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Manga the week of 9/21

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It’s a typical 3rd week of the month at Midtown, which is to say it’s typified by its untypicalness. (And no, no Kodansha titles, and no Sailor Moon, from Diamond again.)

Viz has the most coming out, including a couple of books that many stores have gotten in a while back. The penultimate volume of Fullmetal Alchemist, which no doubt will be the ‘darkest’ part of ‘it’s always darkest before the dawn’; the 7th Arata the Legend from shoujo turned shonen artist Watase Yuu; new Natsume Ono with House of Five Leaves, which will no doubt have more tortured souls; the penultimate volume of Kurozakuro, which if I recall correctly ended rather abruptly (read: got cancelled), so hopefully gets a good run up to an ending anyway; and two “Educational Biographies” from Shogakukan’s education division. Helen Keller has never looked more like Nanami Kiryuu, nor Thomas Edison more bishie. (The Edison cover in particular is a stitch.)

From other publishers, we have the 4th volume of Blood Alone from Seven Seas. I forget, do volumes with ‘blood’ in the title sell as well as volumes with ‘vampire’? And Midtown is also getting Jiro Taniguchi’s A Zoo in Winter from Fanfare, which I had thought came out ages ago. So it’s not just Kodansha getting shafted by Diamond?

And that’s it. Any titles strike a light?

Manga the Week of 9/14

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Given that next week is all about Yen Press, let’s start with them. (Yes, I know Sailor Moon and Sailor V come out 9/13. Did you really expect Diamond to ship it on the same day it hits bookstores? Have you been reading my posts at all this year?) There’s lots of stuff from Yen that deserves mention, but I want to focus on one title in particular first.

With the Light, a manga about a young mother struggling to raise her autistic child, was one of Yen’s first manga series announced, and their most exciting. A josei manga that clearly was intended to be marketed to a much broader audience than anime fans, it was a sign of great things to come. And it turned out to be even better when you read it, heartwarming and inspiring. Sadly, the author passed away before she could finish the series. Yen has worked with Akita Shoten to make the final volume, out next week, as complete as it is possible to be. Everyone who loves manga that goes outside the boundaries of ‘fight, train, laugh’ should pick up this series.

Of course, Yen has other stuff too. There’s Bamboo Blade 10, which is about to start up its next big arc. There’s Bunny Drop 4, which is a big turning point in the series. My Girlfriend’s a Geek 4 will no doubt feature more knowing humor about the fujoshi lifestyle. Zombie Loan… I’ve never read, I admit. I presume it’s about a library where you borrow zombies for things they’d be useful for? And the cute moe librarians who run Zombie Loan? No?

And though I don’t cover manwha, I suspect I would be filleted by my fellow Manga Bookshelf colleagues if I did not mention the new Goong and Raiders manga. And for fans of OEL, there’s Svetlana Chmakova’s new series Witch and Wizard, which is written by some other guy… oh right, James Patterson.

Viz also has titles! Albeit not many. But one is the 18th volume of Hayate the Combat Butler! Yes, it’s down to twice a year, and it seems to only garner bad reviews online these days (that will change when I get a hold of it), but this one resolves the ‘End of the World’ arc in a dramatic way, then kicks back to the comedy. And another final volume, as Detroit Metal City comes to a close. I kind of lost track of the series after the first couple of volumes, but I have a lot of friends who love it.

And Dark Horse is putting out the first volume of Yasuhiro Nightow’s new series, Blood Blockade Battlefront, no doubt meant to appeal to Trigun fans the same way Drifters is clearly designed to appeal to Hellsing fans. Sadly, on advice from my doctor, I can’t actually look at Nightow’s artwork anymore without a 24-hour nurse by my side, so I did not preorder it. But I’m sure hardier people than I will be willing to read it and try to figure out what the hell is happening in the panels.

(Apologies to Dark Horse… if it helps, I’ll be praising Drifters soon.)

So what intrigues you this week?

The Favorites Alphabet: B

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Welcome to another installment of the Favorites Alphabet, where the Manga Bookshelf battle robot gingerly approaches our meticulously organized collections to pick a favorite manga title from each letter of the alphabet, whenever possible. We’re trying to stick with books that have been licensed and published in English, but we recognize that the alphabet is long, so we’re keeping a little wiggle room in reserve. And sometimes you can’t pick just one.

“B” is for…

Banana Fish | By Akimi Yoshida | VIZ Media — Given my frequent posts on the subject, this choice likely comes as no surprise. Yet even after all that verbiage, I think I’ve talked very little about one of the main reasons I so love this series. Yes, it’s got fast-paced action, well-developed characters, and an almost-BL vibe to die for, and watching Yoshida’s artistry develop over the course of 19 volumes is truly a pleasure. But one of the series’ greatest draws for me is very simply its sincerity. I recently described another manga as reading like “a bad teen-penned novel,” and while Banana Fish shares some of the same over-the-top sentimentality and naive fancy that tends to characterize stories written by teens, like S.E. Hinton’s The Outsiders, Banana Fish reads like a great one. Yoshida offers up genuine intrigue and compelling action sequences, but her most winning quality as a writer is how sincerely she loves her characters, even when she’s putting them through hell.  This is a series I’ve read and re-read, and will likely read many times more before my eyes finally give out on me. Melodrama and all, it’s one of my favorite manga of all time. – MJ

Basara | By Yumi Tamura | VIZ Media — I hardly know where to start in extolling the virtues of Basara, Yumi Tamura’s epic 27-volume shôjo manga about a girl named Sarasa who assumes the identity of her twin brother Tatara (the so-called “child of destiny”) after his death and leads her people in revolt against a tyrannical king. Sarasa is highly competent and inspires the admiration and loyalty of people from all walks of life, but Tamura never lets us forget that this strong leader is also just a girl who experiences feelings she doesn’t understand and who denies herself a lot in order to be who the people need her to be. Just thinking about the reveal that it’s actually Sarasa who’s been the “child of destiny” all along literally gives me goosebumps. I’d urge everyone to read Basara, even though some volumes are notoriously hard to come by. It really is worth the effort. — Michelle Smith


Black Blizzard | By Yoshihiro Tatsumi | Drawn & Quarterly — I’ve found most of Yoshihiro Tatsumi’s work too bleak, too macho, or too bleakly macho to appeal to my own sensibilities, but Black Blizzard is a notable exception. Dating from the late 1950s, it’s thoroughly enjoyable pulp: a young murder suspect and a jaded criminal escape from custody into a raging snowstorm, police hot (cold?) on their heels. The story’s weaknesses are easy to catalog: the plot developments can be seen coming from a mile away, the characters are little more than types, and the ending is too compressed to be truly satisfactory. Black Blizzard leaves a fresh impression nonetheless, thanks to Tatsumi’s rough, energetic artwork; with all the slashing lines and images of trains in motion, you’d be forgiven for thinking that an Italian futurist had taken a stab at writing a comic book. — Kate Dacey

Black Jack | Osamu Tezuka | Vertical, Inc. — Part House MD, part globe-trotting adventure, Black Jack is easily Osamu Tezuka’s most accessible work. The stories often flirt with the outrageous: Black Jack performs a brain transplant, treats an extraterrestrial, and operates on himself while fending off dingoes in the outback. Yet the human dimensions of every story are never overwhelmed by the questionable medical diagnoses; at their best, the stories are parables about the importance of humility, responsibility, patience, and loyalty, using illness and injury to show us the best — and worst — of human nature. (Also: to show us that Black Jack is a complete bad-ass with a scalpel.) The series’ popularity meant that Tezuka cranked out more Black Jack tales than he probably should have (see “treats an extraterrestrial,” above), but even the weakest entries in the collection are still a lot of fun. — Kate Dacey

Black Jack | Osamu Tezuka | Vertical, Inc. — I’m going to second Kate’s endorsement of Black Jack for a very specific, possibly irrational reason. Sometimes a title becomes a favorite simply by virtue of the presence of a supporting character. In the case of this series, that character is Pinoko. She’s surly old Black Jack’s adorable kid assistant, except she’s actually a parasitic tumor that gestated for years in her twin sister’s abdomen until the good-bad doctor cut her out and gave her a twee little plastic body and took her in as his ward. Pinoko is wrong on every conceivable level – an 18-year-old woman with no meaningful life experience trapped in the body of an artificial child. On some subliminal level, I think every adorable kid sidekick is creepy, but Tezuka just goes there, and Pinoko’s every appearance is an unsettling, mildly heartbreaking, inappropriately funny treat. There are certainly Tezuka titles I like better than Black Jack, but there’s probably no Tezuka character who haunts me quite like Pinoko. – David Welsh

Bleach | By Tite Kubo | VIZ Media — In general, I enjoy talking about manga because I love it. I love finding underrated series I can promote the hell out of, I love reading the romantic ups and downs of a couple that grow and learn at a snail’s pace because it’s funnier that way, and I enjoy watching big guys hit each other. But sometimes you get obsessed with manga that you like… and hate as well.  It can be so good…  and so frustrating. No title currently being released over here does this to me more than Bleach, the second of Viz’s ‘Big Three’ Shonen Jump titles. Bleach has a fantastic cast of characters… who it abandons for years at a time to focus on other new characters. It has emotional resonance… which can sometimes get incredibly ham-fisted.  And while some manga work better in weekly installments, or in volumes, Bleach is one that works best by reading 5 volumes at a time then ignoring it for 6 months. Oh, and the shipping. God, the shipping. Love it or hate it, folks can’t stop talking about Bleach. Which, honestly, is even more valuable in a manga than a title that’s merely liked by everyone. — Sean Gaffney

What starts with “B” in your Favorites Alphabet?

 

Manga the Week of 9/7

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It’s the first week of the month, and you know what that means. Far, far too much manga. What’s worse, Diamond is finally catching up with Kodansha. (Midtown, not so much). I mentioned most of the titles coming in last week (Bloody Monday, Cage of Eden, Phoenix Wright), but one I did not is the re-release of Gon, the adorable (and fearsome) baby dinosaur manga that is actually getting its third re-release. Kodansha is apparently trying to pitch it for a movie, and I think it could be a big hit with the right company. Naturally, being about the antics of a baby dino, it ran in Kodansha’s magazine for adult salarymen, Weekly Morning.

There is also Dark Horse, which is now releasing the 39th volume of Oh My Goddess. I should note that Dark Horse is worried about how old fans will think the manga is given the high volume number, and so ongoing volumes will also remain Volume 39, in tribute to Jack Benny.

The rest is aaaaaaaaall Viz. From Weekly Shonen Jump: Bleach 36, Death Note omnibus 5, Naruto 7-8-9 omnibus, regular Naruto 52, One Piece 58, and Toriko 6. There’s also Ultimo from Jump Square. All featuring Friendship, Perseverance, and Victory. There’s also Kekkaishi 7-8-9 omnibus as well, which is from Shonen Sunday, so is legally obligated not to have friendship, perseverance, or victory. Sad, really.

On the shoujo end, we have cute Hakusensha mangas! Library Wars 6, La Corda D’Oro 14 (another in Viz’s ‘see, it’s not cancelled, just on a ‘no one buys this at all’ schedule!’ titles), and Oresama Teacher 4. Slightly less cutely, we get Grand Guignol Orchestra 3. We have cute Shueisha manga! It’s another volume of tug-at-your-heartstrings Kimi ni Todoke. We have sexy Shogakukan manga! There’s ‘Who am I to argue with its sales?’ Black Bird 10, as well as techno-thriller shoujo romance Dengeki Daisy 6. And we have one final volume, as not-really-shoujo smutty comedy Butterflies, Flowers ends with Vol. 8. I’m betting on a wedding.

All this and a Pokemon Black and White! Are you prepared for this much manga?

The Favorites Alphabet: A

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Welcome to the first installment of the Favorites Alphabet, where the Manga Bookshelf battle robot glances through our respective libraries to pick a favorite manga title from each letter of the alphabet, whenever possible. We’re trying to stick with books that have been licensed and published in English, but we recognize that the alphabet is long, so we’re keeping a little wiggle room in reserve.

“A” is for…

After School Nightmare | By Setona Mizushiro | Go!Comi — Gender-bending is not unusual in manga, but actual exploration of gender is, and that’s just one of several refreshing aspects of this unfortunately out-of-print manga. It’s also a story about teenagers that uses school-mandated shared nightmares as a way of forcing students to display and face their own worst fears right in front of each other. Is it creepy? Yes. It also serves as a pretty accurate metaphor for my own thankfully-distant teenage hell, and I expect I’m not alone there. Though the series’ dream setting places it soundly in the realm of the surreal, that doesn’t make it any less resonant. After all, where do our own fears feel more real than in our fevered dreams? For more about this series from smarter writers than I, look to Jason Thompson  and (of course) David Welsh. – MJ

Antique Bakery | By Fumi Yoshinaga | Digital Manga Publishing — Ostensibly a slice-of-life tale about four men working together in a bakery, Antique Bakery offers more dramatic surprises than one might expect. Early on, charismatic gay pastry chef Ono and cluelessly lovable Chikage emerge as favorites, but as we learn more about the bakery’s proprietor, Tachibana, the more fascinating he becomes. An ordeal suffered in his past has profoundly informed the man he is in the present, and when readers realize the truth of what’s been going on all along, Yoshinaga’s mastery suddenly becomes even more apparent. Yes, there are lighthearted moments in this series. Yes, there is a fun cast of characters who grow and change from working together. But most of all, there is Tachibana’s unforgettable story. – Michelle Smith


Apocalypse Meow | By Motofumi Kobayashi | ADV Manga — Apocalypse Meow does for the Vietnam War what Maus does for World War II, using animal surrogates to re-enact period conflict. In this case, rabbits stand in for American soldiers, and cats stand in for the Vietnamese, while the Chinese (pandas) and Russians (bears) observe from the sidelines. Author Motofumi Kobayashi is clearly a military enthusiast: every volume is studded with sidebars describing combat tactics and weaponry, as well as lovingly drawn maps of troop movement. Yet Kobayashi doesn’t lose sight of the human cost of war; watching a trio of bunnies caught in a brutal fire fight makes the horror of combat fresh and unsettling, especially for readers who have been desensitized to the conflict through years of watching movies and documentaries about Vietnam. The series is long out of print, but enterprising (and patient) readers can find inexpensive copies on eBay. – Katherine Dacey


Aria (and its prequel Aqua) | By Kozue Amano | ADV Manga/Tokyopop — A cynical person might say that what Aria really shows is that slice-of-life, look at the scenery manga with no moe schoolgirls in it will die a financial death here in North America.  But what we saw of this series just made me love it all the more.  For a science-fiction utopia fantasy world, Aria is so relaxed and sedate.  It’s not afraid to devote 30 pages to simply walking to a store in the rain, or visiting a friend.  And as the series goes on, the cast of characters that form the core group grow and change, some more startlingly than others.  It’s a classic example of the sort of series you read and feel a smile on your face and a warmth in your heart.  It ran for a total of 14 volumes between both series in Japan, of which 8 saw publication here (both of Aqua and 6 of Aria’s 12).  Sadly, if you want more, I suspect you’ll have to learn Japanese.  It’s now failed to sell with two different North American publishers, and its Japanese company, Mag Garden, is the *only* major manga publisher with no digital initiative – even Square Enix is striking out on its own, separate from JManga.  It’s a shame, as I’d love everyone to see the end of this. – Sean Gaffney


Astral Project | By Garon Tsuchiya and Syuji Takeya | CMX — Being able to describe this series as “a slice-of-life supernatural mystery” makes me enormously pleased, even though it isn’t by any means comprehensive. A young man’s sister has committed suicide, and he tries to make sense of her death. Along the way, he learns to project his spirit out of his body and encounters other astral travelers who change his perspective on life. Beyond his emotional trauma, we also learn of a decidedly odd government conspiracy that gives Tsuchiya a platform for all kinds of extremely pointed satire aimed at contemporary culture. Astral Project is really, really odd, though it’s ultimately very involving and likeable. It’s further proof that Enterbrain’s Comic Beam publishes some of the most unusual, interesting comics Japan has to offer. It may be difficult to find copies of this four-volume series, as CMX didn’t exactly flood the market with copies the first time, but it’s worth the hunt. – David Welsh

What starts with “A” in your Favorites Alphabet?

 

BL Bookrack: August 2011

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Welcome to the August installment of BL Bookrack! This month, MJand Michelle take a look at three offerings from Digital Manga Publishing’s Juné imprint, Butterfly of the Distant Day, I Give to You, and A Liar in Love.

Butterfly of the Distant Day | By Tooko Miyagi | Published by Digital Manga Publishing | Rated Mature (18+) – As a fan of Miyagi’s Il Gatto Sul G., I was looking forward to reading this spin-off/sequel, in which Riya Narukawa, one of the main characters of Il Gatto and a gifted violinist now studying in New York, accompanies his pianist cousin Saki to the swanky Berkshires to perform in a concert for young musicians. There, Saki unexpectedly reunites with Irving Russell, a British man with whom he’d had a two-year fling, and ends up renewing this arrangement in an effort to prevent Irving from seducing Riya, which Saki has somehow convinced himself is bound to happen.

Those looking for more about Riya and his boyfriend Atsushi will likely be disappointed; aside from the opening chapter, Atsushi doesn’t appear at all, and Riya is mostly used in a supporting capacity. Instead, the story focuses on Saki and Irving. As Saki falls back into the same pattern of sleeping with Irving in the evening and being dismayed by his detachment the following day, he remembers more about their time together—how it began, how it ended, how he treated Irving—and eventually comes to realize that it was his own insecurity about Irving’s first love that made him defensively insist that what was going on in the present was merely a fling. Afraid to be hurt, Saki had denied the possibility that something real could grow between them and had instead kept Irving at arm’s length while pursuing a series of brief relationships with women. Now that he’s finally realized what Irving means to him, he wants to break this pattern.

There’s a lot to like about Butterfly of the Distant Day. First and foremost, the issues keeping the two leads apart are complicated, leading to the expression of some fairly complex emotions. Secondly, both of these men are adults, so we’re not dealing with a first-love BL scenario but rather a situation where one of the leads has already loved and lost. Miyagi-sensei has also done her homework where music is concerned—Riya and Saki are performing legitimately impressive compositions for the concert (notably a Fauré sonata for violin and piano) and when possible solo options for Saki are discussed, all of the composers mentioned genuinely did write suitable pieces for that instrument. The only glaring error occurs in a key signature; it’s too bad no one told Miyagi about the order of flats!

I did find it a little hard to get into at first and, looking back, the opening chapter with Riya and Atsushi doesn’t really fit with the rest, but overall, it’s quite an enjoyable one-shot.

-Review by Michelle Smith

I Give To You | By Maki Ebishi | Published by Juné | Rated YA (16+) | Buy at Akadot – I have a confession to make: I totally judged I Give to You by its cover. I didn’t know anything at all about the story, but the cover was so interesting and so unlike typical BL covers that I had to check it out. One of the characters has a kitty snoozing on his lap, for example, and there are a couple of cat toys on a nearby coffee table. How could I resist?!

In this case, it turns out that the atypical cover was indicative of the contents, because I Give to You eschews common BL artistic and story tropes. Instead, with its stark, high-contrast art and moody yakuza themes, it almost reads like a seinen series.

Ryoichi Iinuma is on the run. He cosigned a loan for his lover, Hiroshi, and when Hiroshi defaults, the debt collectors come looking for Ryoichi. He ends up at a tea house run by Ren Shirakawa, who allows him to work for room and board. Gradually, Ryoichi begins to learn more about Ren and his helper, Ritsu, like the fact that they’re both former yakuza who are shunned by their neighbors. In fact, the only customer the tea house has is a former detective who drops by periodically to keep an eye on the proprietors.

Ryoichi is openly gay, and that fact plays a big part in his choice to accept Ren, since he has been ostracized himself both for his sexual preference and his indebted status. He takes it upon himself to try to rehabilitate Ren’s reputation in the neighborhood, and though he soon recognizes that his feelings for Ren (whom he believes is straight) are romantic in nature, only gradually does he learn exactly why Ren is purposefully subjecting himself to the scorn and animosity of “civilians.”

I Give to You nicely balances dark and light elements—the story of Ren’s past, for example, is full of despair, but Ryoichi’s optimistic personality helps steer the story in a hopeful direction. (The occasional comic relief provided by the kitty helps, too.) One negative is that some lines of dialogue were difficult to comprehend; this may be a translation issue. On the positive side, I’ve never seen any other BL story depict the moment in childhood in which its protagonist realized he was different from others, and I loved how this experience enables Ryoichi to deflect Ren’s attempts to send him away to pursue a normal life.

Ultimately, I Give to You is unique, interesting, and definitely recommended.

-Review by Michelle Smith

A Liar in Love | By Kiyo Ueda | Published by Juné | Rated Mature (18+) | Buy at Akadot – When smooth operator Tatsuki gets a call from his younger brother seeking dating advice for a gay coworker, things seem pretty simple. Accustomed to letting his looks do all the heavy lifting, Tatsuki falls into his usual pickup routine, ready to love ’em and leave ’em as always. So what’s a jaded player to do when he finds he’s fallen in love?

Reading that description (or the even more generic official blurb) A Liar in Love sounds like nothing special, and in terms of premise, it’s not. Things progress exactly as you might imagine. Tatsuki reacts predictably to the discovery of his own feelings, pushing his lover further away, though there’s never even a moment’s doubt that we’ll eventually get our “happily ever after.” The story’s characters, too, are more of the same. There’s no shortage of beautiful playboy seme or quiet uke in BL manga, and mangaka Kiyo Ueda doesn’t stray much from type. What she does do, however, is bring enough real nuance into those types to remind us that they’re actually based on real, honest-to-goodness people, whom we probably all know or can relate to on some level.

Tatsuki is a typical playboy, confident in his ability to pick up whomever he wants, and dismissive of concepts like love and commitment. He makes his living translating romance novels, and seems content to live as someone who constantly pursues romance without ever dealing with the real-life stuff that follows.

Miura, his target, initially appears to be the typical shy, gullible uke and little else, but as the story goes on, he displays real maturity and insight, particularly concerning Tatsuki’s well-meaning younger brother who, at one point, imagines himself in love with Miura, though he’s never felt attracted to men. It’s a scene between Miura and the brother, in fact, where Ueda begins to display real brilliance, as she carefully exposes the brother’s feelings–sentiments that would pass for true love in most BL manga–for what they actually are: a childish crush with no meaningful connection to romantic love or grown-up sexuality.

Ultimately, A Liar in Love is a kind of rare gem, in that it manages to be a genuinely thoughtful, mature romance between grown-ups with jobs, while completely adhering to established BL tropes, and all in a single volume. Perhaps it actually is possible to please everyone?

-Review by MJ

Review copies provided by the publisher.

Disclosure: MJ is currently under contract with Digital Manga Publishing’s Digital Manga Guild, as necessitated for her ongoing report Inside the DMG. Any compensation earned by MJin her role as an editor with the DMG will be donated to the Comic Book Legal Defense Fund.

An Introduction to Feel Young Magazine

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If you’re an average American reader of manga, you have probably never heard of Shodensha Publishing’s Feel Young Magazine. For one thing, it’s Josei, the genre of manga least represented on American manga shelves. Nonetheless, many of the artists featured in the pages of Feel Young have made it over our to shores and so, while the magzine itself lives a life of near-complete anonymity here, it’s practically glows with talent.

Yumi Unita (Bunny Drop,) Moyoco Anno (Happy Mania), Tomoko Yamashita (Dining Bar Akira,) Mitsukazu Mihara (The Embalmer,) Kiriko Nananan (Blue,) Mari Okazaki (Suppli,) Erica Sakurazawa (Between the Sheets,) have all at one time or another penned stories for the adult, female audience that makes up the readership of Feel Young. For this reason, as I perused the piles of magazines that live in my house, I chose to take a look at Feel Young as my first josei magazine.

Feel Young was first launched in 1989, as a sister magazine to the now-suspended FEEL magazine. Its intended audience is adult women and, based on the comments it receives and publishes, it is indeed reaching women 18-45 years of age. Based on the a JMPA’s magazine sales data, Feel Young has a circulation of 45,542 (and one overseas reader….)

While stories in Feel Young often star women in their early 20s, juggling careers and romantic relationships, as in Suppli, stories of women in their 30s and 40s attempting to maintain work-life balance are not uncommon. Recently more stories about one-parent or alternative families, such as Bunny Drop and Ohana Holoholo have been serialized in its pages. When the popular series from the 1980s, Hana no Asuka-gumi was re-started after an 18-year hiatus, it was run in Feel Young to try to attract those women who had been fans of the original series when they were in middle and high school. New Hana no Asuka-gumi ran for an additional 8 volumes, so I think we can say that approach worked. The magazine also occasionally runs stories with Boy’s Love motifs, for an overall feeling of “a little of everything that might appeal to women.”

Other than Bunny Drop, currently running in Feel Young is Mari Okazaki’s new series, &, which combines the popular “young woman making her way in the world” with a stong strain of suspense. If  Suppli is re-licensed and sells well, I would be surprised not to see & licensed. Personally, I’d love to see Yamashita Tomoko’s work, HER be licensed – her current series in the magazine is another set of short character profiles that dig surprisingly deeply into people’s live in a short story format.

I currently read the magazine for Shimano Shino’s Ohana Holoholo, a story about an alternative family made up of a single mother, her former female lover, her child, and the child’s late father’s former male lover. (It sounds more dire than it is. It’s quite cute.) Finally, Shinobu Nishimura’s RUSH is something that I am constantly sure must *certainly* be licensed already, but never is. I know of two companies that were, at some point in time, interested in Yamaji Ebine’s Love My Life – which had a live-action movie based on it come out just a few years ago – but neither company managed to get the book over here.

It would be easy to dismiss Feel Young as something filled with soap operas and daytime dramas, but…it’s not. Feel Young is a consistantly excellent women’s manga magazine, with less of an oppressive “style” than many magazines have. The stories vary in temperment, in tone, in art style and often in levels of reality. Stories of meals at home with the family live right next to dramatic stories of pretty boy detectives tracking down Goth-Loli fantasy figures, gang girls roam the streets of Tokyo right next to a well-meaning hospital staff Office Lady trying to figure out what it means when the Doctor who kissed her also tries to kill her. And these live cheerfully next to stories of raising children and having careers. Of the josei magazines I’ve read, Feel Young stands out as a platform for some of Japan’s best josei talent.

This article was originally published at Mangacast.net.

Manga the week of 8/31

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Regarding Kodansha: I surrender. This week’s Midtown list, my own comic shop’s list, what the REST of the country is getting from Diamond, and what’s already out in stores are so different… that’s it. So here’s most of what should be out from Kodansha…

Oh wait, other companies first. Alphabetical and all. Besides, Dark Horse has a big debut.

Yes, Hellsing may be over, but the author has a new series with a new badass! No vampires here, though, as this takes place in the Sengoku period, and is a samurai manga. Which apparently ends up getting a bit fantastical. It’s running right now in Shonen Gahosha’s Young King OURS. And oh yes, it’s not just that. Dark Horse also has their annual release of a new volume of Eden: It’s an Endless World! Yes, still not cancelled! Go get it, it’s gripping. It ran in Kodansha’s Afternoon.

There’s some new yaoi from Digital Manga Publishing. They’re still mining Taiyo Tosho, and so we get An Even More Beautiful Lie, from the magazine HertZ; Sky Link, from the same company, the same magazine, and honestly almost the same synopsis; Volume 4 of the yaoi thriller Finder, which runs in Libre Shuppan’s Be x Boy Gold; and Warning Whispers of Love runs in Taiyo Tosho’s other yaoi magazine Craft, and at least has a cover that looks different from the yaoi norm, which puts it a big step ahead in my book. And for those who want more old-school shoujo than modern BL, there’s Volume 6 of Itazura Na Kiss. Which hopefully will resolve the cliffhanger from 5.

Now, on to Kodansha. Midtown actually, amazingly, lists two titles. The second volume of Monster Hunter Orage, from the Fairy Tail author. And the second of Capcom’s seinen Phoenix Wright tie-ins, which will no doubt (shudder) feature more spiders, if only to resolve the case. My own shop is getting in Volume 10 of twisted gag comedy Sayonara, Zetsubou-sensei, which should feature even more Chiri than usual. Literally. And other volumes that may trickle into comic shops include the 19th volume of roller-blading action series Air Gear and the first volume of the reissue of Until The Full Moon, a BL series which originally ran in Be x Boy back in the Biblos days, but which Kodansha now has the rights to, and 4 new series.

Bloody Monday is a blood-filled thriller, one that I suspect should appeal to fans of Del Rey’s Code:Breaker… or, since that apparently didn’t sell well enough for Kodansha to continue it here, of Death Note. Cage of Eden has a Lord of the Flies vibe to it, along with Battle Royale, and everyone loves a good Survivor series, especially if there’s fanservice. Animal Land, a series about a kid raised by a tanuki, from the author of Zatch Bell. And Mardock Scramble, based off of a novel (which is already out here via Viz) that is, and I quote, a pulse-pounding cyperpunk noir adventure. And possibly a desert topping, haven’t read it yet.

So after a week of virtually nothing, we’re back in business, even if the horrors of Diamond delivery and split shipping (Diamond sometimes ships to different Coasts on different weeks) means we may not all see it on the 31st. What are you getting?

Roundtable: Flower of Life

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MJ: There’s a lot to love about Fumi Yoshinaga, from her expressive artwork to her rambling dialogue, and she’s one of those writers I consistently love, even for her weakest work. When I find myself searching for what really defines her, though, I always come back to Flower of Life. I’ve talked about this series on my own before, but there’s something about a story so warm and so driven by friendship that begs to be discussed with friends. To that end, I’ve begged asked my fellow bloggers to join me in this roundtable!

Every time I pick up this series, I’m struck again by just how odd it is. On one hand, it’s this meandering, slice-of-life manga filled with idiosyncratic characters, tangential dialogue, and no obvious central plotline. On the other, it’s eerily truthful and genuinely dramatic, often when I least expect it. For those of you re-reading the series or picking it up for the first time, how would you classify something like this? Or is there even any point to trying?

DAVID: I would categorize it as un-distilled Yoshinaga, to be honest, which is a category or genre all its own. Everything she does is really steeped in her own sensibility, and I think Flower of Life is possibly the best translated example of that. And it’s a little strange, but with this re-reading, I really noticed how sneakily structured the story is, at least in terms of its emotional arcs. They don’t really emerge as being as well-formed as they are when you read the series as it’s being published, but if you sit down with the whole series, you really get a lot of unexpected and resonant payoffs.

SEAN: I’ve only read one volume of the series so far, but I wasn’t particularly surprised by its idiosyncrasies, as I had researched it a bit and discovered it ran in Shinshokan’s ‘5th genre’ magazine Wings, which tends to be categorized as shoujo, has more of a josei audience, is predominately fantasy-oriented, and has a large contingent of what could be called ‘not quite BL’, including both Flower of Life and Antique Bakery. Actually, I was rather surprised to find that there wasn’t really any true BL in the volume of FOL I’d read at all, mostly as both that and AB are described as ‘gateway volumes’ for those who want a taste of the BL genre without any of that, y’know, actual GAY stuff. :) It’s just a slice-of-life school story starring a bunch of weirdos. I really enjoyed the volume I read, and will definitely seek out the others. If only for the bishie otaku.

KATE: One of the things that strikes me most about Flower of Life is how accurately it captures teenage experience. Yoshinaga clearly remembers her own adolescence, as she conveys the intensity and sincerity of her characters’ feelings with tenderness. Yet Flower of Life doesn’t behave like a typical young adult story, with characters striving toward a goal; Yoshinaga fiercely resists imposing an obvious dramatic arc on the material, even though her principal characters grow and change over time. I’d classify it as “slice of life,” but I hate that term because reviewers apply it indiscriminately to series as different as Azumanga Daioh and Saturn Apartments. Maybe “true to life”?

MICHELLE: “True to life” works for me! I’m not exactly sure how she does it, but there’s something so organic about the way that we’re introduced to the characters—a really sublime “show don’t tell” going on about their personalities—that, in time, one feels immersed in the class. Example: I am so weary of cultural festivals in manga I could scream, but the one in the second volume of Flower of Life is the best example of same I have EVER SEEN. And that’s because we’ve gotten to know the characters well enough to feel their excitement as they plan. Also, I think I could write 10,000 words about Majima (the aforementioned bishie otaku), but I assume we’re going to get to him later.

MJ: I’m happy to go with “true to life” as well, because that really is what it feels like. Also, Kate, I think your choice of words here is particularly apt. “Yoshinaga fiercely resists imposing an obvious dramatic arc on the material, even though her principal characters grow and change over time.” Yet, as David mentions, there really are some wonderful emotional arcs throughout the story. They just feel so natural, there’s never a sense that this is a result of “plot.” The characters simply live, and somehow it’s kind of a revelation when we realize what that really means.

Sean, it’s interesting that you mention BL here, because I wasn’t actually aware that Flower of Life was considered a “gateway” book, though I certainly spent much of the first volume under the same delusion as Harutaro.

And Michelle, I’m thrilled that you brought up the cultural festival, because I feel exactly the same way! And really, I think that’s where my 10,000 words on Majima would really get going.

DAVID: Can I take it back to how the characters really seem to breathe? Because I agree, and I do so even with the kind of heightened, commentary-rich dialogue. These people don’t just feel things and do things. They think and talk a whole lot, and while it’s not especially naturalistic dialogue, it’s very character-driven, and it actually makes the story barrel along rather than dragging it down.

SEAN: I had a lot of preconceptions before starting Book 1, and one of which was that it would be ‘sorta BL’, i.e. that it would feature gay characters but not gay relationships or something similar. You know, Wings-ish. The way that Tokyo Babylon is. This is probably why I was so amused at the revelation of the teacher’s gender, as having ‘him’ being a flaming gay man didn’t surprise me when I started the book. Which, of course, is exactly what Yoshinaga was going for, in order to get the payoff two chapters later. (There’s some great gags here – I loved the girl’s story about how to ‘properly’ sit on a toilet with a skirt – complete with visualization. Hilarious.)

MICHELLE: I had a similar experience, not because of Wings but just because of what I’ve read of Yoshinaga so far. Of course she’d have a gay couple in her story! I was actually kind of impressed she managed to fool me so thoroughly—as a hardened manga veteran I thought I was pretty savvy in regards to such tricks! It certainly puts all of Saito-sensei’s conversations with the students in a new light—often still inappropriate, but less potentially actionable than they first appeared.

I love, too, how Yoshinaga balances relatively lighthearted day-to-day stories for the students with some pretty serious dramatic issues for the adults, like Saito and Koyanagi’s relationship and the plight of Harutaro’s homebound sister, Sakura.

KATE: I’m really glad you mentioned the adults, Michelle, because Yoshinaga doesn’t reduce them to cartoons — evil principals, hot teachers, overbearing parents — but portrays them as real people struggling with real problems: maintaining authority in the classroom, establishing appropriate boundaries with colleagues and students. That’s one of the reasons I love this series so much: the conversations in the teacher’s lounge have the same ring of truth as the discussions at the manga club’s meetings.

MICHELLE: The presence of so many parents makes me very happy, actually. I especially love how helpful some are with the Christmas party the kids plan, and how the kids then come home and thank them, or tell them about how things went. Very few actual teens are super-powered orphans, after all.

DAVID: It’s reflective of one of the things I like most about Yoshinaga, no matter what category she’s visiting. Her characters tend to have rounded lives. They have friends or lovers, sure, but there are other people who populate their worlds. She’s open to the kinds of digressions that make stories richer for me.

MJ: Speaking of the Christmas party, I think it stands as a great example of why the story’s universe feels so real. The kids are initially over-optimistic in their planning, only to realize as the party actually approaches that they’re all under-prepared on some level. At this point, I’d expect a typical shoujo manga to go in one of two directions. Either the kids would pull together at the last minute and make their spectacular party dreams come true, or everything would be a spectacular failure, but somehow they’d have fun anyway, learning a lesson about what’s really important. Yoshinaga goes in neither of these directions. Instead, some things work out, some don’t, and the stuff that gets pulled together is for the most part not quite what they dreamed of, but adequate for reality. The real story is in the fun they have with each other and not any of the organizational close calls, just as in real life.

So, getting around to some of Michelle’s 10,000 words on Majima, one of the things Yoshinaga seems to specialize in is taking common manga tropes I generally find distasteful, and making them really interesting instead. I’m not a fan, for instance, of student-teacher romances, especially when the student is underage, but I have to admit that the obviously problematic relationship that develops here between emotionally-stunted Majima and his lonely teacher Saito is completely fascinating to me, in all its messed-up glory. Is it just me?

MICHELLE: It isn’t just you! I loved the scene where Saito finally breaks it off with Koyanagi-sensei, wanting him to remain the good father she always loved him for being, and runs into dispassionate Majima’s arms. But then I felt kind of bad for loving it so much. I shouldn’t be rooting for the teacher to choose her sixteen-year-old student!

MICHELLE: The message I got from this is “you don’t have to try to impress your friends, just be yourself.” That same idea comes through when Mikuni is allowed to see the true messiness of Harutaro’s room and they bond as a result. Really, Yoshinaga doles out quite a few lessons about friendship, like, “you don’t always have to like the same things in order to be friends” (Takeda, Isonishi, and Jinnai) or “you don’t always have to agree about everything” (Mikuni and Harutaro)” or “there are one-sided feelings even in friendships” (Yamane and Sakai). I feel like I should hand this out to teenagers as some kind of handbook.

MJ: Michelle, I’m totally with you. Also, I will point out that Yamane/Sakai is one of three questionably-canon “‘ships” I once begged for from fandom. I love their little book-borrowing story just that much.

DAVID: I don’t think I’d go quite so far as to say I liked the relationship, but I certainly understood it. It was a very credible part of the spectrum of imperfect connections that Yoshinaga portrays throughout the series. And I absolutely admire Yoshinaga’s ability to make me invested in a character like Majima without having to like him even a little bit. That’s a tough bit of acrobatics.

MJ: That’s exactly the thing, isn’t it? Yoshinaga doesn’t necessarily make us like everyone in Flower of Life or everything that happens in the story, but she makes it all so compelling, we dismiss the desire to reject it. As little as I like Majima, his character’s journey is one of the most interesting to me, because Yoshinaga never takes the easy way out with him.

I feel a little guilty, leaving Sean behind here when he’s just finished volume one. But Sean, I’m actually really interested in your comments earlier, because it sounds like Majima is actually the character you’re most interested in at this point.

SEAN: Yes, sorry for being so silent. I did only read Vol. 1, and am planning to review it tomorrow, so want to avoid repeating myself too much. :) And yes, Majima fascinated me, if only as there’s no glossing over his otaku-ness. He actually reminded me a bit of Naoto in Itazura Na Kiss, who is early, retro shoujo jerk, so doesn’t have the ‘soft edges’ or occasional pet the dog moments that our modern shoujo jerks get in order to make them appealing. Majima’s otaku creepiness is unapologetic and a little scary, especially to the Japanese who have a definite view of this sort of obsession. The joke, of course, is that he’s an older-looking handsome young man, who would no doubt have friends and potential lovers falling all over him were it not for… well, everything he says and does. Even when people THINK they understand him… witness the chapter where they think he’s offended by their teasing him and try to apologize… but he’s still upset as they go about it the wrong way. I’ll definitely be looking forward to Vols. 2-4, as I’m hoping that, while I’m sure he will gain some depth and kindness in there, he retains his basic creepy unlikeability that makes him so interesting.

MICHELLE: I find him fascinating for much the same reason: he doesn’t seem to have any redeeming qualities. Readers want to like him, but time and again, he gives us reasons not to. I think it’s a pretty stunning portrait of the fixated otaku, personally, with the arrogance and obsession coupled with a preference for 2-D girls (of a very specific forehead-showing, glasses-wearing type) and a lot of hostility towards real women (witness the top three things he has wanted to say to one).

I actually found myself wondering what Tohru Honda would make of him, someone whom her warmth could not penetrate and help to heal. I think she’d find him pretty terrifying.

KATE: I appreciate the fact that Yoshinaga doesn’t try to sand away Majima’s edges; I have a deep loathing for authors who give their curmudgeons and eccentrics falsely redeeming qualities. (It’s one of the reasons I can’t sit through an episode of House!)

Switching gears a bit, one of things I find most fascinating about Flower of Life is that it’s the least mean-spirited satire I’ve ever read. Yoshinaga is clearly having a ball poking fun at series like Genshinken — not to mention every shojo manga that involved a school play — yet at the same time, she isn’t mocking her characters for their passion; their let’s-make-a-manga enthusiasm is contagious. That kind of balance is very hard to pull off, since the story can easily tilt towards snark or flat-out hokum. The results remind me a little of Shaun of the Dead: it works equally well as a zombie-movie parody and a straight-ahead horror flick with comic elements.

DAVID: I think the Shaun of the Dead comparison is really apt, because the characters aren’t only reacting to each other as characters, they’re responding to the ways they fill certain genre tropes. Funny and great as the long set pieces are, like the school festival and Christmas party and study session, there are lots of little moments. A particular favorite is when Sumiko, the female otaku, tucks her hair behind her ear and reveals herself to be unexpectedly beautiful. That’s perfectly executed, especially for the reaction of the onlookers. They all recognize the moment, and it resonates with them, even beyond the actual surprise of the reveal. And I also love how Harutaro and Sakura totally geek out over how adorable Shota is. That’s like a Twitter conversation about favorite characters between enthusiastic fans. But really, that’ one of the great things about this series: that all of the characters are essentially fans of one another, finding those recognizable pop-culture resonances in the everyday people around each other, and celebrating them in these odd, quirky way.

MJ: That’s such a great way of describing it, David! And I think you and Kate have put your finger on one of the reasons the series’ warm feel really works for me. There’s no saccharine quality in it at all. The characters genuinely like each other (mostly) but so much of what holds them together as a group is a common point of reference. It’s odd that this should feel extraordinary, but when I’m reading Flower of Life I become aware of just how rare it is for a writer to really capture that sense of shared pop culture between characters.

MICHELLE: Another thing that prevents that saccharine feeling is that we’re not told over and over that they like each other. Yoshinaga simply shows it, over and over, in marvelous ways. Even the episode that comes closest to bullying—when several classmates gather around Shota and proclaim him a “good fatty”—seems to be born more of ignorance than genuine malice. And, of course, characters argue or disappoint one another. They’re not perfect sunshiney friends 100% of the time, but that doesn’t prevent them from being friends and may, in fact, bring them closer as they recognize their own faults in others.

MJ: As our time runs out, I guess we’d better wind this down. But honestly, I could talk about this manga forever. It’s a favorite that surprises me with its warmth and freshness every time I reread.

Thanks, all of you, for joining me here during such a busy week!

Manga the week of 8/24

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Um… yeah.

That’s it. The third of DMP’s small releases of Yellow 2, its yaoi title featuring two ‘snatchers’ who go up against the mafia.

And… nothing else. No Viz, no Yen. Not even Kodansha, who seem to be absent from my comic shop as well as Midtown. Just… Yellow 2.

With that in mind, why not get some titles from the new JManga initiative?

Guest Feature: Why You Should Read Evyione, Part II

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Why You Should Read (and Want More) Evyione: Ocean Fantasy
Part II

Evyione: Ocean Fantasy, loosely based on “The Little Mermaid,” is a wonderful manhwa which is on indefinite hiatus in English. Here I present the case for continuing Evyione in English.

In Part I I described the merits of the artwork in Evyione: Ocean Fantasy. The artwork was the main draw for me – in the beginning. However, if I only cared about the art, I would advocate bypassing the Udon Entertainment edition and going straight for the original, Korean-language edition. It is because of the story’s impact on me that I am encouraging people to try the Udon Entertainment English-language edition.

What about the story engrosses me so much? The answer, while simple to name, is complex to describe: the connections between the characters.

Character Crystals

The characters are like crystals. At first, the characters seem to be simple yet warmly rendered examples of standard archetypes, just like the characters in well-told fairy tales. Being a comic based on Hans Christian Andersen, this feels appropriate, and it feels even more appropriate because it fits the artistic aesthetic I described in part I. Crystals, too, can appear beautiful yet simple upon a glance. And like crystals, at first the characters seem like they will never change or show depth – just as fairy-tale characters generally do not change or show depth.

Of course, crystals do change and can have hidden complexity, and the same is true of the characters in Evyione: Ocean Fantasy. Kim Young-Hee reveals the humanity in the characters just as a jeweler might reveal the gem in a crystal – by rubbing the characters against each other to gradually uncover an underlying layer, or by striking them against each other to expose a new facet. Different characters pull out different qualities from each other. Watching the characters rub, strike, and connect with each other, slowly exposing themselves, is exactly why I love the story.

This dynamic is not apparent in the first volume. It takes time to reveal the characters and to weave the complex web of their relationships. In volume one, Yaxin pretty much only interacts with the sea witch, Evyione and Fidelis are mostly interacting with each other, and Owain only interacts with Evyione, and not for very long. Fidelis – the less I say about him, the better, because it is hard to talk about him without blowing a significant bombshell. Owain might be my favorite character (aside from my other favorite characters – it is tough to pick just one), and based on the artist commentary section, he seems to be the most popular character among Korean readers too. And of course, Yaxin and Evyione’s relationship is the beating heart of the story. The connections – and potential connections between the characters – drive much of the suspense, and as it takes a few volumes to build things up, it means that it is much harder to be left hanging at the end of volume 6 than at the end of volume 1.

An Example

To really show how engrossing the connections between the characters are requires an in-depth example.

I do not want to use Yaxin and Evyione’s relationship as that example; it is difficult to have a meaningful discussion of their relationship without spoilers. Though if you want a taste of that, the summary would be: the connections between Evyione and Owain, Yaxin and Owain, Evyione and Fidelis, and Evyione and the king’s brother are all worthy reading in their own right – and they all help Evyione and Yaxin’s relationship attain that special something which makes me tear through the volumes, difficult Chinese phrases be damned, to finally get to the scenes between the two.

Anyway instead, I will describe the relationships around the Queen, Evyione’s stepmother.

The Queen

The queen is a very refreshing take on the fairy-tale stepmother. For starters, she is not evil. This grants the queen the freedom to act like a human being instead of a stock villain.

The problem stems from her marriage. The king and the queen do like each other, though ‘love’ is probably too strong a word. However, the queen thinks that when she is no longer young and beautiful, the king will discard her. She thinks that the only way to protect herself is to bear the king’s children … yet after three years of marriage, she still doesn’t have any children. And this kicks off a chain of events.

As a source of comfort and support – or, perhaps not – comes Marie-Anne, the queen’s old lover from France. While the queen is married to the king, Marie-Anne is clearly her real partner. The queen, insecure as she is about her marriage, avoids openly disagreeing with the king, and in the one scene where she does, in fact, say to the king that she disagrees with him, she immediately tries to diffuse the situation. However, when she disagrees with Marie-Anne, she never hesitates to call her out on it. In other words, unlike from her husband, the queen insists on respect from Marie-Anne. If they could have, the queen and Marie-Anne would have probably married each other long ago. Which makes me wonder – is the ultimate cause of the queen’s problems the fact that her society doesn’t accept queer relationships?

However, Marie-Anne’s presence is not exactly beneficial. Her attempts to intervene in the queen’s problems only make them worse. And Marie-Anne has ulterior motives for coming to Emvonia. The queen is partially aware of this. While the queen does not seem to like it, she is not trying to stop Marie-Anne – so far. But when the queen figures out the full extent of Marie-Anne’s activities … to be honest, I do not know what is going to happen, but it will not be good. And there is the question of how Marie-Anne will respond. Marie-Anne really does seem to love the queen. If she had to choose between the queen and her goals — and she probably will have to choose eventually — I am not sure which one she would pick.

While the queen’s sub-plot at first is confined to a few characters, one by one, others get dragged into the mess. Each new character adds to the fray of course adds a whole new set of complications. And each additional character draws out a different part of the queen, making her an ever richer character.

What really breaks my heart is the toll these events are having on the queen’s self-esteem. She really is a good person. However, desperation causes her to do some less than ethical things. That makes her think that she is a bad person. And she is blaming herself even for things which are not her fault. While this tragedy started because the she thinks that her husband does not see any worth in her beyond her beauty, it seems that she now thinks that her husband is right. And that is definitely not true.

Spectacular Moments

When I think of Evyione: Ocean Fantasy, my mind often drifts to specific spectacular moments, the culmination of everything good in this comic. For all that I tried to break the discussion of the art and the story into different sections, the two cannot be completely separated. The artwork provides the potential to be striking; the plot provides the potential to be surprising; the character development provides the potential to be moving; when even two of these things come together, the result is spectacular.

An example I should have used in part 1 – but which also fits here, because it is important for both the artwork and the story – is a scene in which one character wakes up in chains, and then sees another character, wearing a mask, approaching. It is a bizarre scene. Both of the characters have ingested drugs, and it comes through in the drawings. This a wonderful example of how the story supplies a great subject for the artwork. Indeed, this scene is mostly told through what is seen, not what is said. This scene is unexpected, yet so visually imaginative, and yet has seriously scary implications for the characters involved. The first time I read this scene, I was so stunned that I temporarily stopped thinking. Heck, re-reading this scene for the purpose of writing this paragraph made my neck tense up. This particular moment marks the shift of the story into a much darker direction, and was one of the turning points which made me fall for Evyione: Ocean Fantasy that much harder.

Read Evyione: Ocean Fantasy! And Talk about It!

If you think you might like Evyione: Ocean Fantasy, please, please, PLEASE buy volume 1 of the Udon Entertainment edition. It is still available for sale. And if you do, in fact, like it, please tell people about it. Blog about it, if you have a blog. Volume 2 is never going to come out in English without sales and buzz. And volume 2 really should come out in English.

Finale

This review covers a lot. To wrap it all up, I wish to share one of my favorite moments. Enjoy.

*

Yaxin is bathing by the rocky sea shore. Hearing footsteps, he hides.

It is Evyione.

She is wearing a black robe à la polonaise. The area from the top of her stomacher to the bottom of her chin is completely covered in black lace. The engageants (sleeve extensions) are made from a matching set of black lace, yet her sleeves short enough to leave her fair skin exposed between the engageants and her black gloves. And her black hat comes with an elegant set of ribbons. While it is a very fine dress, it is actually plainer than most of the dresses she wears. It is a dress for mourning.

Evyione starts crying.

In many other comics aimed at a female audience, Evyione would have struck a dramatic pose as she cried, artistic flourishes would spill out onto the page, and/or the panels themselves would contort to share in Evyione’s grief. However the artwork of Evyione: Ocean Fantasy, simple and natural as ever, just lets Evyione stand and sob her heart out.

As Yaxin watches, he narrates [quote translated from Chinese] “I do not know why she came to these deserted rocks by the sea, but she looks like she is extremely sad … The sound of the never-ending waves crashing on the rocks seem to be trying to cover the sound of her weeping … The sound of her sobs is gradually ebbing … The sound of her breath is also gradually becoming slower … Now her footsteps sound like they belong to a completely different person … She has straight away turned her body, climbing the stairs, having completely recovered her normal calm self, seeming as if she had never wept.”

I love this moment because this is one of the very few times that Evyione freely expresses her feelings. And after her release, the reader watches her put back on the social mask that almost always wears to cover up her unhappiness.

Evyione is weeping because she believes that Yaxin is gone forever.

Sara K. has spent almost all of her life in San Francisco, California. She got tired of living in San Francisco, so one day she boarded a plane bound for Haneda Airport, and has never been back to San Francisco ever since. She currently lives in an Asian city you have never heard of.

Roundtable: On Fanfiction

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MJ: So, I’ve been blogging in this general location about manga since late 2007, and this has long been my “professional” venue for writing about the things that make me fannish. I’ve met nearly everyone I know in the manga blogging community through this blog, including both of you. But what I don’t talk about much here are the many years before that I spent blogging on LiveJournal, in a subsection of fandom focused mainly on fanfiction.

Up until recently, I was the only blogger here at Manga Bookshelf with a real history in fanfiction, but with Sean now on board things have changed, and I admit I’m kinda thrilled to have the opportunity to talk about this aspect of fandom that was once incredibly important to me. To that end, I’ve invited Sean, along with Michelle (whose interest in fanfiction is new and somewhat tentative), to join me in a roundtable discussion on fanfiction.

Now, I have a lot of highfalutin’ ideas about fanfiction, why I wrote it, and why I think it’s important as a form of meta discussion and even criticism, but let’s start by talking a bit about how we got into fanfiction in the first place. Sean? Michelle?

SEAN: As I’ve mentioned elsewhere, I am that sort of person who got into fanfiction, and indeed started writing it, before he got into anime and manga. Barring the usual Battle for the Planets/Speed Racer as a kid, my first exposure was in 1995, when I started reading Stefan Gagne’s Ranma fanfics. This quickly led me to John Biles’ fics, and from there I was hooked. I began writing Ranma in early 1996… and started reading it about mid-1996. XD

I was hardcore Ranma for about a year and a half, but then started branching out to more fandoms. At last count, I’d written for a good 30 or so fandoms, including some Buffy and Phoenix Wright fanfics in the non-anime world, with my last fic to date being in the world of Strawberry Marshmallow. I’m semi-retired (the fancy Internet way of saying lazy), but you never know what will pop into my head.

As for why I wrote it? The ideas get in your head and won’t let go. Or you want to finish the story before the author does. Or you’re rebelling against the preferred pairing. Or you want to see if you can do something people tell you is impossible. Or you want to expand on a minor character’s motives. Or you want to bash. I mostly avoided that last one. Mostly.

I still READ fanfiction constantly, of course.

MICHELLE: And then there’s me. I have read three fanfics so far and written about half a dozen drabbles.

MJ: Yeah, but you did a lot of RP writing, right? That doesn’t seem all that much different to me.

MICHELLE: Oh yes, tons and tons, mostly in the Harry Potter realm. I suppose it’s not that different. Though the way we did it—picking a point in chronology and continuing on from that point—didn’t set off my “canon is sacrosanct!” alarms as much as it would’ve if we’d been trying to wedge our original characters into the official storyline or something.

MJ: Like Sean, I got into fanfiction long before getting into manga, and in fact, I’ve written relatively little in manga fandoms. Though my first formal attempt at fanfic was in 2003, in retrospect I realize I’ve been writing it since I was a child, one way or another. From the epic Zenna Henderson-inspired stories my little sister and I acted out with our Barbies to the Buffy/Angel song from my singer-songwriter days, I’ve always felt the impulse to interact with fictional universes by finding ways to create within them.

With that in mind, I must embarrassingly admit that what actually pulled me into writing real fanfic was the world of LOTR RPS (Lord of the Rings Real Person Slash aka “Lotrips”), where the “canon” was basically movie industry gossip, blown up into a fully-fledged fictional world by the fanfic writers themselves. My friend Jaci lured me in with her own wonderful writing, and before I realized what I was doing, I was participating regularly in the LJ multi-fandom slash community contre la montre, which offered up weekly speed-writing exercises for anyone who cared to join.

For a while, I felt too intimidated by real fictional canons to try writing publicly in them, but reading the fifth Harry Potter book got me over that, and thus my proper fanfiction career began. Though my heaviest writing years were spent in Harry Potter fandom, I also dabbled as a writer in fandoms like Buffy the Vampire Slayer and Firefly, and then much later in manga fandoms like xxxHolic, Hikaru no Go, and Banana Fish.

For me, writing fanfiction was mainly a means for participating in what I perceived as an ongoing meta discussion between writers, as well as a vehicle for interacting with the text in a very personal way. Though as I say that, I realize that a huge percentage of my fanfiction was written for either organized challenges or as gifts, some of which certainly seemed impossible or at least difficult at the outset (Neville/Oz, anyone?) so apparently I liked that aspect of it too. Fandom was a tricky place for me at times, partly because I was an omnivorous reader, with an interest in slash, het, and gen, and partly because my concept of an OTP is very, very… loose.

That last point, Sean, reminds me of something you said in your “thoughts on fandom and shipping,” specifically item two: “You can ship more than one contrasting couple at the same time, and not be betraying anyone.” In fact, both of your first two points there made me think, “Aaaaah, here’s someone I can actually talk to about fanfiction.”

MICHELLE: I’ve now gone to that link of Sean’s and returned, feeling rather illuminated about various fanficky conventions that have puzzled me. I must say I haven’t got much of a passion for “shipping,” but there are definitely a few pairings here and there where I think they’re genuinely in love with each other (Remus/Sirius in Harry Potter, Fai and Kurogane in Tsubasa RESERVoir ChroNiCLE) even if I don’t believe they’re actually getting it on.

I think I thought that fanfic writers all did genuinely believe these characters were getting it on, and part of the reason I’ve opened my mind lately is the realization that, for some (perhaps many), it’s a kind of writing challenge or, as Sean puts it, a “what if.”

MJ: Actually, Remus/Sirius is one of those pairings I feel strongly that the author actually wrote into the story and then hurriedly covered up later on when she realized what she’d done. And I stand by that, because clearly Alfonso Cuaron agreed with me on the first bit.

But yes, though there is sometimes generous subtextual support, generally I think non-canon pairings are pulled from our imaginations.

SEAN: As I’ve noted, I don’t WANT shipping in One Piece itself, but love it in the fandom. For one thing, the lack of canon romance leads to less yelling in the fandom. Sure, there’s some arguments between shippers and non-shippers, and the occasional rare slash v. het thing, but it’s mild and easily ignorable. Compare this to Bleach, where you simply CANNOT ignore the shipping. It was fine for about 25 volumes or so, but then Orihime told a comatose Kurosaki that she loved him. (As if this wasn’t obvious before.) FOOM! Made even worse that the two lead females are of almost complete opposite personality type, and you have a situation that simply cannot resolve easily. As a result, even in chapters where neither character appears, the debate tends to rage about them. (Let’s not mention Hinamori right now, that’s another kettle of fish.)

Some worlds are fun to read about, but I wouldn’t write in them, simply due to wanting to avoid arguing. Harry Potter is an excellent example. My ship of choice, Harry/Luna, is a fun one, and I can give you endless reasons why I think it’s best. But one of the biggest would be: “It doesn’t get into the H/Hr vs. H/G wars”. H/L fans tend to sit on the side and eat popcorn while those go on. Before Book 5, I didn’t really ship Harry with anyone, as Ginny was poorly fleshed out, and while I liked Hermione, her fans were insane. This has not changed with the release of Books 5-7 and the movies. :)

MICHELLE: Is there much fic written anymore where there isn’t boffing? I’m fairly smut-averse, myself…

SEAN: There is, but no one reads it. :) Seriously, lots of people write what is called “gen fic,” but with FFNet now providing sorting by pairing, many folks never see it as they sort for the ships they like and it floats by. It also gets far less reviews and attention than a hardcore shipping fic does. A lot of what writers want, especially young writers, is other people reading and saying “You are correct, that is awesome that you wrote that!” It’s easier to get comments if you write romance. Sadly, this is the nature of the Internet Beast

Another problem with fandom being “serious business” is that people start to take their own writing seriously. Yes, many fanfics were written for a need to see deeper characterization, or an epic that spans generation. But other folks wrote a fic as they thought “Wow, those two would be really hot if they screwed each other.” And that’s EQUALLY valid. I can pick apart your characterization, spelling, or lack of attention to basic anatomy, but I can’t attack your desire to write porn. That’s a valid choice, and I approve of it. God knows I’ve done it. A Phoenix Wright fic I wrote was a deliberate attempt to write a ludicrous porn story, with the title “Turnabout Orgy”. It’s not remotely my best work. Hell, it doesn’t even have much detailed sex. But it achieves what I wanted.

MICHELLE: Well, you can do romance without boffing! :) I should note that I don’t, in principle, object to people writing explicit stories or anything. I just don’t particularly want to read them. :)

MJ: Very little of mine involves boffing! Though I will always love a love story. And, y’know, I’m not averse to smut. Some of the most fun writing I ever did was for the recurring multi-fandom challenge, “Porn Battle,” and though even my smuttiest writing tends to be tamer than most, it can feel very freeing and, yeah, sometimes genuinely erotic.

Sean, I have to say if there’s one thing I’ve never understood about fandom, it’s shipping wars. Fortunately, it’s less of a big deal in slash fandom, where I spent most of my time, even when I was reading & writing non-slash. I think maybe because slashers never expect their favorite pairings to turn up in canon, they’re less likely to fight over it. At least that was my experience in Harry Potter fandom. I do recall knowing about some massive flamewars related to Prince of Tennis slash ships.

Also, Sean, to comment on your Harry Potter preferences, I think I tend to be partial to Neville/Luna more than Harry/Luna, but then, I pretty much ship Neville with everyone, so it’s not much of a stretch for me. Even back when I thought I ‘shipped Harry/Draco, my heart always belonged to Neville. ;)

SEAN: I do wonder how xxxHOLIC fans felt about the one or two threesome fics I saw that involved Himawari with the two guys.

Most likely, “Who is she again? Oh right.” :) It’s easy to not have a shipwar when your ship has a monopoly.

MJ: Actually, I think that’s a pretty popular OT3! True, though, there’s only one major pairing in xxxHolic fandom, though I’ve seen some Yuuko/Watanuki fic out there.

SEAN: How did xxxHOLIC fans react to the ending, out of curiosity? I know I had one experience with a fandom, School Rumble, where the manga ended SO badly that the fandom basically completely died. It was stunning to see. Everyone stared, bitched for about 2 weeks, then… stopped. And then the silence. And it never recovered (which is likely why Kodansha hasn’t picked up the remaining books).

MJ: Honestly, I don’t know. I’ve been waiting for the US releases, so I stopped hanging around xxxHolic fandom so as to not get spoiled. I will say, though, that I think Harry Potter fandom has never fully recovered from the Epilogue. It’s still alive—fandoms that big never die—but it’s not what it was.

MICHELLE: Aside from Remus/Sirius, which might as well be canon as far as I’m concerned, I can’t imagine shipping anybody in Potter, really. Like, I love Snape very much. I mean, really really love him. But I don’t want to read about him hooking up with anybody.

SEAN: Remus and Sirius are up in Heaven shagging right now. With Tonks. (runs away fast)

MJ: I can go with that.

MICHELLE: Ugh. :)

SEAN: Part of the reason I’ve always associated fics with shipping is my initial fandom: Ranma 1/2. In many ways, it was the perfect breeding ground for fanfic writers. The series was popular and dubbed in the mid 90s. The manga was coming out in Japan till 1996, but we had no access to Japanese volumes at that time, so theorizing was king. The characters were highly interesting types who were nevertheless two-dimensional, so they inspired fanfics that ‘deepened’ their characterization. The basic premise had implications almost entirely ignored by the author. Again, perfect for fanfics. (What would pregnant Ranma be like? What if Ranma gets a period?) It was an action-oriented comedy harem series, perfect for male writers, with strong female characters and hot guys, perfect for female writers.

So if you wrote Ranma in the 1990s, and you weren’t trying to simply duplicate the series with your own plot, you tended to write continuations (providing your own ‘resolution’ to the romance), the genre ‘For Want of a Nail’, where you change one plot point and see what happens (what if it was Kasumi who was cursed?), darkfics (what if Akane had a genuine mental illness and start to seriously injure Ranma?), or lemons (what if everyone finally got it on?). All of which either involve the romantic pairings, or in some ways are biased towards one or the other.

There was an entire GENRE of Ranma fics circa 1998 called ‘The Bet’, the basic premise of which was similar to For Want of a Nail but with the proviso that Akane was treated poorly or written out. The creator hated her, and said anyone could play in his pool, basically, if they observed the rules and did not pair Akane with Ranma. Likewise, I believe Sailor Moon had many, many ‘Mamoru must die’ fanfics written in the late 90s as well. Which just goes to show, I guess, that the more things change the more they stay the same.

And before anyone asks, no, I was never in the Pokemon fandom, so missed ALL of that.

MJ: Despite my deep enjoyment of gen fic, I admit I tend to associate fics with shipping, too, and for similar reasons, actually, since the bulk of my writing was done in Harry Potter fandom. Romance is one of the things JK Rowling writes the least well, so it’s hard to write in that fandom without wanting to do better, no matter what characters you’re writing about. I think, too, as an adult writing in a universe created for kids, there’s a real impulse to want to grey up some of its more black-and-white concepts, if that makes sense.

MICHELLE: There certainly was lots of adultifying and greying up of Potter going on on the RP game I played. Of the genres Sean mentioned (I admit that “For Want of a Nail” sounds really cool to me, by the way) our game was like a continuation. Everything up through Goblet of Fire (the latest book at the time) was canon, and then we went from there. We defeated Voldemort in our own fashion, and it was fun to see what we actually got right when the official books came out.

MJ: One thing I feel like I should say here is, that in my experience, almost any romantic pairing can work in fanfiction, if it’s written well enough. That’s one of the reasons I never understood shipping wars. Sure, I had my favorite ships, but a good writer could make me like almost anything. I have a couple of issues that are non-negotiable, but for the most part, I’ll give myself over to any writer who can make me believe, even just in the moment.

SEAN: I’d take that further: almost anything can be used in fanfic if it’s written well enough, romance or no. You want to write hot hot fic showing the forbidden romance between Remus Lupin and a potato? Is it well-written and reasonably in character? Sure, I’ll go with it. (Also, the potato totally tops.) If you’re writing a crossover between 270 series, and can make readers keep track of it all without the need for huge charts? Congratulations. Want to kill off the entire cast in a plausible, believable way that’s not just an excuse for gore? Knock yourself out. Want to write a self-insert where you become immortal and end up in Crystal Tokyo running a radio station and married to Sailor Saturn? Well, OK, that one’s been done.

The difficulty, of course, is in making it good. Which is why one needs pre-readers/betas. Sadly, they’re harder and harder to get these days. But they can, if they’re good prereaders and not just “Looks good, write more!” types, tell you when you’ve lost the reader. Why are you quoting your entire record collection in this fic? Why are you devoting 20 pages to saying how horrible this person is? Why is Hermione using an iPod at Hogwarts? For the last time, it’s you’re, not your! That sort of thing. A good spellchecker is not the same thing.

MICHELLE: I get where all of those things you mention would be fun to write and even an admirable accomplishment. I’m just not sure I’d want to read any of them, except the killing the cast one, perhaps. Personally, I still balk at things that challenge canon too much. Like, the first fanfic I ever saw was on a Battle of the Planets mailing list. So I am, like, “Oh, what’s this? Is it a story? What’s going… oh my god! Ken and Joe, noooo!”

SEAN: One other type of fanfic I forgot about, mostly as it’s a fairly recent development that wasn’t around when I was really active, is the Peggy Sue fic. No, not Mary Sue – those have been around much longer. In Peggy Sue fics, the characters go back in time and inhabit their earlier bodies, usually reliving their lives to ‘do things properly’ this time. Yes, this usually involves shipping too, but it doesn’t have to – there’s a fantastic Harry Potter fic called Oh God Not Again where a happy and content Harry in the future accidentally goes back in time – a one-way trip. He decides to simply screw around with everything for his own amusement. No ships whatsoever. This genre is especially prevalent in Harry Potter and Naruto, but I’m starting to see it elsewhere too. (It’s highly variable, as much of the time it’s an excuse for character bashing – ‘if only I’d known Ron was a pedophile rapist wife-beater, I’d never have befriended him!’ etc etc etc.)

MICHELLE: Oh, that sounds like fun. Having some kind of construct like that in play would probably nullify any canonicity issues by virtue of it technically being a continuation. Happily wedded to Ginny, Harry goes back and time and thinks, “Hm, what would’ve happened if I’d invited Luna to the ball that year?”

MJ: I agree with Sean on all points here (including the potato), and I think Michelle, where our view of fanfiction really differs here, is that I don’t actually consider any of this stuff to necessarily be a challenge to canon, or at least that’s not at all the way I think about my own writing. Sure, there are times when one might write a fic specifically with the purpose of “righting” canon, but most of the time, even when there’s a strong urge to diverge wildly from canon or just to seek out nuance the original author didn’t take time with, it’s about exploration, not contradiction.

Often, I’ve taken the smallest detail about a character and formed an entire universe around it, not because I think that’s what should have been in canon, but because it allows me to examine that aspect of the character more fully. For instance, I once basically created an entire piece of fanfiction based on the fact that Remus Lupin once encouraged Neville Longbottom to fight a boggart. I thought about how important that moment might have been for Neville, who generally was treated like a squib, and how that might have affected his feelings and actions over a long period of time, even into adulthood. None of what I wrote actually happened in canon, of course, but I didn’t write it to challenge canon. I wrote it to more deeply explore the potential ramifications of something that was already there. On one hand, it’s sort of an abstract exercise, but on the other, it also serves as way of expressing my thoughts about that one moment to a whole slew of other people more effectively than I could by any other means.

This is where, for me, fanfiction serves as an ongoing discussion between the people who read and write it. Since most of us are doing both, reading and writing, we’re constantly listening to each other and responding in one way or another, even if the conversation itself is completely unconscious.

MICHELLE: I am realizing more and more than “exploration” is the key here, but I spent a lot of time believing that fanfic writers believed what they were writing was true, or at least better than canon, which is the fuel for a lot of my lingering hesitancy. I mean, I’m sure there are people who would argue that The Doctor really is schtupping his companions off-camera, but perhaps they’re not the norm?

SEAN: I don’t. In fact, I was in Who fandom from almost since I could walk, and didn’t even realize there was a possibility of sex in the TARDIS till 1994 or so when I got on the Internet in college. And even then, there was very, very little of it. The sex came with the new series, and in particular the new fans, who saw 9/Rose (and 10/Rose) and had no preconceptions of “The Doctor has no sexuality, he’s above such petty human things” the way old-school fans had. I ship 10/Donna, but not canonically – I just think it’s fun and that they’d be hellaciously sexy in bed (10/Rose not so much, though I get the hurt/comfort value there.)

Another thing to note is that we three are, in Internet years, senior citizens. When I got into fics, most were college age writers and above – they started writing when they got the ‘net at college. Now that everyone has the internet, the age level of fic writers has dropped drastically, and you do sometimes see ‘Sorry, AFF readers, had to delete all my 10/Master porn, my mom found it.’ Not to mention the 12-year-olds writing fics at 7th grade grammar level (or well above, to be fair, but…)

MJ: Also, fandom as a whole is gigantic, and it’s spread all over cyberspace. I was already in my thirties when I started writing fanfiction, but because I had friends from other parts of my life who had already been writing for a while, it was pretty easy on Livejournal to find myself a fandom community of other likeminded adults who wrote thoughtfully and were interested in fanfiction for the same reasons I was. We were all on each others’ friends lists, and we tended to use the same community spaces, so we basically made our own subsection of fandom that worked the way we wanted it to. And there were probably a million other fandom corners on the internet just as specific.

The sprawling nature of the internet can seem overwhelming and unnavigable if you’re just trying to find one good Snape fic, because there isn’t any single, central depository for it all (though plenty of sites have tried to be that), especially in a big fandom like Harry Potter. But there are also real advantages to building small communities with their own group standards, because it means that once you’ve found your community, you can be pretty sure that you’ll enjoy the majority of what it produces.

MICHELLE: Yeah, the “sprawling nature” issue has been another discouraging factor for me. Like, I really don’t want to read something crummy if I can help it. The stories you two have sent me have been works you’ve been proud of (and deservedly) and therefore I enjoyed reading them ‘cos they were legitimately good. I don’t relish the idea of wading through a bunch of dreck. Maybe I am a “private corner” sort of person, too, who will just write my little Buffy things off by myself somewhere. :)

MJ: Of course, one way to pretty much ensure yourself a small fandom corner is to write in a very small fandom. On one hand, you’ll never receive the amount of feedback you might in a big fandom, but small fandoms tend to attract interesting, experienced writers who aren’t in it just for the squee. One of my favorite fandoms to write in was Banana Fish, which I think has something like five people participating in it at any one time. Actually, five may be a very generous estimate. It can be hard to handle the fact that your friends outside the fandom might have little interest in reading your fic, and you won’t get pages of feedback, but what you do get will be really heartfelt. And you have the opportunity to provide that in turn.

That said, big fandom does offer some rewards that small fandom can’t provide. My initial entry into Harry Potter fandom was via Harry/Draco, which was at the time by far the most popular slash pairing in HP fandom (and thus, the wankiest, but that’s another story entirely), with a huge catalogue of fic already written, including a hefty number of established “classics,” and thriving communities on Livejournal, FF.net, and FictionAlley, among other places. The whole thing was a bit intimidating, so when I decided to attempt writing in H/D fandom, I spent over two months planning and piecing together my fic with feedback from four beta readers (including one UK reader to specifically check my Briticisms) and three H/D-loving friends, finally posting it on Livejournal with the pessimistic subject line, “The dreaded HP fic.” I was completely unknown in that fandom, but thanks to a rec from one popular HP writer on my friends list, the thing spread like wildfire, and before I knew it, I had a couple of pages full of comments and recs popping up everywhere. That can never happen in small fandom, even for an experienced, well-known writer. To this day, that “dreaded HP fic” is the most popular I’ve ever written. And while I’d never say that I wrote fanfiction for the feedback, it can certainly be gratifying, especially for a new writer.

Sean, I’d be interested in your thoughts on big vs. small fandom, especially since we ran in completely different fandom circles, from what I can tell.

SEAN: It can help, but it depends on how much you’re looking for an audience. The most responses/reviews I’ve ever gotten were for a) A Kodomo no Omocha fic which I wrote in 1 hour for a contest, which was basically a ‘hit the giant emotional button’ fic, and b) my Sailor Moon self-insert, which is mostly along the lines of “I can’t believe you wrote a self-insert I didn’t hate!”. So one small-ish fandom and one large there. To be honest, though, most of my major writing was in the pre-LJ, pre-FFNet days, so most of my C&C came from mailing lists or on USENET. Remember them? :)

To a degree, we all want our fic to be read and praised (or panned), but a lot of the time when I write a fic, the primary audience is me or my close circle of friends. So while I do appreciate the larger number of reviews I get for, say, writing Sailor Moon or Buffy, I’d argue I feel even better when I get the 1 or two responses I get for my Sol Bianca The Legacy or Ichigo Mashimaro fics. I’m not expecting any audience for those.

So the question them becomes, are you writing primarily to satisfy an urge to write, or for the enjoyment of others? I’d argue most of us do both, but then how do you find a balance? I’ve sometimes taken good honest criticism and not listened to it, simply as while I see the point I want my story to go this way because it’s what I want.

MJ: I agree that I think we mostly do both (writing for ourselves and for the enjoyment of others), and honestly I’ve found some people’s insistence that there’s something wrong with seeking an audience to be pretty disingenuous. If we were truly only writing for ourselves, there would be no reason to post our work publicly, or even just to our friends. But I think do think people who get into fanfiction primarily for the feedback often end up disappointed. And to your last point, I also agree that while there is a lot of value in constructive criticism, it really is okay to listen to it and then still go your own way.

Ah, mailing lists… I think I pretty much missed the peak days of USENET as a means for fanfic distribution, but I was a member of a few mailing lists, particularly in my Lotrips days. Overall, I’m glad online archives and journals moved a lot of fanfic away from mailing lists, partly because I’m one of those writers who never feels finished with anything. I frequently go back and edit older stories, or at least I used to do that when I was writing actively. But also, mailing lists are so transient. It’s hard for someone new to fandom to access older works that way.

MICHELLE: What is “C&C”? Actually, there’s been a bit of lingo bandied about that I’m not very familiar with. “Hurt/comfort,” for example. Does that mean “You are hurt, therefore I shall comfort you?” Or is it, like, I hurt you then I comfort you? What’s an “AFF reader”? Are there more terms I should know?

SEAN: C&C is ‘Comments and Criticism’, as you would get from a beta reader. They read your fic before you publish it and give you advice, which can range from spelling/grammar to telling you to scrap everything as it makes no sense and treats the characters poorly. Ideally, the C&C is pointed and useful without being cruel. And is more than just “Wow, this rocks!”.

AFF is AdultFanFiction.net, which is pretty much what it sounds like. The fanfics there are of a much lower quality than most archives, though there are scattered gems, as always.

As for Hurt/Comfort, just go here. Your first choice is essentially correct.

You know about self-inserts and Mary Sues, right?

MICHELLE: Yes, I know what those are. And also what OTP means. :) Thanks for defining the rest.

MJ: On the topic of self-inserts and Mary Sues, I’d like to state my conviction that they are totally valid and occasionally even awesome approaches to fanfiction. Also, I think most people write one at some point or another, even if they can pretend they haven’t. Any one of us who has written a character we identify with strongly will eventually write something that’s essentially a self-insert, and actually I think those can often be people’s very best work, because they connect with it so strongly. Most of the original authors did this, too, after all. People write what they know.

MICHELLE: In a way, the Potter game I played lent itself to self-insertion. Players could apply for a Feature Character (involving answering a series of questions about the character and their background followed by an audition) or they could create original characters of their own devising who would (when Harry and crew were still young enough) get to attend Herbology lessons alongside the main characters or just otherwise inhabit the wizarding world.

It occurs to me, too, that I made a few crossover characters in my time there, since I had some based on manga characters, like the one who started off based on Minako from Sailor Moon but eventually grew to act more like Harmony from Buffy.

MJ: So, one of the topics I’ve been eager to get back to here is the plight of gen fic. I love gen fic (when it’s great, which it often is), and I’ll agree that not only is it difficult to find an audience for it as a fanfic writer, but it’s sometimes even difficult to get people to agree what the term really means.

One of the types of fic I used to write a lot, was the sort that focused on relationships (sort of) but wasn’t romance. For instance, one of my early HP fics featured a version of Draco Malfoy who was obsessed with maps. He was a little obsessed with Harry Potter, too, but though the two interacted in the fic in ways that might be said to contain homoerotic subtext, there was no overt romance or sexual content involved. Still, given its “universe of two” feel, I figured it read closer to slash than gen, so I originally posted it as slash… only to have quite a number of people complain that it clearly wasn’t. Later, I changed it’s genre to “gen,” only to be told by another batch of readers that it wasn’t that either.

So tell me, in your opinion, what exactly is a gen fic?

SEAN: In general, I regard ‘gen’ fic as being what used to be called, back in the day, ‘Original Flavor’, which is to say it’s using the canon universe to tell a story without resolving or changing much. So, for example, if you write a fic set during OotP which involves a day in the life of Harry going around being angry at everything, that’d be gen. If he thinks about Ginny and his awkward feelings about her, still gen. If he decides to go shag her in a broom closet to do something about it, you’re into het. Likewise, If your fic *technically* doesn’t have any romantic resolution, but the entire plot is Harry realizing that Ginny is a horrible person and that Hermione is the one he has awkward feelings for, that’s het as well, as you’re changing the canon to match your ship.

To sum up: Are you using the universe as close to canon as you judge possible? Are you not resolving anything? If so, I’d call it gen. But, as you noted, many will disagree with me and say gen should have no romantic feelings whatsoever.

It’s especially difficult with the Potterverse as so many people have not only their own biases, but also biases they try to avoid. If you say a fic is gen but it has Weasley bashing, Dumbledore bashing, and the ever popular dark!grey!independent!Harry, even if you don’t pair Harry with Hermione, Luna or Fleur, it’s not gen in my eyes, but an AU. If I see gen, I want a fic that’s sort of what J.K. Rowling could have written (only with deeper characterization, better plotting and thinking out her ideas more).

MJ: Actually, Sean, your response here reminds me that we should talk about… “community standards” (for want of a better term) and how drastically they may differ from one fic community to another. I’ve definitely seen the term “gen” used exactly as you describe it here, yet, within the fanfic communities I most often was a part of, “gen” tended to be a term slapped onto anything that didn’t contain sex or romance, regardless of whether or not it was AU or speculative in nature (which would describe a great many of the Harry Potter fics from my day, since the books were unfinished at the time). Truthfully, I prefer your definition, but in a way, it doesn’t matter what definition I like best, since what really matters in terms of labeling your fics for readers is whether or not the community you’re writing in will get what they expect when they click.

Now, I’ve never quite understood why it’s so horrible to go into a fic without knowing half the story first, but as I’m sure you know, reactions can be downright violent should should readers encounter such horrors as an unexpected ship or, say, character death that wasn’t warned for ahead of time. And while I do recognize the importance of some of these labels (yes, non-con can be a really damaging emotional trigger, I totally get that) others seem… really kind of silly.

SEAN: Tags can be very, very tricky, especially ship tags. If you’re writing a fic that’s all about Orihime’s love for Ichigo, but it ends with her seeing Ichigo married to Rukia, is it an IchiRuki fic? Rukia wasn’t in it except at the end, and it was all about IchiHime. But if you label it IchiHime, you’ll have a lot of angry shippers.

I wrote a Maison Ikkoku fic years ago (I reposted it during the Takahashi MMF as an old shame), where I avoided tags as they gave the game away. If you want to surprise the reader, tags are automatic spoilers, so tagging it ‘Darkfic, multiple characters deaths, OOC’ would have led to a) no one reading it, and b) it losing any impact it had.

That said, as I grow older my reading habits are far more conservative. I have my ships, and like them, and don’t always like being forced out of my comfortable little box. In that case, sorting by pairing or length is something I do quite a bit. (I do wish that FFNet would allow single character search, so that you could search for ‘Harry P.’ without a second person and get fics with only Harry as the character tag.)

Oh, in case Michelle doesn’t know about interro!bangs, from Wikipedia: ‘In fandom and fanfiction, ! is used to signify a defining quality in a character, usually signifying an alternate interpretation of a character from a canonical work. Examples of this would be “Romantic!Draco” or “Vampire!Harry” from Harry Potter fandom. It is also used to clarify the current persona of a character with multiple identities or appearances, such as to distinguish “Armor!Al” from “Human!Al” in a work based on Fullmetal Alchemist. The origin of this usage is unknown, although it is hypothesized to have originated with certain Teenage Mutant Ninja Turtles action figures, for example, “Football Player! Leonardo”, “Rockstar! Raphael”, and “Breakdancer! Michelangelo”.’

MICHELLE: I encountered interrobangs used thusly in the RP world, so I’m familiar with them. I feel like I have probably busted out some interrobangs in at least one Off the Shelf column, too.

I’m not qualified to give any definitions of gen fic, but I must say that Sean’s interpretation of “original flavor” fic sounds exactly like the sort I’m most drawn to and how my few drabbles could be classified.

MJ: So, I think I’ve mentioned that I don’t write fanfic anymore, and it’s really for lack of time than anything else. The more serious I got about manga blogging, the more it became clear that in order to be able to successfully maintain my (very) full-time job, my private teaching, and my marriage, I pretty much had to choose between Manga Bookshelf and fanfiction (even reading it), and Manga Bookshelf won. I don’t actually regret that decision, but it’s interesting to note the differences in my “fandom,” now and then. Now, of course, I spend a lot of time engaging with fiction by way of reviews, roundtables, essays, and other types of straight-up meta. Yet there are ways in which I feel that fanfiction is a more effective (and certainly more immersive) form of criticism than any of those things, or at least a form that comes out of a deeper interaction with the text. When I was writing and reading fanfiction, I carried the canon with me in my mind all the time, turning it over and over, considering its strengths and flaws, examining every crevice, and discussing it all through my writing, generally from multiple angles. And while straightforward discussion is certainly simpler to digest, I’m not sure it’s as thoughtful.

Sean, I know you’ve expressed a distaste for people taking their fanfic too seriously, and I don’t mean to suggest that I think my own fanfiction was the most brilliant criticism known to humankind. But if I don’t necessarily take the product seriously, I do highly value the process. Any comments on this?

SEAN: It will come as no surprise to find that my own most active period of fanfiction was when I was either unemployed or working a non-time intensive job. Real life tends to take over, doesn’t it? As for fanfiction as a criticism, I definitely agree. Sticking with good old Harry Potter as an example, I have a lot of issues with Rowling’s books. One of my biggest is the lack of any example of a ‘good’ Slytherin – at the end of the day, I still don’t think Rowling gave any good reason that they shouldn’t imprison them right after sorting for life. And given that’s a horrible prospect, I certainly approve of fanfics that explore ‘good Slytherins’ and the value of ambition.

The difficulty is when criticism becomes ‘bashing’. Disliking Ron and wishing he hadn’t ended up with Hermione is fine. Saying that Ron has all the hallmarks of a future wife beater is another (and yes, I’ve seen writers say that). And while one might blame some of this on the youth of the writers (the trouble with all ‘teen’ fandoms), I’ve seen just as many rabid 40 and 50 year olds saying such things. Finding a balance between analysis of a work and OVERanalysis of a work is a difficult thing to do, and can especially become hard when you’re not arguing a point but lecturing or harping on it instead. And it’s even worse on the anonymous Internet. When does analysis or criticism become an ATTACK on the work or a character?

At the end of the day, if you argue with someone who disagrees with you, can your mind be changed? If not… why are you arguing at all? (Yes, I know, because THEY’RE STILL WRONG. Welcome to the Internet.)

MJ: Poor Ron! I’m happy to say I haven’t had the displeasure of reading any such fic.

As you say, Sean, there’s always the risk of over-analysis, particularly when there’s a pet theory involved, though I’m not sure that risk is mitigated by engaging in only standard modes of criticism. I’ve seen arguments I consider just as wrongheaded from prominent critics in the comics blogosphere, many of whom I expect would consider fanfiction beneath them.

Don’t get me going on Rowling and Slytherin, though. This roundtable might drag on forever.

MICHELLE: Seriously. But know that we both agree with you, Sean. :)

MJ: Speaking of dragging on forever, I suppose we’ve talked everyone’s (virtual) ears off by now. Any final comments you’d like to make on the subject?

SEAN: Just that I’m always surprised when I learn how few reviewers and bloggers in our ‘manga sphere’ are heavily involved in fandom. Leaving aside fanfics and fanart and the bias they can lead to (I try to avoid obvious shipping in my reviews, as I’ve noted), this may also explain another reason (besides the ethical correctness) that bloggers are so anti-scans – they aren’t reading fanfics based off of last week’s chapter, they aren’t getting spoiled constantly in newsgroups/LJ groups/forums, they don’t care that they have to wait 15 months for the chapter to come out in the States. Being involved in fandom means either a) you learn to love spoilers, b) that you avoid reading ANYTHING that’s not marked as being safe to read if you haven’t read ‘xxx’ yet (and still get accidentally spoiled constantly), or c) that you quietly read the scans and simply don’t tell the other bloggers about it.

Fandom means being INVOLVED. It means that you love to talk about things, and argue about things. Hopefully with an open mind. You can’t be in a fandom for something that you only think is pretty good. If you’re outlining an idea for a fic, or chatting on a forum about whether a character is too powerful… you’re there, whether you admit it or not. It’s only a short hop from that to your awesome epic Doctor Who/Stargate/Bleach/Harry Potter/My Little Pony/Elric/Huntley-Brinkley Report crossover, where the tortured spirit of Chet Huntley returns from the grave to demand blood and souls.

MICHELLE: As someone who only recently made a conscious effort to be open-minded about this whole fanfiction thing, I would simply urge others to do the same—turns out it’s not all pr0n.

MJ: … and sometimes when it is, it’s still awesome.

SEAN: So you don’t want the link to my Sailor Moon 10-senshi lesbian orgy fic, then? :)

MICHELLE: Well, I have been considering also making a conscious effort *not* to be so smut-averse, but I don’t think I’m quite ready for that. :)

MJ: Thanks, both of you for indulging me in this roundtable! I secretly hope we’ll continue in comments.

Manga the Week of 8/17

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After the huge pile of the last two weeks, I was waiting for a quiet week, and thank goodness that’s what I get. Only Viz is shipping this week (yes, not even any invisible Kodansha releases this time around), so we have far less to talk about.

First off, somehow coming out a week late, we have Vol. 3 of Itsuwaribito, a Shonen Sunday series about deception. Then we’ve got the elite Viz Signature titles. Vol. 4 of Bokurano: Ours, which is heartwarming and soul crushing all at once, I hear. Vol. 4 of the awesome Dorohedoro, which I will ramble on about more when Pick of the Week comes around. A new 20th Century Boys, which will no doubt have plot twists (though surely it must be up to the point of tying things together by now…). And the 2nd omnibus of Tenjo Tenge, which will have lots of fighting and fanservice. And possibly plot. But probably not much.

So what are you getting?

The Josei Alphabet: Miscellaneous

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Not everything starts with a letter…

#000000 – Ultra Black, written and illustrated by Yoshinori Kisaragi, serialized in Ichijinsha’s Comic Zero-Sum: An orphan is adopted by a mysterious millionaire who employs the boy in finding mysterious and dangerous objects.

&, written and illustrated by Mari (Suppli) Okazaki, serialized in Shodensha’s Feel Young: An inexperienced young woman opens up a nail salon in her spare time and meets a man who may force her to get over to her aversion to being touched.

1/4×1/2®, written and illustrated by Udou Shinohara, serialized in Asahi Sonorama’s Nemuki: A mediocre medium tries to carry on the family tradition with the help of his cat, who remembers a past life of being a dog. They help animals cope with their issues. WANT.

14-sai no Koi, written and illustrated by Fuka Mizutani, serialized in Hakusensha’s Rakuen le Paradis: Two precocious teenagers fall in love; their maturity complicates their sweet, teen-aged relationship. The magazine provenance of this is enough to have me really interested in reading it.

7 Seeds, written and illustrated by Yumi Tamura, originally serialized in Shogakukan’s Betsucomi before moving to Flowers: This one is on a lot of people’s wish list. It’s award-winning science fiction about five young people who are released from cryogenic storage to repopulate the world after catastrophe.

Licensed josei:

  • 07-Ghost, written by Yuki Amemiya and illustrated by Yukino Ichihara, originally serialized in Ichijinsha’s Comic Zero-Sum, partly published in English by Go! Comi.

What start with something other than a letter in your josei alphabet?

Reader recommendations and reminders:

  • 30-kon Miso-com, written and illustrated by Rika Yonezawa, serialized in Kodansha’s Kiss.

Guest Feature: Why You Should Read Evyione

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Why You Should Read (and Want More) Evyione: Ocean Fantasy
Part I

Overview

Evyione: Ocean Fantasy is an extremely loose adaptation of Hans Christian Andersen’s “The Little Mermaid”. It is obvious just how loose the adaptation is the moment it is revealed that it’s not a story of love between a mermaid and a prince, but a merman and a princess. He eventually gets the name Yaxin Tapileile (note: I read this in Chinese. I have no idea what the European equivalent of ‘Yaxin Tapileile’ would be, so I am stuck with his sinicized name), and her name is Evyione.

Udon Entertainment published the first volume in English in 2008. Since then no new volumes have been published in English. You should want this situation to change. In this piece (and in part II) I’ll explain why.

The art was the first thing which drew me into this series, so it feels like the most appropriate place to start.

The Style

You know those comics where there are lots of diagonals, irregularly yet creatively shaped panels, flowers and other decorative embellishments, and half of the pictures illustrate, not what is happening in the material world, but what is happening inside the characters hearts? Like the shojo comics of the 1970s, for example? Evyione: Ocean Fantasy is not like that.

Instead, the art in Evyione: Ocean Fantasy embodies a spirit of orderly, natural, and refined elegance. This was the spirit of the Rococco style popular in the 18th century Europe prior to the revolutionary era, which is when Evyione: Ocean Fantasy is set. The artwork of Evyione: Ocean Fantasy is Mozart, not Beethoven.

All of the most beautiful illustrations in Evyione: Ocean Fantasy incorporate nature. As the name “Ocean Fantasy” suggests, much of the story takes place by the sea, which provides plenty of opportunities to show dramatic scenery. One of the most visually stunning sequences is when Yaxin goes horseriding through the countryside during a thunderstorm. Likewise, the best portraits of Evyione incorporate bits of nature – for example, in the picture I show below, her hair is wet and dripping with rain.

Clothes!

I went through the first 6 volumes, and counted how many unique dresses Evyione wears in each volume during the main story. They are all Rococco dresses, mainly based on the style of the 1750s-1770s. I did not count it when she wore the same dress again, only when she wore a dress she had never previously worn.

Volume 1 – 4 dresses
Volume 2 – 8 dresses
Volume 3 – 10 dresses
Volume 4 – 8 dresses
Volume 5 – 8 dresses
Volume 6 – 4 dresses

Most comic book characters, even main characters, rarely wear 4 never-before-seen outfits over 180 or so pages. While it is historically accurate that an 18th century princess would wear many different dresses, considering that the story is set up in the imaginary kingdom of Emvonia, there is no reason to be historically accurate. Furthermore, there is no story-related reason for her to wear so many dresses – rather, the dress count is so low in volumes 1 and 6 because the plot forces Evyione to be cut off from her wardrobe for an extended period of time. Even without her wardrobe, Evyione still gets to wear new dresses in volume 1 and 6 because other characters come in and say “Hey Evyione, I brought you some new clothes” – an action which is not necessary to move the plot forward.

And in my count, I did not include the extras at the end of each volume, where Evyione and other characters pose in various attires not seen during the main story.

There is only one logical explanation for this abundance of outfits. Kim Young-Hee loves drawing Rococco dresses.

Let’s look at one, specifically a dress from Volume 4.

(click image to enlarge)

The overall effect of the dress is to make Evyione look like a flower. Not in the literal sense, but to give her the qualities which make flowers beautiful. Notice first that the silhouette of her figure forms a soft bell shape, like a flower that is hanging down. The engageants (those are the extensions of her sleeves) are layered like petals. The layers of her gowns, with a flower-print upper layer contrasted against a lower white layer, have the same petal-like effect on her entire body. The lace-like material on her stomacher is cut into vertical strands, which are allowed for form a wavy, natural shape. Likewise, the vertical cuts of the lace-like material help form a bridge between the lower part of the dress and Evyione’s face. The large ribbon on Evyione’s stomacher forms a central point, giving the dress focus. The low neckline creates a sense of openness, while the choker shows restraint. And to, literally, top it off, the hat caps the entire picture, and the hat’s slight angle slants the viewer’s attention towards Evyione’s face. Like I said, this is orderly, refined, yet natural elegance.

Kim Young-Hee’s love for these clothes shines throughout the art. Many comics set in various historical eras uses the clothes only as a marker saying ‘this is [historical era]’. These comics often use various shortcuts to make the historical dress easier and faster to draw. And there is nothing wrong with prioritizing the story in a story-telling medium. But Kim Young-Hee never skimps on the details for the clothes. Instead, she plays with them – which is why there are so many different designs. Ultimately, I think it not the adherence to the Rococco style, but the love and sense of play which makes these dresses a delight to behold.

No Clothes!

While’s it’s fun to play dress-up with Evyione, it would be a bit much if other characters, specifically Yaxin and the queen, didn’t balance it out. With nudity. Rather than going against the Rococco aesthetic, the nudity actually complements it. Roccoco emphasizes the natural; nothing is more natural than the naked body. The nudity is very tasteful – no genatalia is ever exposed. Storywise, the nudity does not so much evoke eroticism (though it does that too) as help flesh out the characters.

Yaxin, of course, is the one who most often shows his natural assets. A fanservice element is operating here; Yaxin is a bishounen after all. It’s also a source a humor – I love it in Volume 6 when Evyione figures that asking him to put on some clothes would only make the situation even more awkward. But ultimately, the nudity shows that Yaxin does not belong in human society. While he sometimes wears clothes, and functions in society to some extent, he really belongs in the sea.

The queen’s nudity, on the other hand, shows how vulnerable she is. One of the most striking images in all of Evyione: Ocean Fantasy is also of the of few abstract images; it is an image in Volume 5 of the queen, naked. In that image, her back exposed as arms come from out of the shadows and wrap around her. It is part of a scene expressing grief, jealousy, and especially rage. Nudity expresses in a visual manner how defenceless the queen is.

Storytelling

Say what? This…

… is not enough for you? You want a plot? Well, as it happens, there is a story. The scenery, dresses, and nudity even help tell it.

The artwork has been very supportive to me. Reading Evyione: Ocean Fantasy in Chinese, which is not my native language, forces me to rely on the art to a much greater degree than if I were reading it in English. And the artwork delivers. What is going on is almost always clear. Even the fight scenes are easy to follow. That means Evyione does all of the right visual pacing. Whatever the techniques are, they work.

There is one particularly memorable page from Volume 6. There are only three panels and no dialogue. In the top panel, Evyione notices [spoiler]. In the middle panel, the reader gets a better view of [spoiler]. In the bottom panel, Evyione decides what to do about [spoiler]. She conveys her choice with her eyes alone. Because the story had been building up to [spoiler], the fact that Evyione made that choice would have been powerful stuff no matter how she communicated it. But the fact that she only used her eyes? Not only does that show Kim Young-Hee’s ability to tell a story with pictures, that makes that moment all the more moving. The first time I saw that final, bottom panel, it sent a shiver through my spine, and I had go through those three panels over and over again before I was able to turn the page. That’s what I call good visual storytelling.

Of course, Yaxin has to communicates things with his body language all the time, being a mute and all. I take it so much for granted that I didn’t realize until the final edit that Yaxin does things like I describe in the paragraph above all the time.

So, about that Story…

While the artwork is what first drew me in, it’s the story which keeps me reading, and stays with me after I close the book. I hope you’ll read Part II, which is all about the story.

In the mean time, if a picture is worth a thousand words, then the 33-page preview at Udon Entertainment’s website is worth about 20 times more than this piece.

See you when Part II gets posted.

Big thanks to Julie Engelbrecht for being an awesome teacher; I wouldn’t have been able to write this if I hadn’t been her student.

Sara K. has spent almost all of her life in San Francisco, California. She got tired of living in San Francisco, so one day she boarded a plane bound for Haneda Airport, and has never been back to San Francisco ever since. She currently lives in an Asian city you have never heard of.