

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Black Butler, Vols. 1-2

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Black Butler, Vols. 1-2
By Yana Tobaso
Published by Yen Press
Rated OT (Older Teen)

Sebastian Michaelis is the dashing, fantastically capable, devoted butler of the Phantomhive family, whose only son (junior high-aged Ciel) has commanded the estate and its businesses since the demise of his parents. Sebastian performs his duties with super-human strength and skill, able to create elaborate chocolate sculptures and fight off scores of assassins in a single breath. “I am the butler of the Phantomhive family. It goes without saying that I can manage something as trivial as this,” is the standard line (with variations).

The story begins as a comic romp, with Sebastian being forced to employ his outrageous skills in order to compensate for the incompetence of the rest of the estate’s bumbling staff–a group of characters so grating it’s incredibly difficult to find them funny. This circumstance is only made worse by the section following, in which Ciel’s overly exuberant young fiancée makes the irritating staff seem downright loveable. Fortunately, just as one might be tempted to toss the book across the room in a fit of frustration, things begin to look up.

As it turns out, Sebastian isn’t super-human. He’s not human at all, but rather a devil who has entered into a contract with Ciel. Though he’s bound to serve Ciel devotedly until the end of his life, Ciel’s soul will then be Sebastian’s for eternity, a shift into darkness that finally brings the series to life. Sebastian’s sinister nature not only makes him more compelling as a character, but it also humanizes Ciel, who suddenly becomes a complex victim instead of just a cold, soulless pre-teen. The series’ second volume improves on this further, thanks in no small part to the fact that its primary adventure takes place away from the Phantomhive estate and its maddeningly dim employees.

The story’s action is elegant and beautifully-drawn, and it is the action that provides most of the series’ highlights, at least in the first two volumes. Even Tobaso’s humor works best in these moments, lending genuine whimsy to Sebatian’s battles as he takes out hired gunmen with kitchen forks and knives. Unfortunately, some of the series’ other elements are less whimsical than disturbing.

Black Butler runs in Square Enix’s Monthly GFantasy, a magazine filled with quite a number of very pretty shonen manga drawn by women, such as Jun Mochizuki’s Pandora Hearts, Yuhki Kamatani’s Nabari no Ou, Peach Pit’s Zombie-Loan, Naked Ape’s Switch, and Yun Kouga’s Gestalt. That these series are intended to appeal to female readers seems plain, with their bishonen character designs, elaborate costuming, and frequent BL overtones.

Unfortunately, Black Butler‘s specialty is not just BL but shota, which makes Sebastian even creepier and not at all in a good way. Though there may be nothing essentially inappropriate about Sebastian associating Ciel’s sleeping face with the soft pads of a cat’s paw, there’s an authorial wink to the audience that feels somewhat less than pure.

That said, though Black Butler gets off to a very slow and fairly vapid start, there is a sense that a deeper story lies within. With Tobaso’s pretty artwork as pleasant accompaniment, it may be worth sticking around just to see.

Review copies provided by the publisher. This review is a part of Shonen Sundays, a collaborative project with Michelle Smith.

Countdown to Manhwa Moveable Feast!

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With Monday quickly approaching, here’s a quick reminder to all that the Manhwa Moveable Feast is nearly upon us!

Let’s review the basics: This month’s series is Kim Dong Hwa’s Eisner-nominated trilogy, The Color of Earth, The Color of Water, and The Color of Heaven, published in English by First Second.

The Manga Moveable Feast is open to participation by anyone. No blog? No problem! Just email me your submission anytime between Monday, June 21st and Wednesday, June 30th, and I’ll post it on your behalf! Join the new MMF Google Group for updates. Also, feel free to leave any questions here in comments.

I’ll make an introductory post to the series on Monday, June 21st and let things go from there. Don’t forget to email or direct message me a link to your post! …

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Gankutsuou: The Count of Monte Cristo, Vols. 1-3

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The Count of Monte Cristo, arguably Alexander Dumas’ best novel, is a big, sprawling beast, stuffed to the gills with characters, subplots, secret identities, suicides, and dramatic confrontations; small wonder that GONZO felt it would provide a solid foundation for a twenty-four episode anime. The series debuted to critical acclaim in 2004, thanks largely to its arresting visuals (designer Anna Sui had a hand in creating the characters’ elaborate costumes) and its dramatic soundtrack, which employed key musical themes from Donizetti’s Lucia di Lammermoor (the gold standard for operatic madness scenes) and Tchaikovsky’s Manfred Symphony (a piece of program music inspired by Byron’s poem of the same name).

The three-volume manga offers a darker, more focused presentation of the anime’s main plot while taking greater liberties with the source material. Like the anime, the manga follows the basic contours of Dumas’ novel: Edmond Dantes, an honest, hardworking sailor, is falsely imprisoned for treason, serving nearly fourteen years at the remote Chateau d’If before escaping and reinventing himself as the Count of Monte Cristo, a dashing aristocrat who uses his social standing, good looks, and vast fortune to exact revenge on the three friends who betrayed him. Though Dumas tells the story in a chronological fashion, Mahiro Maeda begins Gankutsuou at the novel’s midpoint, relating the circumstances of Dantes’ trial and punishment in several extensive flashbacks. Maeda adds a few ruffles and flourishes of his own, moving the action to the year 5053, transforming the Count into a space vampire — hard time will do that to a man, I’m told — and adding a faintly homoerotic element to the relationship between the Count and Albert de Morcerf, the son of Edmond’s former fiancee Mercedes.

As anime-to-manga adaptations go, Gankutsuou is better than average. Maeda wins points for employing a visual style that evokes the look of the anime without slavishly copying it, and for wisely limiting the scope of the story to the Count’s take-down of Gerard de Villefort, the ambitious prosecutor responsible for framing him. Volume one follows the anime closely, depicting the first meeting between the Count and Albert, and documenting how the Count insinuates himself into Parisian society. From there, however, the manga follows a somewhat different track, revealing both the full extent of Villefort’s duplicity and the true nature of Gankutsuou, the demon who possessed Edmon Dantes’ body while he was still imprisoned at the Chateau d’If (here played by a remote, unmanned space station).

The flashbacks to Dantes’ imprisonment are rendered in sensual, swirling lines suggestive of a Van Gogh painting; many panels verge on the abstract, taking the story out of the realm of the literal into a feverish dream world that effectively dramatizes Dantes’ emotional anguish without resorting to cliche imagery. Though these scenes are an inspired addition to the story (nothing like them appears in the anime), the manga’s big denouement is not. Maeda greatly simplifies the Count’s elaborate revenge on Villefort, trimming several key players from the drama and contriving a ludicrous love scene between Villefort’s second wife and his daughter Valentine that has as much to do with real Sapphic desire as a Budweiser commercial starring blond twins. It’s a shame that Maeda diverged so greatly from the original, as the Count’s revenge on Villefort is one of the novel’s most gripping subplots, filled with double-crosses, estrangements, murders (by poison, no less), and a secret love child who plays an instrumental role in destroying the trust between Villefort and Danglars, another key player in the original conspiracy against Dantes.

Folks who haven’t seen the anime or read The Count of Monte Cristo are probably the best audience for this series, as they won’t be encumbered with expectations about how events should unfold. Anyone with a strong investment in the anime or the novel, however, is likely to find this chamber piece an unsatisfying effort to represent the full complexity and drama of Dumas’ seminal work.

GANKUTSUOU, VOLS. 1-3 • BY MAHIRO MAEDA AND YURI ARIWARA • DEL REY • RATING: OLDER TEEN (16+)