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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.

Previews review August 2011

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Okay, I normally don’t dwell on this sort of thing, but I just have to make an observation about the covers in the DC section of the current Previews catalog. These are mostly the second issues of the publisher’s big re-launch of its super-hero line presumably to make it more accessible to people who wouldn’t normally pick up a comic about Superman or Batman or Green Lantern. Here’s my observation: the covers of these comics look exactly like these comics have looked for the last twenty years, possibly pinpoint-able right to the late 1990s. So this should be interesting, since it really does seem like an example of the scientific method. If all other things are equal, and DC changes one thing – the volume of back story in play to theoretically confuse or bar a casual reader from entry – will people who did not previously care about the Justice League suddenly start caring about the justice league? Time will tell! Let’s move on to things I will actually purchase!

Princess Knight vol. 1, written and illustrated by Osamu Tezuka, Vertical, Inc., AUG11 1232: The most actually exciting thing in the catalog is the English-language debut of Tezuka’s game-changing shôjo classic. Some of us have been waiting years for this to happen. Years.

Hark! A Vagrant, written and illustrated by Kate Beaton, Drawn & Quarterly, AUG11 1018: Beaton’s super-smart comics “takes readers on a romp through history and literature — with dignity for few and cookies for all — with comic strips about famous authors, their characters, and political and historical figures, all drawn in Beaton’s pared-down, excitable style. This collection features favourite stories as well as new, previously unpublished content. Whether she’s writing about Nikola Tesla, Napoleon, or Nancy Drew, Beaton brings a refined sense of the absurd to every situation.”

Two Generals, written and illustrated by Scott Chantler, Emblem Editions, AUG11 1060: This is the soft-cover edition of Chantler’s acclaimed historical graphic novel.

Tesoro: Short Stories 1998-2008, written and illustrated by Natsume Ono, Viz Media, AUG11 1256: This volume collections some of the earliest professional work by the gifted creator of series like Gente and The House of Five Leaves. So you should probably buy it.

There’s also the 2011 edition of The Best American Comics from Houghton Mifflin. I’ve made it this long without reading one of these, so I doubt my streak will be broken, though the guest editorial duties of Alison Bechdel may make me waver.

And here are new volumes of ongoing series that you should seriously consider buying:

That’s… like… a lot.

 

Uncontested races

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I’m sad to announce that there won’t be any Previews-related polls this month. The boys’-love category offered a clear winner, and there weren’t enough dubious debuts to populate that slate. But here are the two books that might have “won” those contests, both of which will be dutifully pre-ordered and reviewed.

About Love, written by Narise Konohara, illustrated by Tomo Ootake, Digital Manga Publishing, originally published as Koi ni Tsuiete by Souryuusha, one volume:

Wedding co-ordinator Asaka could never forget his very first clients. When he meets up once more with that very same client, the man who spends his life arranging weddings for others unexpectedly learns a few things about love himself. Heartwarmingly bittersweet, this is the eagerly awaited English-language debut of mangaka Tomo Ootake!

I know nothing about how eagerly anticipated Ootake’s debut is or isn’t, but that cover is so pretty and expressive that it almost makes me cry. Plus, wedding planner manga! A dream fulfilled!

Love Hina Omnibus Volume 1, written and illustrated by Ken Akamatsu, Kodansha Comics, originally serialized in Kodansha’s Weekly Shounen Magazine, originally published in English by Tokyopop:

When Keitaro Urashima fails his entrance exams to get into Tokyo University for the second time, he’s officially an unemployed and uneducated slacker. To make things worse, his parents have kicked him out of his house. Fortunately, his grandmother owns the fabulous Hinata Lodge and has agreed to take Keitaro in as caretaker. What he doesn’t know is that the lodge is actually a girl’s dorm and he’s the only guy around! Most guys would kill to live with five sexy ladies, but if Keitaro’s not careful, this job will kill him.

I know this series probably counts as a classic in terms of licensed manga, but I just never bothered with it. Now, Kodansha gives me a cheap-ish chance to introduce myself to this well-liked harem comedy. And I seriously didn’t want to run the risk of having to read the Tokyo Mew Mew omnibus. Cat-ears give me hives, unless they’re on an actual cat.

I’ll go through the rest of the month’s highlights tomorrow.

 

Manga the week of 8/10

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You know, for a 2nd week of the month, it’s pretty packed with stuff. There’s a lot here for almost any type of fan. Let’s get started.

First off, non-manga releases that interest me. There’s a new Complete Peanuts coming out from Fantagraphics. It may have hit the 1980s, but the quality still seems to be quite high. Can’t wait. Also, IDW is releasing a new Archie hardcover. Unlike their previous ‘Best of ‘ collections, this one focuses on a single weird Archie title from the 1960s: Archie’s Mad House. As you might guess, this comic started out with the Archie gang, focusing on really bizarre adventures. After about 20 issues or so, it dropped them and began running its own stories, including the debut of Sabrina the Teenage Witch. I’m quite interested to see what IDW does with this.

Now back to manga. Dark Horse may be delaying every other manga title in its catalogue from now till doomsday, but its bestsellers keep coming out like clockwork. This week we have Vol. 18 of Gantz, from our friends at Shueisha’s Young Jump. For a more media-oriented title, there’s The Shinji Ikari Raising Project, now up to Vol. 9. It runs in Shonen Ace and will be sure to please Evangelion fans. Well, most. Well, some. A few? All right, it will inspire arguments. But it’s popular!

Bandai has a debut this week with Tales of the Abyss: Asch the Bloody. It’s based on a video game, and is one of about 10,000 manga spinoffs of said game. Given all that, can you guess where it originally ran? If you said Comp Ace, you’re a true Manga Geek! I suspect it will be tie-in-tastic.

Kodansha is, as ever, absent from Midtown’s list. Again. However, my local shop indicates two titles coming in next week. The debut of Deltora Quest, a fantasy manga that ran in the late Comic BonBon, a magazine geared towards elementary school boys. You know, like Shonen Magazine should be but isn’t. and the 2nd and final omnibus volume of I Am Here!, which saw Vol. 1 from Del Rey and is thankfully getting a conclusion. Like all Kodansha shoujo these days, it ran in Nakayoshi.

Udon has the 2nd volume of Megaman Gigamix, which is based on a video game as well. Though, despite its name, it’s not from Konami.

Viz has the 3rd volume of Blue Exorcist, which I think most of us got this week from Diamond. There’s a new Inu Yasha omnibus, the 27th volume of the energetic and likeable Kekkaishi, and the 6th Maoh: Juvenile Remix, which this time I believe is remixed by Saint Etienne. Blue Exorcist is from Jump, the other three from Sunday. And there’s the 7th volume of Ikigami, for fans of Bokurano who want to see more series where people die nobly over and over again.

And there’s a huge pile from Yen. The biggie for me this week is the 3rd Book Girl novel, Book Girl and the Captive Fool. I’ve been thrilled with the first two in the series, a dark high school thriller with an intriguing backstory, and definitely want more. Aside from that, there’s the conclusion of the Eye-Opening Arc in Higurashi (Gangan Wing), which will no doubt be filled with gore. But don’t worry, kids, a new arc starts in October! And I have it on good authority that the Eye-Opening arc is the low ebb. It’s all uphill from here! … mostly. There’s new K-On! (Manga Time Kirara Carat), Haruhi Suzumiya (Shonen Ace), AND Haruhi Suzumiya-chan (ditto) for all your moe needs. Oh yes, and Omamori Himari 4 (Dragon Age), which I don’t read, but certainly looks moe as well. There’s the 9th volume of Sumomomo Momomo, which lost me after the first volume but I understand gets better. And there’s the 4th and last volume of Ugly Duckling’s Love Revolution, the reverse harem manga from Enterbrain’s B’s Log. I found its comedic antics more annoying than heartwarming, but admit I was not remotely its target audience. Also (last time this week, I promise) based on a game!

See what I mean? That’s a lot. What are you getting?

The Josei Alphabet: Z

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“Z” is for…

Zanbara! Written and illustrated by Ikumi Katagiri, serialized in Ichijinsha’s Comic Zero-Sum and Zero-Sum Ward: A period piece about two kids who learn martial arts during turbulent times. I like that cover.

Zankoku na Hatsukoi, adapted from Anne Mather’s novel by Kei Kousaki, originally published by Harlequin, one volume: A difficult reunion ensues when a former husband and wife cross paths in the woman’s home town.

Zankoku na Kami ga Shihaisuru, written and illustrated by Moto (A Drunken Dream and Other Stories) Hagio, serialized in Shogakukan’s Petit Flower, 17 volumes: I’m totally cheating, since I listed this as A Cruel God Reigns back in “C,” but it’s Hagio, so I feel justified.

Zombieya Reiko, written and illustrated by Rei Mikamoto, originally serialized in Bunkasha’s Horror M, 11 volumes, partially published in English as Reiko’s Zombie Shop by Dark Horse: I felt bad that I missed this one back in “R,” so I’m rectifying that.

Josei magazines:

What starts with “Z” in your josei alphabet?

 

Upcoming 8/3/2011

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Given the vagaries of comic distribution timing, I’ve already read two of the titles I’m most eagerly anticipating off of the current ComicList. So I guess I’m not eagerly anticipating them so much as fondly remembering them. Anyway, you might still be undecided, so…

First up was the fourth volume of The Story of Saiunkoku (Viz), Kairi Yura’s lovely adaptation of Sai Yukino’s light novels. It’s entirely possible that I love this series so much that I can no longer see its flaws, but I think it equally likely that there are no meaningful flaws to be seen. This arrival was particularly welcome during the debate over the debt ceiling, as it suggested a world where people go into governance for the right reasons, and the best and brightest are rewarded with responsibility and authority. So, yes, clearly it’s a fantasy, but it’s a lovely and reassuring one, and the creators reinforce its ultimately feminist message by moving their heroine closer to her dream, even if it damages the romantic prospects of the man who loves her. That’s not the kind of conundrum you see every day in entertainment, which makes this series just about priceless.

Less rewarding was the fourth volume of Julietta Suzuki’s Kamisama Kiss (Viz). I generally like this series very much for the evenhanded approach Suzuki takes with her male and female protagonists. She treats them with equal respect, and she gives each specific strengths which make their relationship much more interesting than some victim-rescuer dynamic would be. That balance slips a bit this time around, which is disappointing, though hardly fatal. I still like the characters a lot, but certain complications screw up their dynamic and make it depressingly… conventional. (Misunderstanding! Secrecy! Alienation!) I count on Suzuki’s quirky good sense to reassert itself next time around.

In other Viz news, this week sees the delivery of the third volume of Kazue Kato’s very promising Blue Exorcist, the eighth volume of Yuki Midorikawa’s lovely Natsume’s Book of Friends, and the second volume of Mayu Shinjo’s sure-to-be-repulsive Ai Ore!

Oh, and in the category of things I’m still eagerly anticipating, there’s the second volume of CLAMP’s Cardcaptor Sakura (Dark Horse). I can’t believe I’ve yet to see this series in a Barnes & Noble.

What looks good to you?

 

Let’s Get Visual: Fruits Basket

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MICHELLE: So, we’ve been talking about Fruits Basket all week, but I’m certainly not yet weary of the topic. How about you, MJ?

MJ: I suspect I could discuss Fruits Basket for weeks on end!

MICHELLE: Me too. We’ve already discussed the general awesomeness of the story and characters this week, but one thing we haven’t talked much about yet is the art. Takaya’s style evolves a good bit over the course of the series, and while I used to think I preferred her earlier style, I’ve lately realized that that is not the case at all. Do you have a preference yourself?

MJ: Hm, well, I definitely appreciate the prettiness of the series’ early volumes, and I do think there is some detail lost later on, but one thing the series never lacks is expressiveness, and that goes for the artwork as much as anything else.

MICHELLE: I think the expressiveness actually improves later on, at least insofar as Tohru is concerned, since she loses those really, really, really big eyes of hers. I will forever mourn the changes to my beloved Hatori, though, who goes from looking like this to looking like this.

It’s not that he’s become unattractive; he’s just lost a certain bishounen quality that I had certainly appreciated.

MJ: I do think Takaya does a wonderful job of aging the characters subtly over the course of the story, and I’m not necessarily just referring to their physical ages. I think she matures them overall, letting their outsides reflect their insides.

MICHELLE: That is definitely true, especially with Kyo, Yuki, and Momiji. Probably Momiji most stunningly of all.

MJ: Yes, there is quite a bit made of Momiji’s growing up, isn’t there? And though it’s more difficult to see that transformation as “subtle,” it’s certainly striking and oddly poignant.

MICHELLE: Takaya really does well with “striking” and “poignant,” doesn’t she? Which leads us to our specific picks for this month’s column!

Many of the most powerful and affecting moments in Fruits Basket occur between just two characters. To exemplify this trend, MJand I have both chosen scenes starring only Kyo and Tohru.

MJ, why don’t we start with you?

Volume 15, Chapter 87, Pages 129-134 (TOKYOPOP)

MJ: Okay, well, I’ve chosen a scene from late in volume fifteen. After losing his temper in a confrontation with Yuki, Kyo returns to his classroom to find Tohru waiting for him, alone. In terms of script alone, the scene is not especially remarkable. There are some dramatic moments in Kyo’s inner monologue, but they’re both being careful not to *say* anything out of the ordinary. What makes the scene really work, though, is their body language.

At this point in the series, both Kyo and Tohru are just barely beginning to realize how they feel about each other, and Takaya plays this beautifully. The way Tohru lights up the moment she realizes Kyo is in the room, Kyo’s impulse to lean against her, their excited nervousness about being close, and especially Tohru’s last page alone—you can actually feel the tension between them in every panel. It’s so well done.

I especially like the last panel, with a flushed Tohru hurrying out of the frame. Somehow, leaving us with the empty space behind her keeps us lingering in the moment, much as she would herself, if she hadn’t been called away. There’s a sense there that the moment still looms large for her, too, even as she’s hastily left it behind, emphasized by the flowers still present in the frame. Like her absence in the frame is saying, “Really intense and possibly scary feelings happened here… run away, run away!” Does that make any sense?

MICHELLE: It absolutely makes sense! I’m always interested in how mangaka use open space, and I think you’re quite right that in that final panel it’s being used to keep us in place while Tohru dashes off. On the first page, the oddly tall panel of Tohru alone in the classroom employs empty space to emphasize how she really is the only one there.

This example reminds me of your pick for our “Duds” column, Baseball Heaven, and how the artist in that case utterly failed to establish convincing body language between two characters who were meant to be attracted to each other. Perhaps Ellie Mamahara needs to read more Fruits Basket!

MJ: Oh, good call, Michelle! Yes, that’s the perfect choice for contrast here. Everything that’s missing in that scene from Baseball Heaven is demonstrated spectacularly here, and as a result, this actually plays as a love scene much more convincingly, despite not actually being one. Even the use of small frames to emphasize the hand or face—something that just felt distracting and fragmented in Mamahara’s scene—adds to the tension here. It’s wonderfully done.

So what about you, Michelle? What scene did you choose?

Volume 22, Chapter 128, Pages 96-99 (TOKYOPOP)

MICHELLE: The scene I’ve chosen is from volume 22, quite near the end of the series. Tohru has been hospitalized and her friends have barred Kyo from seeing her while she recovers, since she gets stressed at the mention of his name.

As Kyo makes his nervous way to the hospital, the size and shape of the panels reflect his mental state. They’re cramped, dark, and dominated by his inner monologue. “Do I really still like her? What do I like about her?” We catch incomplete glimpses of the things Kyo passes on his journey, because he is so wrapped up in his thoughts that he too is hardly noticing them. Finally he arrives at the hospital, and the tension as he catches Uotani’s eye is palpable.

And then… Tohru appears and the world falls away. Suddenly, everything is so clear. The doubts are wiped away as if they have never been, because the minute he sees her, it is so very simple. “I love her.” Even as Kyo’s focus narrows to include only Tohru, the pages still have a wide-open and airy feeling that suggests gentleness and infinite possibility. This is the first time Kyo has really allowed himself to acknowledge these feelings, and it’s so beautifully done that it gives me goosebumps.

MJ: Oh, absolutely, I have the same reaction here! Everything you’ve said about the size and tone of the panels is exactly spot-on. Also, watching Kyo’s face the few times we see it is striking, panel-to-panel. His first expression, as he’s approaching the hospital, is one of extreme trepidation, and it feels to me that he’s sort of hiding behind his bangs. He doesn’t want to be seen by anyone, especially someone like Uotani, whose gaze he reacts so intensely to. He’s terrified of his own feelings and of screwing things up, and he knows that he’s historically bad at dealing with emotional situations. He’s simply terrified on all fronts.

Then, when he sees Tohru, all of that just drops away, leaving him with an expression of pure longing and vulnerability we’ve really not seen on him before. Just as the air opens up, so does Kyo, completely unguarded for one long moment. It’s really stunning. I think both of these scenes we’ve chosen would play just the same with all the text removed—they’re so much driven by the emotion in the artwork.

MICHELLE: Longing, vulnerability and sheer wonder, I think. :)

And yes, I think we have a knack for picking scenes where text is not really necessary. Even here, body language is certainly telling a lot of the story for us, even in small ways like Kyo’s tensed, half-flexed arm and clenched fist as he finally reaches his destination. You can almost see him willing himself to get through this without messing up.

MJ: There’s just so much emotional nuance here, in every panel. When I’m reading scenes like this in context, these are details I don’t consciously notice as I let the emotions just sweep me along, but when we actually take the time to break it down like this, I can’t help but be amazed by how much thought has gone into each line on the page.

MICHELLE: Me too. It sounds like we’ve convinced ourselves that, yet again, Fruits Basket is awesome.

MJ: Indeed we have!

MICHELLE: Thank you, MJ, for joining me once again! And to those reading this column. Do you have a favorite artistic moment in Fruits Basket? Tell us about it in the comments!

Manga the week of 8/3

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Sorry for the list being a day late, Midtown didn’t update their Viz info right away and I wanted to ensure that I had the right titles there. (And no, still no Kodansha at Midtown.)

It’s a first week of the month, always the biggest. What have we got? Well, we’ve got the 2nd Card Captor Sakura omnibus from Dark Horse, finally staggering in after the usual eight or nine publishing delays. If it’s anything like Volume 1 was, it will be worth the wait – the series is fantastic, and DH’s reprint was flawless and worth a buy.

Presspop has an interesting release: the 1934 robot manga Tank Tankuro, a pioneering entry in almost everything. It’s an expensive hardcover with a slipcase, but with that sort of pedigree I imagine you want to pimp it a bit.

Vertical is cruising along in their release of Black Jack, with Volume 15 getting released next week. It originally ran in Weekly Shonen Champion, back when the magazine was not a haven for the lowest that manga has to offer. Of course, Black Jack is not afraid to get into some deep waters itself…

As always, the bulk of the week of Viz. We have a huge PILE of stuff. Most important to me is the 23rd volume of Gintama, which is the last currently scheduled in the States. It’s a low seller, and unlike other Viz low sellers, it’s shown no signs of ending in Japan anytime soon. So Viz is calling this the ‘Final Volume!’. Which it isn’t. Perhaps JManga might try continuing it there? Heh… In any case, Gintama, you were fantastically underrated, and I shall miss you.

There is, of course, a lot of new Jump manga that isn’t ending. Yu-Gi-Oh GX. Tegami Bachi. Slam Dunk. Nura: Rise of the Yokai Clan. Bakuman. And Bleach, getting another 3-in-1 omnibus. Speaking of those, Fullmetal Alchemist gets another one as well, despite being the redheaded stepchild of this pack, being a Shonen Gangan title.

The shoujo end of the spectrum holds even more gems. New Ai Ore!, for Mayu Shinjo fans and apparently no one else. Haruka Beyond the Stream of Time 13, for readers who have difficulty getting to sleep at night. New Kaze Hikaru, for whose who wondered if Viz was trying to quietly bury it behind the forge. And new Otomen, where I’ll bet you two to one we’ll have no idea what Ryo is thinking.

In non-sarcastic manga out this week, we have new volumes of Kamisama Kiss, Natsume’s Book of Friends (which should be catching up with Japan soon at this rate…), Sakura Hime, the Story of Saiunkoku, and the penultimate volume of Seiho Boys’ High School.

And, in non-manga news, Archie Comics releases its big 400-page Best Of Archie Comics digest. I raise an eyebrow, as I’ve seen Archie’s idea of best-ofs before, but will let you know how it is.

Busy week! What are you getting?

3 Things Thursday: Fruits Basket Favorites

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It’s Manga Moveable Feast time once again, which so often inspires me to think about 3 things. This week, I have with me a special guest for 3 Things Thursday, Soliloquy in Blue‘s Michelle Smith, who, like me, is a big fan of this month’s MMF topic, Natsuki Takaya’s shoujo epic Fruits Basket.

We’ve already talked at length about the series as a whole, but one thing we’d like to linger on just a little bit longer is some discussion of our very favorite characters in the series. Fruits Basket is a treasure trove of complex, deeply moving characters, each of which could easily inspire hours of discussion. We don’t have hours, but we do have some favorites, and this seemed like the ideal time to share them. We’ve each picked three, so let’s start with Michelle’s! (Click images to enlarge.)

Michelle’s 3 Favorite Fruits Basket Characters

1. Yuki Sohma – My love for Yuki springs largely from a sense of pride in how much he blossoms over the course of the series. As he recounts the story of his childhood to Manabe, Yuki says, “There was something I wanted… loving parents… a home that no one would ever want to leave. A happy home. A warm place… with everyone smiling at me.” But Yuki was denied this. His parents valued him not for himself, but as a tool to gain favor within the Sohma family. Family members revered and reviled him just because of his status as the rat, something he had no control over. Even when he left the main house to live with Shigure and attend high school, the other students saw him not for himself, but as a princely figure.

Only Tohru saw and accepted the real Yuki. And once he found that with her, once he had that warm and happy home, he was finally able to move beyond the past and begin figuring out what kind of person he wanted to be in the future. One of my favorite Yuki moments occurs directly on the heels of his conversation with Manabe, where Yuki articulates his desire to give support to someone in the future, not just receive it.

2. Ayame Sohma – As a teenager, Ayame was self-absorbed and didn’t realize, until Hatori pointed it out to him, that the things he said and did could actually hurt other people. One of those he hurt was Yuki, who had reached out to him as someone he might be able to tell about his unhappy life as Akito’s companion. Ayame failed him then, but now regrets that deeply and tries his best to form a relationship with the little brother whom he once ignored. Sure, he’s kooky and outlandish, but he’s also absolutely sincere in his love for Yuki, and little by little wins his confidence.

My favorite Ayame moment occurs in volume thirteen, when he interrupts the parent-teacher conference Yuki and his mother are attending, deflects all of their mother’s hostility onto himself, and helps Yuki find the courage to tell her that he will be the one deciding his own fate. I also love that Ayame immediately texts Hatori to let him know Yuki said he is reliable.

3. Hatori Sohma – Hatori, the quietly suffering woobie. How I love him. There are no shortage of sad characters with painful backgrounds in Fruits Basket, but the first such story we learn about in detail involves Hatori and Kana, a special, optimistic woman who loved Hatori and accepted him, curse and all. What she couldn’t accept was the guilt after Akito reacted violently to their relationship and severely wounded Hatori, putting him in the dreadful position of eventually wiping all of her memories of their time together in order to ease her suffering. Because this revelation occurs so early in the series, everything Hatori does from that point on is tinged with sadness as we know what he’s gone through. He’s also the only one who can reign in Ayame’s enthusiasm or dare to talk with Shigure about his schemes.

So, while I wouldn’t exactly call this my favorite Hatori memory, it’s certainly an indelible one.

MJ’s 3 Favorite Fruits Basket Characters

1. & 2. Arisa Uotani & Saki Hanajima – Like David, I’m a sucker for great female friendships, and no friends could be greater than Fruits Basket‘s Uotani and Hanajima. Though they are each fantastic characters in their own right, nothing beats them as a team, looking after (and being looked after by) their dearest treasure in the world, Tohru Honda. They’re happiest as a trio, of course, but fiercest as a deadly duo that doesn’t take crap from anyone. Not that Takaya limits them to a life of badassery, mind you. They’re also just as kind, broken, and unexpectedly vulnerable as anyone else in the series, and that’s saying quite a bit. I would happily read an entire series chronicling the lives of Uotani and Hanajima, their adventures, loves, and triumphs as young adults and beyond. They’re just that awesome.

Still, I admit I love them best when they’re kicking ass. Don’t you?

3. Momiji Sohma – And should one require more evidence that David and I share a brain, my third favorite character in the series—and my very favorite Sohma—is little rabbit Momiji. We meet Momiji as a hoppity, cheerful boy, but it isn’t long before we learn that he’s one tough kid. Having watched his own mother beg to have her memories of him erased, he lives as a stranger from her, keeping a brotherly eye on his little sister from afar, whom he hopes he might one day be allowed to spend time with. He’s also the first person to put himself between Akito and Tohru—a favor Tohru returns in kind.

Though Momiji is at his best when he’s happy (and awesomely brave when he’s being rebellious), one of my very favorite Momiji moments is this scene from volume eleven. After standing up to Akito, against the grain of their supernatural bond, and watching Tohru, in turn, stand up for him, he finds himself suddenly overcome by being just a kid, unable to hold back his tears. It’s a rare glimpse at the most vulnerable side of Momiji, and I dare you not to tear up when reading it in context.

Readers, which three characters from Fruits Basket do you love best? Let us know in comments!

MMF: Why Fruits Basket?

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With almost every installment of the Manga Moveable Feast, we tend to ask the question, “Why this particular title?” In the case of Natsuki Takaya’s Fruits Basket, published in English over the course of 23 volumes by Tokyopop, I think the answer is complex.

First of all, it’s almost always interesting to dig into a cultural phenomenon. In the period between the initial English-language publication of Sailor Moon by Tokyopop and its upcoming republication by Kodansha, Fruits Basket was the most commercially successful shôjo manga and one of the most commercially successful manga, period.

Many people have made the argument that romantic fantasy for a female audience tends to be critically undervalued. Commercially successful romantic fantasy for a female audience adds another potential disclaimer for a book’s artistic value. Fruits Basket wasn’t just primarily for girls, but girls liked it a lot. And they bought as many copies of it as boys did of manga they liked. What’s that about? Or, at least that sometimes seems like the psychological subtext.

And Fruits Basket, which originally ran in Hakusensha’s Hana to Yume, is difficult to quantify. It’s shares a number of qualities with more generic manga of its category – an optimistic but kind of dingbat heroine, two hunky boys engaged in a rivalry for her attentions, a seemingly cutesy curse, and so on. But Takaya approaches that material with quite a bit of craft and emotional ruthlessness. She doesn’t brutalize her characters (or her readers), but she doesn’t spare them much. It’s not a creepy, “suffering and terror are hot” kind of approach; it’s more of a fluid, applied grasp of the nature of tragedy. Fruits Basket has scale. If the aesthetic were less contemporary-casual, the Takarazuka Revue could operetta up this sprawling epic.

It takes a while for things to fall into place, to be honest. Initially, the series seems like what its cover blurb describes: a story about a plucky orphan who moves in with a family of hot guys who are living under a curse! They turn into animals represented in the Chinese Zodiac when they’re hugged by someone of the opposite sex! Eventually, though, the cutesy sheen of the curse gives way to the profound dysfunction and deep, deep pain of the Sohma family. And the ditsy charm of Tohru Honda, the outsider in the tearstained zoo, resolves into resolve and force and generosity of spirit.

I hope you’ll give a few volumes a try. My plan for the week is to focus on some of my favorite moments from the series and to keep a running tally of each day’s posts, if posts there are. I’m looking forward to the contributions of anyone who cares to do so.

Previous Manga Moveable Feasts:

 

Magazine no Mori

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Welcome to the newly named Magazine no Mori, where I will try to guide you through the dark tangled forest of Japanese Manga magazines and, hopefully, we’ll discover some wondrous manga truffles along the way. (Was that pushing the metaphor a little too far? I think it might have been.)

As much as I consume a ridiculous amount of manga and of manga magazines, my tastes run to the fringes of all typical categories of manga. Of shounen, shoujo, seinen and josei, the manga I read the least is the most popular – the shounen.

So it was some suprise to me that Shounen Sunday really is all that and a bag of chips.^_^

Of course I had heard of Shounen Sunday. I just hadn’t ever given it any thought. When I finally cracked the covers, I was instantly greeted by series that I, and you, will be familiar with.

First published in 1959, Shounen Sunday has a 2010 monthly circulation of 678,917. At a cover price of 260 yen per volume ($3.31 at the time of writing) for more than 450 pages, you’re getting a page and a half of manga per cent spent.

And, oh, what you are spending those cents on! The names that write for Shounen Sunday are, well, legendary. Prominent among them are Adachi Mitsuru (Asaoka Kouko Yakyuubu Nisshi), Takahashi Rumiko (Rinne), Watase Yuu (Arata Kangatari ~Engaku Kougatari~). These run alongside series that are probably better known over here by title than by their creators’ names, such as Takashi Shiina’s Zettai Karen Children, Hata Kenjiro’s Hayate no Gotoku (known in the west as Hayate the Combat Butler), Wakaki Tamiki’s Kami nomi zo Shiru Sekai (known as The World Only God Knows) and Aoyama Gosho’s Detective Conan (known here as Case Closed).

Weekly Shounen Sunday has a website in Japanese with news, interviews and “backstage” with the manga artists, links to collected volumes, and other typical magazine “stuff.” In addition, Viz has an English-language site for “Shonen Sunday” where you can find downloads, creator profiles and series synopses.

Despite the somewhat irksome persistence of misogynistic “service” (breast groping, nipples visible under clothes and crotch shots), this magazine is undoubtedly targeted to boys who plan on becoming immature man-boys in the future. I’d love to love Sunday, but it’s hard to see past the “Boys Only, Girlz Stay Away” sign on the treehouse door.

This is particularly frustrating, as Sunday’s pages are replete with very cool baseball, soccer and other non-dating sim-esque manga inside. If the service was notched back a few degrees, I might add this to my monthly rotation. As it is, I think I’ll pass.

As a box of chocolates, while there are a whole lot of caramel and peanut treats inside, there’s just a few too many yucky jellies for my taste. But your taste may vary. ^_^

Weekly Shounen Sunday, by Shogakukan

BL Bookrack: July 2011

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Welcome to the July installment of BL Bookrack! This month, MJand Michelle take a look at three offerings from Digital Manga Publishing’s Juné imprint, including two from mangaka Kazuma Kodaka—the debut volume of Border and volume three of the Kizuna deluxe editions—as well as the first volume of Akira Honma’s Rabbit Man, Tiger Man. Michelle also checks out Shushushu Sakurai’s JUNK! from DramaQueen.

Border, Vol. 1 | By Kazuma Kodaka | Published by Juné | Rated Mature (18+) | Buy at Akadot – Yamato heads a private detective agency staffed by handsome men who will stop at nothing for their clients, even if it means consistently usurping the police. They’ll also stop at nothing to get into bed with Yamato, some in a platonic way, some not so much. Yamato is a playboy who will sleep with nearly any guy once, but he’s haunted by the memory of someone he lost. Also, Yamato was once some kind of secret agent, when he wasn’t taking care of a group of boys he grew up with back at the orphanage.

If that intro sounds disjointed, it’s for a reason. There’s a lot going on in Border, and it doesn’t all mesh as well as one might hope. Is it a smart, sexy story about gay male detectives? Is it a character-driven exploration of love and loss? Is it a heartwarming tale of self-made families and brotherly love? Yes and no, for though this volume tries very hard to be all three of these things at some point or another, ultimately it fails to succeed fully at any of them.

That’s not to say that Border isn’t worthwhile. Rather, it feels like a work-in-progress, still feeling around for its place. Yamato is an intriguing and well-developed character, and his history and dynamic with his coworkers is by far the most compelling aspect of the series, and though it is frustrating that we get so little of it in this volume, that bodes well for the series continuing forward. Even the story’s mild case of everyone-is-gay (or at least gay for Yamato) doesn’t feel like a problem here, with Yamato’s detective agency basically functioning as a group of close friends in need of an excuse to spend all their time together in order to ignore most of the rest of the world. Kodaka’s artwork, too, is a highlight, expressive and carefully skirting the line between pretty and too pretty.

The only potential deal-breaker here is Kodaka’s treatment of her female characters. The series begins with a case involving women who are basically being raped in the name of porn. Women in refrigerators is never a great way to begin a story, and Kodaka takes things one step further by making the villain in that case a (jealous) woman as well. Hopefully this is not an indicator of things to come.

-Review by MJ

JUNK! | By Shushushu Sakurai | Published by DramaQueen | Rated Mature (18+) | Buy from DramaQueen – “Junk,” as the opening pages tell us, refers to ambiguous DNA whose purpose is as yet undiscovered. It’s also the name of our inscrutable and rugged protagonist, a “free agent” who has been contacted by the mysterious X, who threatens to blow up an upcoming international symposium unless Junk agrees to lead him to a heretical religious leader called Nagil.

Junk agrees to work with X, and when his employers betray him by crashing the rendez-vous and attempting to take X—actually a wanted criminal named Cross—into custody, Junk whisks him away to a safe house, where things quickly turn sexual between them. After bonding (again, quickly) over similar pasts as subjects of genetic experimentation, Cross and Junk work together to take out Nagil.

This is quite a lot of plot for a BL one-shot, and Sakurai scores points for sheer ambition. Ultimately, though, JUNK! reads a lot like one of those Harlequin manga adaptations, where many plot details are skimmed over and everything happens so fast that it’s hard to really buy into any of it. Cross doesn’t have much expression or personality, so when he abruptly decides that he wants Junk, readers have no idea why. Love declarations are likewise sudden, and the fact that they happen while one of the characters is dangling over the edge of a cavern doesn’t really help with the believability.

Insubstantial and a bit cheesy, yes, and rather too detailed in certain areas for my personal preference, but JUNK! really isn’t a bad read. If you’re interested, do check it out—DramaQueen could certainly use the revenue!

-Review by Michelle Smith

Kizuna Deluxe Edition, Vol. 3 | By Kazuma Kodaka | Published by Juné | Rated Mature (18+) | Buy at Akadot – I am so glad I continued beyond that first, uneven volume of Kizuna, because it improved so drastically that I now eagerly anticipate each new, double-sized release.

What makes Kizuna so special is that it is a shining example of BL that is more than just a romance. There can be no doubt that long-time couple Kei Enjouji—illegitimate son of a yakuza who wants nothing to do with his father or his organization—and Ranmaru Samejima—a former kendo champ injured during an attempt on Kei’s life—are seriously in love, but there is also quite a lot of genuine suspense as yakuza drama keeps intruding upon their life together.

In this volume, Kei has been captured and badly beaten by yakuza with a grudge against his family, and a desperately worried Ranmaru teams up with Kei’s half-brother, Kai, to find him. The situation is milked for every bit of possible melodrama, but in the best possible way, culminating in a tense standoff between Ranmaru—who shows that his kendo prowess is still very much intact—and the guilty party. Once Kei has been taken to a hospital, the tone shifts to something more light-hearted, with a frankly adorable marriage proposal.

Aside from the storytelling, another thing that sets Kizuna apart is the way it’s drawn. It’s not particularly pretty, and features simple page layouts with multiple small panels. Although characters occasionally comment on Ranmaru’s loveliness, he is certainly no willowy bishounen, and other character designs include massive and stern Masa, Kai’s protector and unrequited/not really unrequited love interest, and Jack, a middle-aged, beak-nosed, hairy-chested assassin.

Kizuna is clearly a classic for a reason. If you’re a BL fan, I’d go so far as to call this required reading.

-Review by Michelle Smith

Rabbit Man, Tiger Man, Vol. 1 | By Akira Honma | Published by Juné | Rated YA (16+) | Buy at Akadot – Young surgeon Uzuki gets more than he bargains for when he chooses to treat the gunshot wound of a gangster in the street. The yakuza, up-and-coming boss Nonami, delirious from blood loss, remembers little detail about the incident afterwards, but has developed a case of Florence Nightingale syndrome regarding his rescuer, whom he believes to have been female. What happens when he finds out the truth?

On one hand, the first volume of Rabbit Man, Tiger Man feels like a collection of some of the genre’s most tired clichés. A brilliant, manly, totally heterosexual hunk accidentally falls for a timid, pretty, totally heterosexual little guy, who of course is quickly smitten back, to the point that he basically manipulates the hunk into ravishing him (only semi-consensually, at least on the surface) so that he doesn’t have to admit that he’s turned on. Pretty much everything I dislike most about typical seme/uke tropes is featured prominently in this manga, which should be enough to send me running far, far away as quickly as possible.

On the other hand, this manga isn’t quite the sum of its clichés. Even within their rigidly defined roles, both Uzuki and Nonami display glimmers of actual complexity, especially Uzuki, whose frustration with the treatment he receives as a young resident suggests that his job may be more that simply a shallow plot device. Unfortunately, like so many BL tankobon, a full quarter of the volume is given over to an unrelated secondary story (in this case featuring both rape and the vilification of its female characters—not exactly a winning combo for this reviewer), leaving its title tale sadly underdeveloped.

Can this series overcome its tired beginnings? We’ll have to wait for the next volume to find out.

-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.

Manga the week of 7/27

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Right, Midtown is really starting to irritate me. I don’t know where their distributor has wandered off to, but the Kodansha titles are just passing them by. With that in mind…

Stuff that’s come out from Kodansha but hasn’t hit Midtown in the last 2 months: Well, we have (deep breath) Air Gear 18 (back to single volumes), The Wallflower 25 (ditto), Negima Neo 7 (the final volume, and thank God for that), and Sayonara Zetsubou-sensei 9. Reviews of Zetsubou and Wallflower are already on my site. That’s June.

From July, we have out already the 14th volume of Fairy Tail, the 3rd of the blogger favorite Arisa, the final volume of Shugo Chara proper (the last volume is a collection of the sequel, Shugo Chara Encore), and a new Ninja Girls, which is… not a blogger favorite. Those came out today.

Next week, from Diamond but not Midtown, we have the 30th volume of Mahou Sensei Negima!. It’s in the middle of a kickass arc that doesn’t let up. And while I can’t confirm this (as I didn’t order it), we may see the new Deltora Quest as well. Hey, Midtown! Fix this!

Rant over, so what *is* Midtown getting in? Well, there’s the 6th volume of Gurren Lagann, from Dengeki Daioh. There’s also a large stack of stuff from Digital Manga Publishing, who apparently finished a bunch of Taiyo Tosho stuff at once. All one-volume sets, with such suggestive titles as I Give To You, This Night’s Everything, and Entangled Circumstances. All these come from their two yaoi magazines, Hertz and Craft.

(Side note to DMP: If you license one more yaoi manga where a seme has one hand cupping the chin of his lover while the uke is staring back at him with this sort of tortured ‘do what you will, you callous ruffian of my heart’ look, I shall be very cross with you indeed.)

And that’s it. What appeals to you this week?

The Josei Alphabet: Y

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“Y” is for…

Yami no Koe, written and illustrated by Junji Ito, originally serialized in Asahi Sonorama’s Nemuki, one volume: Another collection of horror shorts from one of the genre’s masters. I love how horror is one of the most popular sub-genres of josei.

Yasha, written and illustrated by Akimi Yoshida, originally serialized in Shogakukan’s Betsucomi (shôjo) and Flowers (josei), 12 volumes: A gifted kid’s mother is murdered, and he’s subsequently kidnapped. He returns to his home town, a small island off of Okinawa, six years later with a title (doctor), an entourage of bodyguards, and a whole lot of secrets. More presumably sexy mystery from the creator of Banana Fish, this won a Shogakukan prize in 2002.

Yoru Café, written and illustrated by Maki Enjouji, originally serialized in Shogakukan’s Petit Comic, three volumes: A widow inherits a café and its harem of handsome male employees. Manga about eateries with hunky staff members is almost always made of more win than lose.

Yukan Kurabu, written and illustrated by Yukari Ichijo, originally serialized in Shueisha’s Ribon (shôjo) and Chorus (josei), 19 volumes: The quirky offspring of three famous men (a police commissioner, an ambassador, and a painter) solve crimes to pass the time. There are few things I love more than quirky people solving crimes because they’re bored.

Yuru Koi, written and illustrated by Aki Yoshino, originally serialized in Shogakukan’s Petit Comic, one volume: This meet-cute romance is about a woman who moves back home after quitting her job and a guy who seems to be jerky but probably isn’t. I just love the cover. It glows.

Josei magazines:

  • You, published by Shueisha
  • Young You, published by Shueisha

What starts with “Y” in your josei alphabet?

3 Things Thursday: Out of my dreams

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Though my commute to work is too short to allow the consumption of podcasts in a timely manner, over the past few days, I’ve been slowly working my way through the latest installment of Ed Sizemore’s Manga Out Loud, featuring Takako Shimura’s Wandering Son. I still have a ways to go, but one of the topics that has engaged me deeply so far has been discussion of Shuichi’s nightmares in the book, and what they reveal about his fears and his state of mind as he works through his discomfort and disconnection with his biologically assigned gender.

I rambled on a lot about this in comments to the entry, mainly because the harshness of his later nightmare in the volume resonated so strongly with me personally and the nature of my own worst nightmares.

The truth is, I’m pretty obsessed with dreams and dream worlds (pleasant or otherwise) and always have been, and while many works of fiction use dreams as a narrative device, it’s not all that often that they use them in a way that really rings true to me. Obviously, what “rings true” to me in a dream sequence is going to be largely informed by my own dream experiences and may not reflect the experiences of others, but this is an area in which Shimura’s vision of her character’s dreams really shines. I’ll probably have more to say about this as I discuss the series further, but in the meantime, let’s have ourselves a 3 Things Thursday!

3 manga series that heavily (and effectively) make use of dreams

1. After School Nightmare | Setona Mizushiro | Go! Comi – One of my greatest regrets will always be that I could not find the time to participate in the Manga Moveable Feast for this title, because I have a lot to say about it, not the least of which would be regarding its use of shared nightmares as its primary plot device. In these students’ nightmares, they each appear as manifestations of their darkest secrets, and while, as Erica Friedman points out in the Wandering Son podcast, these secrets tend to come from a place of self-loathing, the line between what we fear about ourselves and what we fear other people think of us is often a pretty difficult one to draw. It took me a long time to realize that the horrible things people say about me in my nightmares are less often what I fear they think of me and more what I secretly fear about myself. It’s me writing the script, after all. This is a distinction that After School Nightmare completely gets, and that has a lot to do with why I found it so effective as a dream-based manga. Furthermore, it uses its nightmare setting as a metaphor for the state of being a teenager, when emotional vulnerability to one’s peers is more terrifying than anything else the subconscious mind could possibly dream up.

2. Please Save My Earth | Saki Hiwatari | Viz Media – Probably I’ve already talked this one to death in my recent discussion with Michelle at The Hooded Utilitarian, but moving to the happier side of dream fantasy, nothing can possibly beat Saki Hiwatari’s Please Save My Earth, in which a group of teenagers discover through a series of shared dreams (is there a theme here?) that they are the collective reincarnation of a group of alien scientists sent to study Earth from the Moon. Unlike After School Nightmare, this series resonates more strongly with the best dreams of my youth and the sense that our dream worlds might be just as real as our waking lives. This was a recurring theme in my childhood, and Please Save My Earth is in many ways a perfect representation of my own deepest pre-teen fantasies. Interestingly, like After School Nightmare, this series also touches on questions of gender identity, though it fails to dig as deeply, and of course neither approach the subject with the same kind of maturity as Wandering Son.

3. xxxHolic | CLAMP | Del Rey Manga – Though this is a manga that hooked me long before its use of dreams as a major narrative device, there are few examples that I love more. From Watanuki’s frequent dream-based encounters with Doumeki’s grandfather to his complete inability to maintain his waking consciousness throughout some of the later volumes, CLAMP’s use of dreams in this series is emotionally and narratively spectacular. This series goes further than either of the others in questioning the concept of reality vs. dreams, as it plunges Watanuki from waking to dreaming and back again, leaving both he and us disoriented as to which is which much of the time. It’s revealing and immersive, which is what makes it so effective for me. Also? Kinda gorgeous.

Readers, do you have favorite dream-based manga?