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Manhwa Monday: At the Movies!

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Greetings on another Manhwa Monday! First, a bit of news I picked up from Variety, NETCOMICS will be producing a film version of the manhwa series X Diary by Toma. According to the article, casting will begin in June of this year (with filming beginning in October). The film is being produced by NETCOMICS’ VP Soyoung Jung.

In a review from The Comics Journal earlier this year, Adam Stephanides writes, “X Diary is a feather-light collection of humorous four-panel strips — I would call them gag strips, but “gag” is too strong a word for the gentle humor here — about Mingo (female) and Jerry (male), a pair of 26-year-old ex-lovers who have decided to remain friends … X Diary is unpretentious, and there is a genuine warmth to both the writing and art. It could perhaps best be described as likable.”

For those interested in seeing for themselves, X Diary is available in print …

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How to Capture a Martini by Makoto Tateno: B+

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As a first year in high school, Naoyuki Hibino experienced his first love, first kiss, and first sexual experience with an upperclassman named Shinobu Okada. When Shinobu abruptly disappeared after his graduation, Naoyuki was crushed but did his best to forget him. Four years have passed since that time, but when Naoyuki happens to run into Okada, who’s working as a bartender, all of his old feelings return with a vengeance.

Shinobu doesn’t seem to care about anything anymore, whether it’s his body—he’s willing to “do” just about anyone—or his career, even though his boss and more experienced coworker encourage him frequently to expand his cocktail-making horizons. Earnest Naoyuki can’t accept this attitude, and keeps pouring his concern and love onto Shinobu until the latter finally admits his reasons for keeping his distance.

While this kind of story and couple isn’t exactly groundbreaking—there are shades of Future Lovers in the humor and characterization—it makes for an engaging romance nonetheless. Naoyuki and Shinobu are both likably flawed, and the cast of supporting characters helps move the story along, though I could’ve done without Shinobu’s boss and his incestuous relationship with his teenage brother.

In the end, How to Capture a Martini is a lot of fun and pretty darn adorable. I’m looking forward to the sequel, How to Control a Sidecar, which is due later this spring.

Review copy provided by the publisher. Review originally published at Manga Recon.

ZE 4 by Yuki Shimizu: C+

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It’s maintenance time for the kami who serve the kotodama users of the Mitou family, which provides an opportunity to introduce some members of the extended family.

Volume three dealt primarily with the couple of Genma and Himi, an arc that carries over into the first few chapters of this volume. Himi, who had once been the kami of Genma’s father, protects his new master from an attack and “dies” as a result of his injuries. Genma is frantic to have him resurrected, but has trouble adjusting to the new Himi, who has the appearance of the original but none of his memories. I’d have more sympathy for Genma if he hadn’t been such a creep to Himi in the previous volume, but at least this is better than what follows.

After Himi’s maintenance is complete we meet a pair of extremely obnoxious twins and the kami they share. This whole episode—intended to be comedy, one assumes—is jarring because it doesn’t mesh at all with what’s just come before.

I seriously think the twins appear only because Shimizu wanted to draw a threesome, which is an example of ZE’s main problem. I’ve lost count of the characters who’ve appeared in this series so far, and it seems like mangaka Yuki Shimizu is focusing on variety rather than fleshing out any of the characters who’ve been present from the start. The guy who goes crazy for ice cream is still just the guy who goes crazy for ice cream, and nobody else seems poised to grow, either.

There were hints in earlier volumes of a larger story, and maybe those threads will be picked up again in the future, but I’m certainly not holding my breath.

Review copy provided by the publisher. Review originally published at Manga Recon.

Love*Com 15-16 by Aya Nakahara: B-

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I used to like Love*Com very much, but as I read these two volumes the main thought going through my mind was, “Just end, already!”

End it eventually does, as volume sixteen sees the conclusion of the main story line (the seventeenth and final volume is comprised of short stories) , but before that can happen we must endure more chapters focusing on the supporting cast. First up is the transgendered Seiko, whose dreams of confessing to the boy she likes are stymied by the untimely deepening of her voice. Next, the whole gang takes a conveniently free trip to an unspecified tropical island to witness the wedding of a popular teacher, culminating in a rather immature freakout from Risa at the thought of sharing a room/bed with Ôtani.

As volume sixteen begins, the gang is planning for graduation, but instead of spending the final chapters on the main cast, some new random third-year girl is introduced for the purpose of providing a girlfriend for Kohori, Risa’s coworker who had a thing for her at one point. These chapters—in which the girl (Abe) attempts to break up Risa and Ôtani so that Risa can date Kohori and make him happy—are pretty pointless and predictable, though they do at least inspire Ôtani to dismiss the chances of them breaking up any time soon.

The final chapter of the main story, chapter 62, is nothing fantastic, but still manages to be satisfying. True to form, Risa and Ôtani are late to their graduation ceremony, and as punishment must deliver a speech that devolves into one final comedy routine. A DVD of classmate memories yields further testimonies of love from the protagonists, and everything ends on a sunny note.

I wish the volume had ended there as well, but instead there’s a bonus story about the singer/actor whose first big role was playing Ôtani in the Love*Com movie. It’s all about his struggles to achieve stardom and to get people to listen as he and his buddy play acoustic guitars out in public. It’s exceedingly boring, and memories of Negishi in Detroit Metal City performing the same sorts of gigs—with lyrics as sappy—kept intruding.

Love*Com has fallen a lot in my estimation since its early volumes, but I don’t regret persevering to the end. It should have ended sooner, definitely, and all the filler gets on my nerves, but I can’t really quibble with its warm and fuzzy finale.

Review copies provided by the publisher.

Ristorante Paradiso

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Oh, Natsume Ono, I just can’t quit you! I was not wild about not simple, but try as I might, I couldn’t dismiss you as just another overrated indie artist. I couldn’t shake the memory of how I felt when I read the first few chapters of House of Five Leaves — that incredible sensation of discovering a new voice with something fresh to say, of having my love for manga validated all over again. So I picked up Ristorante Paradiso with high hopes. I’m happy to report I felt butterflies and excitement, just like the first time, and am firmly back on Team Ono.

Not that you didn’t test my patience — those first twenty pages were a slog, filled with the kind of amateurish moments that I might expect in a freshman effort. We learn that Casetta dell’Orso is popular because a character says it is; that the waiters are handsome because a character comments on how good-looking they are; that the loyal female clientele comes for the help not the food, again, because a character states it as a fact. In short, you have a bad case of telling instead of showing, of not trusting your artwork to demonstrate the restaurant’s popularity or the studliness of the wait staff. I nearly demanded the check.

Then something wonderful happened: the characters began to interact with each other, and in their impassioned conversations, we began to appreciate who they were, what drew them into the restaurant’s orbit, and why they seem stuck in certain unhappy, unfulfilling roles. Olga, the heroine’s mother, provides an instructive example. In the first few pages of the book, we witness a tense exchange between Olga and Nicoletta, the daughter she abandoned. Nicoletta, now twenty-one, has shown up on her mother’s doorstep demanding to be acknowledged, something Olga refuses to do out of fear that her current husband will leave her. It seems like you were stacking the deck against Olga, Ms. Ono, as Olga initially comes off as a dreadful Mommie Dearest who’s so committed to protecting her own interests that she initiates an elaborate charade to conceal Nicoletta’s identity. But then you slowly reveal how other people see Olga, as a vibrant, intelligent, giving woman who radiates warmth and charm. You help us understand that Olga is both a lousy, selfish mother and a loving wife to her second husband, two roles she struggles to reconcile. That we finish the book feeling sympathy for daughter and mother is testament to your storytelling skills and your obvious affection for your characters.

Your artwork, like your grasp of character, is stronger and more assured in Ristorante Paradiso than it was in not simple. As we watch the waiters moving through Casetta dell’Orso, for example, it’s easy to see why the female clientele swoons: the male characters have strong, distinctive faces that leave a lasting impression. They’re not conventionally handsome, but those faces have a wonderful, lived-in look that’s inviting and alluring — think of Alan Rickman, William Powell, or Marcello Mastroianni, not the smoothly perfect bishonen we’re so accustomed to seeing in manga. When Olga explains her attraction to Lorenzo, her husband, the artwork supports what she says: he’s drawn not as a fantasy object, but as a rugged, bearlike man whose virility is obvious even though his body and face are beginning to soften in middle age.

Put simply, Ms. Ono, you won my heart back. I found Ristorante Paradiso an engaging story filled with complicated, true-to-life characters who I enjoyed getting to know. It was a welcome departure from the emotional torture-porn of not simple, and a promise of good things to come: Gente and House of Five Leaves.

Ristorante Paradiso

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RistoranteParadisoOh, Natsume Ono, I just can’t quit you! I was not wild about not simple, but try as I might, I couldn’t dismiss you as just another overrated indie artist. I couldn’t shake the memory of how I felt when I read the first few chapters of House of Five Leaves — that incredible sensation of discovering a new voice with something fresh to say, of having my love for manga validated all over again. So I picked up Ristorante Paradiso with high hopes. I’m happy to report I felt butterflies and excitement, just like the first time, and am firmly back on Team Ono.

Not that you didn’t test my patience — those first twenty pages were a slog, filled with the kind of amateurish moments that I might expect in a freshman effort. We learn that Casetta dell’Orso is popular because a character says it is; that the waiters are handsome because a character comments on how good-looking they are; that the loyal female clientele comes for the help not the food, again, because a character states it as a fact. In short, you have a bad case of telling instead of showing, of not trusting your artwork to demonstrate the restaurant’s popularity or the studliness of the wait staff. I nearly demanded the check.

…

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Nabari No Ou, Vol. 3

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Nabari No Ou, Vol. 3
By Yuhki Kamatani
Published by Yen Press
Rated: Older Teen


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After making his deal with Miharu, young Yoite returns to the Grey Wolves with philosophical matters on his mind. Meanwhile, the Togakushi Village ninja (who maintain a front as an employment agency) approach the Banten to offer their forbidden art scroll in exchange for the assassination of a prominent scientist. Though the Banten are inclined to refuse, the Togakushi leader’s talent for mind-reading forces them to accept the job.

Volume two may have begun slowly, but this one does not follow suit. Tension is high with everyone’s secrets on the line, including several that remain a mystery even to readers. The most damning, of course, is Kumohira’s, the revelation of which would likely set Miharu against the Banten forever. Not that that Miharu is clearly with the Banten in the first place. Though he’s expressed the desire to protect his friends, in this volume he also teases Kumohira with the hint that he may decide to use the Secret Art rather than banish it–a possibility Kumohira seems to take seriously for the first time.

This volume’s major event–the assassination plot–is its least interesting element, overwhelmed by the growing collection of small psychological dramas surrounding it. Almost nobody is telling the real truth to anyone else, a reality made crystal clear by the fact that Miharu and Yoite, who are ultimately working for opposite sides, are behaving more honestly with each other than any of the story’s official allies.

This is not to suggest that the scenes involving the assassination are lacking. It is, in fact, during these scenes that some of the most intriguing action occurs, including Koichi’s ninjitsu presentation at a student physics event. With this increasingly layered approach, volume three is easily the most mature of the series so far, though it comes at a cost. As the story becomes more complex, it also loses some of its focus. For the moment, this is a good thing. Right now, the scattered feel of the series reflects the scattered loyalties of its characters, which is actually pretty powerful. It takes very little, however, for a deliberate lack of focus to morph into a Great Big Mess, something Kamatani will hopefully avoid. Additionally, the series’ humor–originally one of its strongest points–is noticeably reduced in this volume.

One small production note: Yen appears to have made a switch in paper for this volume, moving to a slightly thinner, less bright stock. Though I only noticed the change once I had volumes two and three sitting side-by-side, more vigilant print geeks than I are bound to catch on faster.

Minute paper issues aside, Nabari No Ou continues to intrigue, with a deliciously suspenseful ending sure to keep fans on edge as we await the next volume.

Review copy provided by the publisher.

Physical Attraction

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Physical Attraction
By Tatsumi Kaiya
Published by DMP/June
Rating: M (18+)


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Kurata has been sleeping with his college buddy, Narusawa, for the past two months, beginning just after Kurata’s breakup with a long-time girlfriend. Certain that the relationship is purely physical, Kurata becomes ill at ease when he realizes he’s developed feelings for Narusawa. Kurata’s uncertainty leads him to seek out his ex-girlfriend for advice, but what will he do when Narusawa spots him meeting up with his ex?

Before getting around to the meat of this review, it’s important to note that though DMP lists Physical Attraction as a one-shot, it is actually an anthology of (mainly) unrelated short manga–a significant discrepancy for those of us who have come to avoid most BL anthologies like the plague. That said, though the volume is afflicted by some of the unavoidable pitfalls of short-story romance, it is more appealing than most, thanks to Tatsumi Kaiya’s skillful exposition and attention to characterization.

Most pieces of the anthology follow the same kind of premise as the title story–students or coworkers (in one story even strangers) who confront unexpected feelings for each other. One tells the story of high school lovers turned college roommates, enjoying the freedom of living together for the first time. In all cases, character development and emotional content take precedence over sex scenes, which is a rare blessing in this type of anthology. This is not meant as a judgement on sex scenes by any means (though I’ve often argued that too few are well-written enough to be meaningful) but it only stands to reason that a short manga has the greatest chance of success when the majority of its pages are actually used to develop the story.

Some are more successful than others. The title story and its follow-up, “Loving Attraction,” are the strongest, with a nicely-developed romance and fun, idiosyncratic characters (including the supporting cast). On the other end of the spectrum, “Cooled Passion,” about a reporter and a politician who were once friends, is underdeveloped, unbelievable, and seems to suggest that justice is best achieved through rape. Even the volume’s weakest stories, however, benefit from the author’s ability to effectively introduce new characters and their circumstances with a minimal amount of exposition, making the most of the limitations of the format.

Kaiya’s artwork is generic–so much so that it’s difficult to tell characters apart from one story to the next. Fortunately, strong characterization makes this less of a problem than it might be otherwise.

Like most of its kind, Physical Attraction is no match for the high drama of serial romance or even a hearty one-shot. Ultimately forgettable, it is intended to be consumed and discarded. Unlike many, however, it is a collection of (mostly) warm and engaging stories, well-suited to a quick read on a lazy afternoon.

–Complimentary digital access provided by the publisher.

ZE 3 by Yuki Shimizu: C+

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From the back cover:
When a kotodama-sama dies, his or her kami-sama—a healer made of living paper—typically chooses to die as well, returning to a blank state as “hakushi.” But when Himi’s master passes away, a deep sense of obligation forces him to choose another path. Instead, Himi becomes kami-sama for his master’s estranged son, Genma.

Genma is everything Himi’s former kotodama-sama was not—rough, arrogant, brutish—and furthermore, Genma enjoys using Himi for his own selfish pleasure. Is this more torment than Himi can endure? Or will he come to realize that different people show their true feelings in different ways?

Yuki Shimizu delves deeper into the Mitou family in this latest volume of her hit series!

Review:
ZE‘s focus on the members of a family full of magic users and their same-sex attendants allows mangaka Yuki Shimizu to change gears and feature other couples as she sees fit. While the opening volumes were more about the residents of a particular house, volume three branches out to the extended family with the tale of Himi, a kami, and Genma, the new master he receives after his old one dies. I can see the appeal of such a setup, as it allows Shimizu to present a variety of relationship types, but must admit that Himi and Genma’s tale does not thrill me.

There are certain moments between them that are quite nice. The revelation that Genma, the son of Himi’s original master, felt a combination of desire for and envy of Himi since his adolescence provides depth for a character who otherwise comes across as sadistic, and the cliffhanger on the final pages is both well paced and very well drawn. The majority of the time, though, their relationship consists of Genma demanding that his every sexual need be met and refusing to heed Himi’s protests. At least one scene could be construed as rape. This isn’t necessarily portrayed as being a romantic thing—Himi’s reactions are sometimes quite awful—but I get the feeling we’re supposed to feel like Genma has redeemed himself by the end, after a coworker vouches for his kindliness and he begins to actually confirm that Himi consents to what’s going on.

It’s really quite disturbing and I feel kind of bad that I’m not giving the volume a lower score as a result, but I continue to enjoy Shimizu’s intriguing world building and her expressive art. Volume four is more of Himi and Genma’s story, and I hope I’ll like it better now that they seem to have established a little more equality in their relationship. We shall see.

Review copy provided by the publisher.

Lunchtime Link-blogging

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There have been some great articles and bits of news posted over the past few days (and I promise they aren’t all Fantagraphics-related). Time to share!

Just to get the Fantagraphics stuff out of the way, here are a few choice links: First of all, The Comics Journal has now published all four parts of Matt Thorn’s 2005 interview with Moto Hagio online (previously only available in print or on Matt Thorn’s blog). Click for parts one, two, three, and four.

While we’re at TCJ, you should also check out Shaenon Garrity’s recent post about Moto Hagio, I also like her creepy vampire kids. Meanwhile, Deb Aoki interviews Fantagraphics’ president Gary Groth at About.com.

One last piece of related info: Regarding all the press floating around about Shimura Takako’s Wandering Son, I was very gently informed by a transgender reader …

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