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Buffy the Vampire Slayer Season Eight 4 by Joss Whedon: B

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From the back cover:
Buffy Summers unlocked the power of the Slayer in hundreds of young women, but in the future only one Slayer remains. Melaka Fray—introduced by Buffy creator Joss Whedon and artist Karl Moline in 2001—returns to comics in Season Eight of Buffy the Vampire Slayer.

When Buffy attempts to solve the mystery of her scythe, she’s propelled into the future, and into the path of Fray. In order to save their worlds, the two Slayers must fight against a threat more powerful than the two of them combined, while back in the twenty-first century, the Scottish Slayer base falls prey to a mystical bomb courtesy of the Biggest Bad—Twilight.

Review:
It’s been a long time since I reviewed any of the Season Eight comics. I’ve been keeping up with the individual issues, but just haven’t felt inclined to reread them when the collected editions come out. I still haven’t liked any arc as much as Brian K. Vaughan’s “No Future for You” (issues 6-10), and somewhere along the way things have gotten so ridiculous that I just refuse to admit/believe that any of these events can be considered canon. Season Eight will be ending soon—the fortieth and final issue is due on January 19 (Buffy’s birthday)—so it seems like a good time to get caught up with reviews and potentially air a few gripes.

Volume four collects issues 16-20 of the series, comprising the Whedon-penned arc “Time of Your Life” as well as Jeph Loeb’s one-shot, “After These Messages… We’ll Be Right Back!” And, actually, this arc is pretty good. Warning: spoilers ahead!

Following up on a message she received while in Japan, Willow concludes that she and Buffy need to go to New York because of some timey-wimey ripple of a future event that’s going to occur there. Once they arrive, a portal opens, sending Buffy two hundred years into the future (and leaving a slavering beastie in her place), into the path of a Slayer named Melaka Fray. Fray, some may remember, once had a comic series of her own and fans were curious how Fray’s future (where there’s only one Slayer) would tie in with the series’ continuity, in which Buffy essentially activates all the potential Slayers in the world.

Fray’s main foe is her twin brother, Harth. A vampire, he’s got tons of minions and has recently been linked to a dark-haired madwoman who speaks in riddles. One assumes this is hinting at Drusilla, but it’s actually Dark Willow, still alive and planning something unspecific with Harth. Stuff happens—my favorite bits demonstrate how the two Slayers approach their job differently—but the basic gist is that present-day Willow reopens the portal and Buffy is determined to go back to her own time, even if it means that Fray and her future will cease to exist. When Dark Willow blocks her way, Buffy stabs her with the scythe.

Now, this is pretty interesting and reads much better when collected all together than as single issues. My major problem with it, though, is that I have no idea what Willow’s motivation was. Why was she working with Harth? What was she helping him to achieve? Vampire dominion over earth? Why would she do that? If I had to guess I’d say that maybe she wanted the future to look as shitty as possible so that Buffy would be determined not to let things turn out like that. But the final page of the arc shows that Melaka and her version of the future didn’t disappear at all. It’s quite a sad end for Willow, all alone and dead on some dingy futuristic rooftop.

Coming off the end of this arc is the fluffy but fun “After These Messages,” in which Buffy has a dream in the style of the cartoon series version of the show that never panned out. It takes place during high school, so Joyce is there, and reminds Buffy of how simple her life used to be. It’s not just a throwaway piece, though, as Buffy gets some advice from Dream Angel that convinces her that she shouldn’t tell Willow about what happened in the future.

If I recall rightly, this is the last arc that I enjoyed, but we shall see. It could be that the others will also fare much better when read back-to-back instead of in monthly installments. Stay tuned!

Flying the Heavenly Skies

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Thanks so much for your input on my Previews order! Many people provided thoughtful feedback on how I might best squander around $10 of my monthly comic budget, and the winner was…

The Beautiful Skies of Hou Ou High, written and illustrated by Arata Aki, published by Digital Manga! Here’s how the publisher describes it:

Houou High is a famous and incredibly prestigious all-boys school. It’s also the stomping grounds for the sons of the most well-renowned families from all walks of life, which gives rise to rumors that it holds a monopoly on money and power. Our protagonist, Kei Saeba, ends up enrolling in this veritable garden of blooming amateurs due to her mother’s guile. Now she must pretend she’s a boy for three years or she “will be erased”!

Another source told me that Kei is sent to this school because she likes girls and her mother wants to fix that via deep boy immersion, because that always works. I don’t have a particular aversion to reverse-harem stories and have enjoyed some of them very much, but blithe conversion comedy sets my phasers on kill.

It originally ran in Mag Garden’s Comic Avarus, home to notable titles like Alice in the Country of Hearts, Monochrome Factor, Tactics, Vassalord, and Your and My Secret, all from Tokyopop. That’s not a terrible track record, to be honest, but it’s still on the mixed side. We’ll see. Three months from now, I may come back to bitterly denounce you all. Won’t that be fun?!

Fanservice Friday: From the ladies

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… or at least one lady.

There’s been quite a bit of talk already about editor Sean Michael Wilson‘s assessment of female critics’ reaction to AX: A Collection of Alternative Manga, most of it much smarter than anything I might offer up (posts from Brigid Alverson and Kate Dacey among them).

Still, as a North American lady-perceived person, I feel compelled to examine Wilson’s argument, my personal reaction to it, and why I feel this is appropriate for Fanservice Friday. As I proceed, please keep in mind that I have not read AX, so my reactions are to Wilson’s theory about the tastes of North American ladies, not about those ladies’ reactions to that work in particular. This is important. Please remember it.

First, the increasingly famous words from Wilson:

Now, onto ‘AX alternative manga’ book. It has had a huge amount of reviews, and overwhelmingly positive … However, one aspect has surprised both myself and Asakawa, the Japanese editor – quite a few female American reviewers have taken issue with the large amount of scatalogical toilet humour and also the sexual content of the collection. Somehow they seem to find it offensive, or unpleasant, or immature. It was surprising to me to see this kind of reaction, as it never occurred to me at all – as a British person – that these could be seen as negative …

Now, I don’t mean that ‘I am right,they are wrong’ and certainly don’t mean to upset these reviewers – its their opinion, and I’m interested to see it. It’s been an illuminating thing for me to see such reactions. What hits me the most is that it’s perhaps an example of cultural (and gender within culture) difference on perception of such things. I say that because I noticed that all the people making such comments are North American ladies. I have not seen a single man say it, or any women from outside North America. Therefore, I presume that it MAY be something in the shared cultural values and norms of such commentators coming through that makes them react negatively to such toilet humour and sexual content – perhaps? In Britain toilet humour is one of the main types, and our attitude towards sexual content is relatively ‘liberal’, it seems. Asakawa, as a Japanese person, was also rather surprised, for perhaps similar cultural reasons.

Given that this is Fanservice Friday, I’ll leave the discussion of toilet humor to others and move on more appropriately, to sexual content, because here is where I must emphatically disagree with Sean Michael Wilson.

North American ladies don’t like sexual content? Has the man never cracked open a Harlequin romance? I can easily imagine that many men might be unaware of things like the enormous volume of sexually explicit fanfiction churned out by North American women on the internet every day, but sexual fantasy is big business in this part of the world, and there’s no shortage of demand for it from women.

Even in the (relatively small) North American manga market, we women like our fanservice just the same as anyone. Sure, some of that comes down to chaste romance and slashable bishounen, but many of the best loved and most eagerly anticipated manga among female readers in North America derive their main appeal from sexual content, ranging anywhere from coy bedroom scenes to outright pornography. Fans of yaoi in particular (me included, perhaps), have not usually been known for our delicate tastes.

What I think Mr. Wilson is more likely encountering is that we, many of us, also have other standards, at least when we’re engaging with something that believes itself to be Art. We see merit in sexual content, but we expect it to have meaning beyond shock value or pure titillation. Hell, even in our pornography, we expect some level of craft, either visual or narrative in nature.

Speaking for myself, having come from a prose background, I’ll cut the artwork quite a bit of slack, but if the sex doesn’t drive the story (at least when it’s onscreen) I’m probably going to be unimpressed. In fiction, as in life, effective sex scenes require effort, and I don’t have a lot of patience for slogging through otherwise. I’m over forty. I’ve seen it all. You can’t shock me with your content. But there’s an excellent chance that you’ll bore me if you don’t have something more to offer. And if your point is simply to be subversive, you’ll likely bore me with that as well.

Now, obviously AX is not concerned with fanservice. Nor is it, I expect, concerned with having fans. “Experimental” work is generally about social commentary, self-expression, Damning The Man, and other perfectly noble causes, none of which are guaranteed to produce art.

Having not read the collection, I’m not prepared to comment on what its contributors have produced, but if my fellow Ladies haven’t appreciated it, I’m fairly certain it’s not the sex.

Really, quite certain.

License Request Day: Kiko-Chan’s Smile

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As I wrap up The Seinen Alphabet (three more letters!), I find myself thinking of the upcoming Josei Alphabet. Since there isn’t a tremendous amount available in English, I’m guessing they’ll consist largely of unlicensed works. It seemed like a good time to do a little investigating and see what’s lurking out there. Imagine my delight when I found something that looks both funny and weird.

It’s called Kiko-Chan’s Smile, five volumes written and illustrated by Tsubasa Nunoura and originally serialized in Kodansha’s Be Love. And it’s about a weird little girl. Isn’t she lovely?

Kiko is an independent, taciturn and, from what I can surmise, kind of forbidding child. Her parents don’t know what to make of her, but her classmates are delighted by the unusual events that seem to swirl around her. She meddles with her teacher’s love life, and she enjoys the companionship of her cat, who also happens to be an angel and the father of five half-angel, half-cat kittens. (Kittels? Angens?) Kittens with supernatural powers, people… tell me that doesn’t light a fire.

I have a documented fondness for manga about weird girls and an unexpected weakness for manga about precocious, disruptive children, so this seems like a fine opportunity to cross the streams, as they say. It doesn’t seem like what one would traditionally think of as josei; I get more of a Morning vibe off of it. But it was adapted into an anime, so that’s always a good sign. And it’s nice to be reminded that the subject matter of josei can be as rangy and odd as the other demographics.

I’m thinking this would be a nice one for Vertical. We can always hope that Kodansha’s own initial offerings do well enough that they’ll publish some less commercial titles, but I definitely get a feeling that this would fit in nicely with the good folks at Vertical. They support kittens in manga.

3 Things Thursday: Looking Forward

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Though we’ve just barely finished looking back at 2010, for those ready to peer forward into the year to come, About.com’s Deb Aoki has posted a gallery of upcoming manga that is truly wondrous to behold. As I flipped through this delicious list earlier, I began to regret my decision to limit myself to 3 Things. Titles like Natsume Ono’s La Quinta Camera and Usamaru Furuya’s Lychee Light Club called out to me sadly, “You’re really going to skip us? Really? REALLY?” Yet I’ll attempt just three all the same. Here goes!

3 manga I’m looking forward to in 2011

1. Wandering Son | Takako Shimura | Fantagraphics – This eleven-volume series about two transgender middle school students making their way through the minefield of adolescence is an ambitious choice for Fantagraphics’ new manga line, and possibly my most-anticipated new manga for 2011.

According to the PR copy, “Written and drawn by one of today’s most critically acclaimed creators of manga, Shimura portrays Shuishi and Yoshino’s very private journey with affection, sensitivity, gentle humor, and unmistakable flair and grace.” I can’t wait to see it for myself.

2. A Zoo in Winter | Jiro Taniguchi | Fanfare – Ponent Mon – I’m still left in a state of dreamy mental bliss whenever I think about Taniguchi’s A Distant Neighborhood, and the idea of being given the opportunity to read a semi-autobiography about the person who put me there is really all I could ever ask for in a manga.

From the PR, “For the first time ever, Taniguchi recalls his beginnings in manga and his youth spent in Tokyo in the 1960s. It is a magnificent account of his apprenticeship where all the finesse and elegance of the creator are united to illustrate those first emotions of adulthood.” Thank you, Fanfare – Ponent Mon, for continuing to bring us works like this!

3. A Bride’s Story | Kaoru Mori | Yen Press – Shockingly, I’ve never read Mori’s Emma, but everything I know about it leads me to believe that this tale of an accomplished young woman sent to marry a 12-year-old will be a must-read for me. From the PR, “At the age of twenty, Amir is sent to a neighboring town to be wed. But her surprise at learning her new husband, Karluk, is eight years younger than her is quickly replaced by a deep affection for the boy and his family … As the two of them learn more about each other through their day-to-day lives, the bond of respect and love grows stronger.”

Yen’s plans to release this in a “deluxe hardcover edition” certainly don’t hurt either.

A million thanks to Deb for providing such a tantalizing gallery! So readers, what are your most anticipated manga of the upcoming year?

From the stack: The Kurosagi Corpse Delivery Service vol. 11

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I always feel a little badly about my follow-up with reviews, as I tend to focus on early volumes of manga series with mostly cursory remarks on later installments unless my opinion changes materially or I feel the book is underappreciated. While my opinion of The Kurosagi Corpse Delivery Service (Dark Horse) hasn’t changed, I did want to highlight the fact that the eleventh volume, written by Eiji Otsuka and illustrated by Housui Yamazaki, is pretty extraordinary, even by the standards of this uniformly excellent series.

For those of you who aren’t familiar with the series, first of all, you really should be. The premise is simple at its core and extremely portable in terms of the kinds of stories Otsuka and Yamazaki tell. It’s about a group of unemployable students at a Buddhist university who combine their unique talents to form a side business dedicated to helping misplaced corpses with their unfinished business. Their various skills include hacking (with computers as opposed to cleavers), embalming and autopsy, channeling a foulmouthed alien entity, detecting dead bodies, and actually speaking to the deceased to find out how they ended up where they ended up.

It’s witty and gruesome, and Otsuka uses the episodic nature of the series to explore not only the ways humans respond to death, but contemporary culture as a whole. The satire is generally just the right kind of sly, which I think results in part from Yamazaki’s open, friendly cartooning. Yamazaki can certainly pull off grisly visuals, but he seems fond of the ways people look different from one another in age, size and shape. Even the terrible people who wander in and out of the narrative have that certain vulnerability you get from the fact that they look distinct, that you could imagine seeing them in your world.

The stories tend to run a few chapters each, but my favorite arcs tend to be longer. The second volume tells a single story, and it’s a glorious mystery with supernatural elements. The eleventh volume includes what I think is the second-longest story arc in the series, and it never flags. Otsuka packs it with both solid plot and smart embellishments.

It’s about mysterious happenings at an elite private school that center around a spooky little girl with an unsavory past named Chihaya. She has a connection to Sasayama, the retired detective/civil servant who often drags our heroes into worthwhile (but unprofitable) scenarios. Chihaya is an amazing character – steely, secretive, and purposeful, but entirely credible as a kid. I would love it if she got a spin-off or at least returned for another big, meaty arc.

Otsuka and Yamazaki have a great time with the social discord of the school setting and the ways little girls can be awful to each other, particularly at the elite levels. They also poke smart fun at the state of journalism and public perceptions of crime and youth. And they give their core cast some great moments. Corpse-finding Numata gets some surprising time in the spotlight, with his slacker-dope persona revealing some unexpected but totally logical nuances. Hacker Sasaki doesn’t get as much panel time, but she has a few terrific bits that remind readers of why she’s the brains of the operation.

The second arc in the book isn’t as good, but that’s mostly a matter of comparison. In an average volume, its look at the seedy underbelly of a beloved institution would be entirely welcome, and it’s not unwelcome here. It just can’t compete with Chihaya’s tightly written, sharply observed plight. If you want to give it a more charitable reading, start at page 171, then pick up at the beginning.

I mentioned this series as a worthy contender for an Eisner nomination, and I’ll happily restate that, particularly based on the strength of this volume. It’s a great comic, and I’d love it if more people gave it a chance.

Off the Shelf: Soap, Shoujo, & Samurai

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Welcome to Off the Shelf with MJ & Michelle, and our first column of the New Year! I’m joined, as always, by Soliloquy in Blue‘s Michelle Smith.

This week, I catch up on some favorites from Yen Press and Viz Media, while Michelle shares a look at a unique “how-to” offering from Tokyopop.

MICHELLE: Hey, MJ? Why were the little strawberries upset?

MJ: I dunno, why?

MICHELLE: ‘Cos they were in a jam!

MJ: Ba-dum-dum *chick*

MICHELLE: Thank you! I’ll be here all week. Tip your waitress.

Before you advise me not to quit my day job, perhaps I should make with the business at hand and inquire as to what you’ve been reading this week!

MJ: I spent the week catching up on new volumes of both a new favorite and an old one. I’ll start with the old one, which would be Park SoHee’s gloriously soapy manhwa, Goong. And I have to say, now that Yen Press has been releasing these in omnibus format, the series is more addictive than ever. Despite its soap-opera leanings, Goong moves at a brisk pace, so it reads very well in two-volume chunks.

Volume ten (consolidated from Korean volumes 11 & 12) begins with Chae-Kyung throwing both herself and her husband to the palace wolves by revealing the truth about their marriage in a live television interview. Incredibly, things only ramp up further from there to the end, making this one of the most dramatic volumes of the series so far.

What I admire most about Park SoHee, aside from her detailed, expressive artwork, is her ability to create well-rounded, morally ambiguous characters in both the “hero” and “villain” camps (particularly with the younger characters), displaying all their weaknesses, refusing to make clear distinctions between them, and yet still creating real biases and allegiances in the hearts of her readers.

Take Hyo-Rin for example. She’s certainly at odds with our heroine, Chae-Kyung, but she’s pretty well-balanced, overall. She’s equal parts “bitch” and “misunderstood victim,” and Park gives significant page time to both. As a reasonable adult, it’s clear to me that she’s just a regular teen girl stuck in a situation just as unfortunate and as unfair as Chae-Kyung’s. Yet I believe Park intends for me to really hate Hyo-Rin. Why? Because I do. I really, really do. Despite the fact that it’s incredibly juvenile of me to do so, I genuinely hate her and have, at times, wished ill upon her.

Writing a villain like a villain may not sound particularly noteworthy, but what’s brilliant about what Park does is the way she’s able to create the illusion of black and white using only shades of gray. It’s what keeps this series crisp and compelling, despite its soapy consistency. I’m impressed by it every time.

MICHELLE: The bit about you wishing ill upon Hyo-Rin literally made me crack up. Well done! And man, you have certainly stoked the flames of my love for Goong. I’ve been hoarding the past several releases with the intention of reading them soon, but now I’m tempted to reread from the beginning first the better to wallow in the melodramatic goodness that is this cracktastic series.

MJ: This volume is just about as melodramatic and as good as it could possibly be, and if you aren’t wishing ill upon Hyo-Rin right along with me by the end, I’ll eat my hat. :D

MICHELLE: No one ever goes through with that promise.

MJ: Well, I might not either. It’s a wool hat. Terrible texture. But never mind that! What have you been reading this week?

MICHELLE: My pick for the week is not actually manga, but is very much about manga. I read How to Draw Shojo Manga, by the Editors of Hakusensha’s shojo magazines. The title is a bit unfortunate, because it might lull one into thinking this is simply a book about drawing, when that isn’t the case at all.

What it is is a very thorough introduction to the entire (incredibly time-consuming) process of creating manga, with specific advice and examples. I’m not talking simply “use this kind of nib for thin lines” but in-depth instruction on topics like creating outlines and storyboards, panel arrangement, the proper order for inking, using digital tools, and even how to deal with criticism. This can sometimes get quite specific, like, “It’s effective to have a panel that draws the eye to the top of the left page.”

Throughout, readers follow Ena, an aspiring manga-ka, as she creates an outline for a 16-page submission to a short story contest, moves on to the storyboard phase, and finally submits her finished product for criticism from two of Hakusensha’s editors. Obviously, the parts of this book dealing with submitting one’s story for consideration aren’t really applicable to American would-be manga-ka—unless they are fluent in Japanese, one supposes—so it’s unlikely that the claim “Follow along with us, work hard, and you will find yourself transformed into a professional shojo manga artist” will ever come to fruition. I wonder how often a book like this has actually produced success in Japan.

That said, even a casual manga fan would find this book illuminating. For a reviewer, particularly ones like us who are trying to improve our skills in artistic criticism, I’d go so far as to call it positively indispensable. There’s so much practical advice about what a manga-ka should be—and theoretically is—striving for in his/her work that I found it quite a fascinating read.

MJ: I have a copy of this as well, and while I haven’t read it in-depth, I was immediately struck by how different it is from the lame, obviously western takes on “shojo manga” we’ve seen in so many how-to books. It’s honestly the first one I’ve ever been sent that I had any interest at all in reading after doing a quick flip-through, and that includes all the ones I’ve actually read. Heh.

Though I expect you’re right–not too many American artists are going to be submitting their work for publication in Japan–was any of the submission advice general enough to be useful for western artists submitting their work to OEL publishers?

MICHELLE: Indeed, there is nothing lame about this book at all. And absolutely, the advice would completely apply to OEL creators. From the aspects of the craft itself to how to solicit criticism—instead of asking a friend whether they liked your work, instead ask if they understood it, for example—it’s completely applicable for western artists!

MJ: Now I feel even more inspired to read this!

MICHELLE: Any time I like something, I always think that you should read it, but this time I really, really mean it. I think you’ll learn a lot. I did.

Anyways, enough gushing. You hinted earlier at a new favorite. Which one might that be?

MJ: Ah yes, well, the new volume of a new favorite is volume two of Natsume Ono’s House of Five Leaves, one of my favorite debut series last year. As you may recall, I read volume one pretty much on a whim via the SigIKKI website, during a week in which I had little access to physical books. It’s going to be real books all the way for Five Leaves from now on, though. This series is definitely a keeper.

As this volume opens, Masa falls ill, which forces him to retire to the country under the care of Goinkyo, a friend of the Five Leaves gang. With Masa separated from Five Leaves’ leader Yaichi for most of the volume, the story takes on a dreamy, disjointed feel, emphasizing how important Masa’s admiration of Yaichi has become to his sense of purpose–perhaps even his sense of self. At Goinkyo’s, Masa is encouraged to discontinue his association with the Five Leaves, but thanks to Yaichi’s influence, it’s clear by the end of the volume that Masa’s not going anywhere.

This series continues to be very much in tune with my personal sensibilities, which is obviously a major selling point for me. Masa’s layers of quiet turmoil, the story’s moral ambiguity, and Ono’s distinctive, melancholy artwork are all perfectly constructed for my enjoyment. Though this volume has a distinctly plodding feel, this has the effect of placing the reader in Masa’s convalescent headspace–part boredom, part relief, and tinged with some undetermined amount of separation anxiety. The volume’s a bit sleepy but never dull, and the last few pages are genuinely riveting.

I suspect a series that relies so heavily on prolonged character study may not be to everyone’s taste, but it’s certainly a great fit for mine. And I’m expecting the emotional payoff to be pretty big as Masa submerges himself further into the world of the Five Leaves.

MICHELLE: I’ve really been looking forward to reading this second volume after I, too, loved the first very much. With his personality, Masa could so easily be irritating if handled poorly, but Ono renders him with incredible sympathy. He is ill-equipped to resist Yaichi and his charms and is actually kind of adorable in how he gets swept up in it all.

MJ: I absolutely adore Masa, and I agree that might well not be the case were he in another author’s hands. As it is, though, he’s a character I always want to know more about. I think I actually find him more interesting than any of the mysterious criminals around him. He’s really a unique protagonist.

MICHELLE: Definitely. You know, your picks this week remind me how much thoroughly awesome manga and manhwa we have in English these days. Granted, I could easily rattle off a dozen series I’d love to see licensed, but we’ve got it good.

MJ: You’re absolutely right. It’s a great time to be a fan, no matter how you look at it.

MICHELLE: Which reminds me, Deb Aoki at About.com put together this thoroughly awesome gallery of the new series debuting here in 2011. I bookmarked it, and thought maybe others might find it useful as well.

MJ: Great call, Michelle! Way to start the New Year off right!

MICHELLE: I guess this just goes to show that I can never simply appreciate what we’ve got, but must always pine for more, but I’m looking forward to quite a lot on that list and that’s a fun place to be as a fan.

MJ: I’ll drink to that.

Happy New Year from Off the Shelf!

The Seinen Alphabet: W

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“W” is for…

Wandering Son, written and illustrated by Takako Shimura, originally serialized in Enterbrain’s Comic Beam and due for English-language release from Fantagraphics. This tale of gender identity is easily one of the most anticipated books of 2011.

What a Wonderful World!, written and illustrated by Inio Asano, originally serialized in Shogakukan’s Sunday GX and published in English in two volumes by Viz. Interconnected short stories that are sometimes very lovely and sometimes kind of predictably mope-y, but Asano is undeniably talented, and I’ll certainly read any of his work that’s published in English.

What’s Michael?, written and illustrated by Makoto Kobayashi, originally serialized in Kodansha’s Weekly Morning, then partially serialized in English in Dark Horse’s Super Manga Blast. It’s about cats. That’s all I really need to say.

Wolf’s Rain, written by Keiko Nobumoto and illustrated by Toshitsugu Iida, originally serialized in Kodansha’s Magazine Z and published in English by Viz. It’s a two-volume adaptation of a popular fantasy anime.

Wounded Man, written by Kazuo Koike and illustrated by Ryoichi Ikegami, originally serialized in Shogakukan’s Big Comic Spirits and published in English by Comics One. I think this might be the most violent Koike manga to be licensed. I certainly remember people cringing at the thought of it.

Working!!, written and illustrated by Karino Takatsu, serialized in Square Enix’s Young Gangan. It’s a comedy about quirky people working in a family restaurant. I have a weakness for manga of that type, so I suspect I would be pleased if someone published it in English.

What Did You Eat Yesterday?, written and illustrated by Fumi Yoshinaga, serialized in Kodansha’s Weekly Morning. I mentioned this previously, but I’ll mention it again, because I’m desperate for someone to publish it in English. It’s about a food-loving gay couple.

What’s the Answer?, written and illustrated by Tondabayashi, originally serialized in Shogakukan’s IKKI, appears very intermittently on Viz’s SigIKKI site.

“W” is also for “Weekly,” a modifier that often appears before the title of various Japanese manga magazines to indicate the frequency with which they are published. Please peruse this list at your leisure for examples.

What starts with “W” in your seinen alphabet?

Update:

And the glaring omission klaxon sounds! I inexcusably forgot Daisuke (Children of the Sea) Igarashi’s Witches, originally serialized in Shogakukan’s IKKI, which means it seems like fair game for the SigIKKI site. I’ve already given this one the License Request treatment, which I’ll take this opportunity to reaffirm.

Update 2:

This omission is even more inexcusable, as Jiro Taniguchi’s The Walking Man (Fanfare/Ponent Mon) is one of my favorite comics of all time, and I read it over and over again. It’s title is entirely accurate; it’s about a middle-class guy who goes for walks in his suburban neighborhood, enjoying everyday wonders, and it’s quite unlike almost anything else you’re likely to find in a comic shop. It originally ran in Kodansha’s Weekly Morning and was later reprinted by Shogakukan.

On the creator front, there’s the hilarious Kiminori Wakasugi, whose Detroit Metal City (Viz) continues to delight and offend.

Manhwa Monday: Doom & Gloom?

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Welcome to the first Manhwa Monday column in 2011! Though I’m sorry to say, readers, that I’ve come here mainly to whine. This morning, I did my regular beginning-of-the-month search for new manhwa releases for January, and these were the results:

Laon, vol. 4.

Yep, that’s it. The sole upcoming manhwa release for the month is volume four of Laon from Yen Press. Now, surely one slow month is nothing to whine about, but with no new manhwa license announcements (so far) for the upcoming year, things are starting to look a little bit grim.

Udon Entertainment and TOKYOPOP have seemingly abandoned their manhwa lines. Dark Horse has two series still running, with nothing new on the horizon. NETCOMICS hasn’t updated any of their online series since October (and has nearly given up print). Even Yen Press, the industry’s trustiest source for English-language manhwa, has more series winding down than anything else.

Despite KOCCA’s strong presence at 2010’s New York Comic Con, manhwa seems to have lost momentum in the North American comics market, with very little obvious push coming even from KOCCA itself, if the current state of NETCOMICS’ release schedule is anything to go by. So imagine my surprise when an article entitled Will Manhwa Catch Manga? turned up in my Google Alerts this week.

My surprise faded quickly as I actually read the piece. The article’s author, Ulara Nakagawa, quotes Jung-sun Park, a professor at California State University, thusly, ” Though they’ve been consistently popular domestically up to now, she said, Korean comics, or manhwa, have yet to really take off outside of the country.” This obviously jives with what we’ve been seeing here in the US.

Where Park sees the future of manhwa, however, is in digital comics, particularly those that may potentially be offered for the iPad. Now, while I’m not particularly thrilled with this idea as a trend–I like my manhwa in print, especially the long, soapy, sunjeong series of which I’ve become so fond–evidence points to webtoons as being the source of much innovation in Korea’s comics industry, and I’ll take what I can get.

With that in mind, it’s telling that my only real bit of manhwa news this week comes from iSeeToon, who recently announced their updated app schedule for the beginning of the year–the only new English-translated manhwa to be announced by any publisher so far for 2011. Though I’ve been unable to check out their Magician series thus far, I’m hoping that the updated app may be available for iPad as well as iPhone/iPod. iSeeToon also continues their series on types of manhwa in Korea with an article on educational manhwa.

This week in reviews, at Slightly Biased Manga, Connie takes a look at volumes four, five, and six of Very! Very! Sweet (Yen Press). And at Anime Salvation, Finn checks out Change Guy (ADV). And for a look at what we’re missing, our own Hana Lee shares a review of volume two of Joseon Female Detective Damo.

That’s all for this week!

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

Joseon Female Detective Damo, Vol. 2

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Joseon Female Detective Damo, Vol. 2 | By Bang Hak-gi | Cheonnyeon-ui Sijak

Cover for Joseon Female Detective Damo Vol. 2Joseon Female Detective Damo (조선여형사 다모) was originally published as a newspaper or shinmun manhwa in Sports Seoul in 1994. It followed a previous series that the manhwa-ga, Bang Hak-gi (방학기), had published in 1979, called Damo Nam-sun (다모 남순이), which was serialized in Sports Seoul. In 2003, MBC turned Damo into a popular television miniseries, starring Ha Ji-won in the title role. Although the manhwa has not been translated into English, the drama is available for legal viewing in U.S. and Canada by streaming online at Dramafever.

(The first volume is currently out-of-print, which is why my reviews are beginning with the second volume. Fortunately, the drama remained sufficiently faithful to the original story, and the manhwa itself—no doubt due to its original form as a weekly serial—provided enough context to allow the reader to follow along without having read the first volume.)

The word damo (다모 or 茶母) originally indicated a female servant who served tea in government offices. However, by the late Joseon dynasty, the meaning of the term had evolved to refer to female police detectives, who were important for searching and interrogating female suspects in Joseon’s gender-segregated society. Set during the late 17th century, Joseon Female Detective Damo tells the story of one such detective, Chae-ok, who serves under the chief inspector of the Left Police Bureau, Hwangbo Yun.

At the start of the second volume, Chae-ok, who habitually goes disguised as a man, has gone undercover to infiltrate a ring of counterfeiters. With a fellow servant, Ma Chuk-ji, she helps a prisoner named Noh escape from the notoriously well-guarded Seorin jail. Having won Noh’s trust, Chae-ok and Ma Chuk-ji follow him to his hideout, where they realize that the criminal activities go far beyond just counterfeiting money. Noh and his men are illegally smuggling in weapons—specifically Japanese-style swords and guns—suggesting a much more dangerous criminal conspiracy that can only be backed by a high-ranking official.

Scan of Chae-ok and Ma Chuk-ji from Damo Vol. 2
Ma Chuk-ji on the left, Chae-ok on the right.

Meanwhile, Chae-ok’s superior, Hwangbo Yun is fired from his position as chief inspector of the Left Police Bureau because of the prison break. However, he has already anticipated his dismissal, which in combination with the infiltration operation, is part of his ambitious plan to promote his government career by exposing a high-profile crime. A flashback shows that Hwangbo Yun is an illegitimate son of a nobleman; due to this status, he was originally barred from civil service and served instead as a low-ranking military officer. (Due to the literati culture of the time, the military was held in lower esteem than the civil bureaucracy. The police bureau on the other hand was considered part of the civil service.) He received his appointment to the Left Police Bureau through a matter of luck: after surviving a murder attempt by his half-brother, the investigation into the crime brings Yun to the attention of the head of the Left Police Bureau, who appoints him to the chief inspector position. However, the appointment also won him many enemies, including Jeong Pil-jun, the Minister of War and the main antagonist of the series. Jeong Pil-jun is the man responsible for Hwangbo Yun’s dismissal, and the Left Police Bureau suspect that he is also behind the counterfeiting and smuggling ring.

Scan of Hwangbo Yun and Jeong Pil-jun from Vol. 2
Hwangbo Yun on the left, Jeong Pil-jun on the right.

Noh takes Chae-ok and Ma Chuk-ji to the criminals’ mountain stronghold, where they meet the leader, Cheon Seung-gi. They learn that the goal of the conspiracy is revolution: Cheon Seung-gi is gathering dissatisfied commoners and other dissidents and training them into a small army, whose purpose is to overthrow the Yi Joseon dynasty. Their cry is “Justice now!” (a rough translation of “이재궁궁”), a prayer for a better world. Cheon Seung-gi, despite his idealism, has his own dark past, as a former eunuch who is on the run after murdering his adulterous wife. Chae-ok and Ma Chuk-ji must now try to find evidence that conclusively proves that Cheon Seung-gi is taking orders from a government official and uncover that official’s identity. Despite their best efforts, they get nowhere, which leads them to conclude that they have to trick Cheon Seung-gi into revealing his patron. The volume ends as their trap is set, using Ma Chuk-ji’s wife, Tabak-nyeo, to get close to the criminals’ leader.

Scan of Cheon Seung-gi from Vol. 2
Cheon Seung-gi.

Although this manhwa is not rated, the dark subject matter, including visual depictions of violence and sex, make it very much a series for adults. (The drama, by comparison, would receive at most a Teen (13+) rating.) While the stylized art prevents the images from seeming explicit, they do represent what in a more realistic style would be very graphic scenes. Although featuring a strong female protagonist in a historical setting sends a feminist message, readers should be warned that the series does contain misogynistic content that goes beyond the sexism of the historical period. In particular, Cheon Seung-gi has a deep-seated hatred of women, and I found the two scenes where he murders women to be disturbing.

These warnings aside, the manhwa depicts the historical period with considerable realism and takes the time to provide background information that is not common knowledge. As the manhwa’s intended audience is supposed to have learned about Korean history in school, it suggests that the manhwa-ga put in considerable time into researching the setting and making the manhwa educational as well as entertaining. (Certainly, the experience of reading this manhwa has drastically expanded my knowledge of historical vocabulary.)

The strength of the manhwa is in its moral ambiguity. While the drama does address the issue of how both sides are in the right, the manhwa takes it one step further and shows how both sides are in the wrong. In this volume, Bang Hak-gi delves into extensive flashbacks for Hwangbo Yun and Cheon Seung-gi, showing past context that is important to understanding both characters. Neither Hwangbo Yun nor Cheon Seung-gi are pillars of virtue, and at times, they are thoroughly dislikable characters. The manhwa takes a sharp and critical look at all the social problems of the era through the lens of a protagonist who, as a woman and as a slave, is at the bottom of the hierarchy and sees the situation most clearly. It is telling that Chae-ok’s weapon of choice in the manhwa is a flail (also known as nunchaku), a commoner’s weapon, rather than the sword wielded by her drama counterpart, and yet she never loses a fight in this volume.

Since Damo is an older series, the art is very different from the more well-known examples of magazine or jabji manhwa. Bang Hak-gi’s style lends itself well to action scenes, drawn with thick, dynamic lines that almost make the characters seem to move on the page:

Scan of Chae-ok fighting from Vol. 2
Series of panels where Chae-ok is fighting off pursuers during the prison break with a backflip kick.

While figures and backgrounds are rendered without much detail, the manhwa-ga does pay considerable attention to the form of the bodies in his action scenes and makes good use of the limited space on the page. The faces are often drawn in vivid close-ups, and characters that would otherwise look similar are often distinguished by evoking differences in expression and posture. Also impressive is his ability to render landscapes in a minimal number of lines:

Scan of river and mountain landscapes from Vol. 2
Series of panels depicting a river on the left and a mountain landscape on the right.

As someone who had enjoyed the drama adaptation of this series, I enjoyed this opportunity to read the original manhwa. Despite the familiarity of the story, the manhwa proved to strike a much darker tone and a somewhat cynical perspective in comparison to the drama. The complex and nuanced portrayal of the characters grabbed my attention and made me curious to find out what happens next after the cliffhanger ending of this volume. For readers who are interested in historical crime stories with a generous side of political intrigue and martial arts action, Joseon Female Detective Damo will be a perfect fit.

Random Sunday question: Which Who?

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As one must on a long weekend, I’ve been watching marathon television, particularly the most recent season of Doctor Who on BBC America. In spite of our extended time together, I’m just not warming up to the Eleventh Doctor. To be honest, I’m shocked that I miss the Tenth Doctor, as I always found him to be a bit much (his five minutes in Harry Potter and the Goblet of Fire felt like 40), but there you go. So, if you’re up to the point that you can have an opinion of the Eleventh Doctor, what might that opinion be? In favor? Opposed? Abstaining?

MJ’s Best of 2010

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With so much great manga filling the shelves this year, picking out a small batch of the “Best” is an especially daunting task. Even now, I feel a strong sense of mourning for titles that haven’t made the list (some of which you can track down in my 2010 Gift Guide). Yet after much deliberation, I’ve managed to choose just ten, divided into demographic categories to ease the pain of choosing.

Best New Shoujo of 2010:


The Story of Saiunkoku (Viz Media)
The Secret Notes of Lady Kanoko (TOKYOPOP)

Though this was a competitive category this year, what pushed these two series above the rest for me is what they most have in common: smart, independently-minded heroines I’d be proud to share with any teen girl. Though shoujo heroines don’t need to be role models in order to be enjoyable to read about, and sometimes they’re more relatable when they’re not, it’s certainly a great pleasure when they happen to be both.

Best New Shounen of 2010:

Code: Breaker (Del Rey Manga)
Bakuman (Viz Media)

Unlike 2010’s shoujo catalogue, the year’s shounen offerings were a weak point for me, making this category tough in a very different way. Still, there were two shounen series that especially caught my interest, if not always is the most flattering way. Regardless of any quibbles, however, what these two series have in common is that they’ve compelled me to want to read more of them, which is not something I can say for most of this year’s new shounen series.

Best New Josei of 2010:

All My Darling Daughters (Viz Media)
Bunny Drop (Yen Press)

What a pleasure it is to have such choices amongst this year’s new josei releases! What’s particularly notable about both these manga is how deeply they speak to the experiences of women. Even Bunny Drop‘s male protagonist is living out a struggle between parenthood and career generally allotted only to women, even today. Both of these titles are thoughtful, warm, and emotionally complex–basically my ideal recipe for satisfying manga.

Best New Seinen of 2010:

Twin Spica (Vertical, Inc.)
House of Five Leaves (Viz Media)

Though these series may appear to have little in common, and perhaps that’s true, what they do both offer is careful characterization and an otherworldly tone, each different than the other. Both Asumi’s rich inner life and Masa’s avoidance of his own provide a glimpse into the human heart and mind I find especially appealing, earning them both, perhaps, the title of Favorite Manga of the Year.

Best Classic Manga of 2010:

A Drunken Dream and Other Stories (Fantagraphics)
Ayako (Vertical, Inc.)

2010 was a great year for re-issues, but it also offered up a number of wonderful older manga, published in English for the very first time. Both Moto Hagio’s collection of short manga and Osamu Tezuka’s post-war epic focus particularly on issues of family, delving deep into some of the ugliest impulses of our biological tribes and the damage they can do to their least valued members, if from wildly different perspectives.

For some alternate picks, take a look at these lists from Manga Critic Katherine Dacey and Manga Curmudgeon David Welsh. Or for a wider look at this year’s critical consensus, check out Deb Aoki’s 2010 Critics’ Choice roundup.

3 Things Thursday: Resolutions

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With the holidays finally over and our excess cookie weight staring up at us from the bathroom scale, we’ve reached that very special time when we look back at the year behind us and think about all the things we’ve failed to accomplish. New Year’s resolutions may be a time-honored tradition, but they’re also a time-honored source of depression and guilt, so I like to keep mine as realistic as possible. Fortunately, if there’s one thing I can count on doing every year, it’s reading a whole lot of manga, so it’s not too ridiculous to hope that I might finally get around to some important series I’ve continuously let slide.

As a relative n00b to the manga scene, I started out with a huge amount of catching up to do. And though I’ve accomplished quite a bit of reading over the past three-and-a-quarter years, there are still quite a number of previously-released series I’ve embarrassingly held out on, whether for lack of time, money, or organizational skills.

Since most of these series are must-reads for anyone hoping to be respected as a manga critic, I’d like to make a resolution to read at least three of them this year. So let’s make a list, shall we?

3 series I resolve to finally read in 2011:

1. Buddha | Osamu Tezuka | Vertical, Inc. – Though I’ve come a long way with Tezuka over the past year or so, when my best friend mentioned that her pre-teen daughter was reading (and loving) Buddha, a series I’ve never even started, I felt quite keenly that I’d hit a very special low. Though I tend to leave much of the serious criticism to those more knowledgeable than I, there’s no excuse for not reading a classic like this.

Fortunately, Vertical’s paperback editions are fairly easy on the pocketbook, and I got some Borders gift cards for Christmas. I may be slow, but there’s hope for me yet!

2. Fushigi Yûgi | Yuu Watase | Viz Media – What kind of self-proclaimed shoujo fan hasn’t read Fushigi Yûgi? This kind, apparently. Though I’m a fan of this series’ prequel, Genbu Kaiden, I’ve never actually picked up the original, despite any number of chances to do so. Sure, I’ve been told not to expect a lot from the story’s female lead, and I’ve read enough about it to know that I’m unlikely to enjoy it quite as much as Watase’s more recent work, it’s still fairly unbelievable that I’ve never read a shoujo series as popular and iconic as this one.

Lucky for me, the very awesome Michelle Smith gifted me with the first two VIZBIG editions as a Christmas present this year, so I’ve no longer got any excuse to put it off. Fushigi Yûgi, this will be the year!

3. One Piece | Eiichiro Oda | Viz Media – Though I have indeed read the first three volumes of this series (again, thanks to the urging of Michelle Smith), popular opinion suggests that I’ve never gotten far enough in for it to truly grab me, and with brilliant folks such as David Welsh and Erica Friedman singing its praises, further reading is not merely warranted, but downright required. Sadly, the series’ recent appearance at the Manga Moveable Feast turned out to be badly timed for me (and my sluggish library system), and I let yet another opportunity slide.

At 60 volumes and counting, it’s a daunting task for sure. Thank goodness for omnibus editions?

So, readers, what are your manga resolutions, if any, for 2011?

Off the Shelf: First reads, second chances

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Welcome to another edition of Off the Shelf with MJ & Michelle! I’m joined, as always, by Soliloquy in Blue‘s Michelle Smith.

We’ve got another Tokyopop debut series to look at this week, and a mix of debuts and continuing series from Yen Press and Viz Media as well.

MJ: I like fruitcake.

MICHELLE: You have my deepest condolences.

MJ: Hater.

MICHELLE: I tend to generally not like bread-like items with things in them. That said, I was a kid the last time I tried it so would give it another chance.

Can you say the same about the manga you read this week?

MJ: Hmmmm, well, not quite. Or, I should say, “not necessary.” But I’m guessing you can?

MICHELLE: More like a “probably not” and a “this one was on its third chance already” kind of thing. :) But first, the former!

I really wanted to like AiON, TOKYOPOP’s new series by Yuna Kagesaki, the creator of Chibi Vampire. The cover is pretty attractive, after all (if you can get past the moe factor), and shows off the publisher’s snazzy new trim dress. Plus, the back cover blurb starts with six tantalizing words I never expected to see strung together in this order: “Mermaids and mind-controlling parasites wage war…”

Unfortunately, despite the cracktastic potential suggested by that phrase, the story as presented in the first volume is exceedingly dull. Wealthy Tatsuya Tsugawa has lost both his parents the week before, and yet seems largely unaffected by this aside from trying to live up to his dying father’s wish that he become a great man. This compels him to intervene when he notices a classmate, Miyazaki, being bullied. She tells him several times that she wants the bullying to continue, but he can’t leave her alone and eventually learns that she was purposely antagonizing the bully the better to extract a parasite that was infecting her.

Perhaps the story doesn’t seem so boring in summary form, but it really, really is. I lay most of the blame at the feet of Tsugawa, who is just so utterly generic that the only thing remarkable about him is the extent of his blandness. At the halfway point, when he questions why Miyazaki’s opinion matters to him and wonders if this means that he likes her, I quite literally set the book aside and had a brief nap. That’s how believable and meaningful the scene was.

Tsugawa and Miyazaki interact a few more times, with the inevitable result that she winds up moving in with him. Love and parasites will surely ensue, but man, I can’t imagine sitting through a second volume.

MJ: I’ll admit the story doesn’t sound *so* boring in summary form, but your nap anecdote is difficult to ignore. Also, where are the mermaids?

MICHELLE: An excellent question! I don’t recall a single mention of them. More vividly, I recall the half dozen grammar errors that plague the text. All in all, it’s not a very auspicious debut.

Did you fare better with your picks this week?

MJ: I did, particularly with my first selection, which I found quite charming. This week, I finally got around to picking up Julietta Suzuki’s Kamisama Kiss, a supernatural romantic comedy from Viz’s Shojo Beat imprint.

Like AION, this series begins with its protagonist, Nanami, being essentially orphaned, though in this case our teenaged heroine’s father has not actually died but skipped town to avoid his gambling debts, leaving his daughter to face the collectors all alone. Once she’s been evicted from her apartment, Nanami ends up in the park where she meets a strange man who offers her his home if she’ll take over his job. Before she knows what’s happening, he’s sent her on her way, but when Nanami reaches the home that’s been promised her, it turns out to be a shrine–of which she’s just been made god!

An argument could be made that this premise sounds much less interesting than AION‘s as you’ve described it, but fortunately this one is well-executed and genuinely fun.

Nanami’s cut from pretty standard shoujo cloth–a spunky young woman with no obvious talent aside from her determined optimism, but she’s got a great foil in the form of Tomoe, a fox (the supernatural kind, though the other kind too) who served the shrine’s former kami and who is beyond dismayed to find himself bound to someone like Nanami. Tomoe is catty and cynical but excellent at his job, and watching him work and argue with Nanami is the source of most of this volume’s charm.

What I especially appreciate about this series, is that regardless of Tomoe’s tremendous superiority complex, he’s far too lazy to be controlling like so many shoujo love interests, and even his surliness is kept staunchly at bay thanks to Nanami’s power of kotodama, which forces him to do her bidding whether he wants to or not. In a way, Kamisama Kiss is everything that Black Bird could have been if not for its heavy misogynist overtones. Like Misao, Nanami’s surrounded by yokai who would just as soon eat her if they had the chance, but unlike Misao, Nanami has agency, and that makes all the difference in the world.

MICHELLE: It’s interesting that you mention Black Bird, because I did the same in my recent review of Kamisama Kiss, though mine was more in the context of being worried about some of Tomoe’s comments as contrasted by his kindliness. You’re right about the kotodama giving Nanami an advantage, though—actually, this combined with Tomoe’s white ears puts me in mind of Kagome’s ability to compel InuYasha‘s titular hero to “Sit!”—so perhaps I oughtn’t be so concerned.

MJ: It’s interesting to me that you had that concern, because this series didn’t ping me that way at all, and not just because of Nanami’s kotodama. Tomoe may be surly and condescending, but he’s expressed zero sexual interest in Nanami so far, and he thankfully lacks Kyo’s predatory lust and possessiveness, which is what makes Kyo so controlling and repulsive. Tomoe’s neither as clingy nor as abusive as Kyo, and though it seems clear that Tomoe and Nanami are being set up for romance, I feel like they’re starting on even ground, thanks to their individual strengths and weaknesses.

MICHELLE: Yeah, you’re right. And it wasn’t so much that I thought there relationship was like the one in Black Bird, but more that it made me think of Black Bird, which is usually not a good sign! :)

MJ: Yeah, I can relate to that. :D

So what else have you been reading this week?

MICHELLE: You’ll be pleased to hear that the series to which I gave a third chance is Nabari No Ou! It’s very rare that you and I should disagree about a series, but it happened with this tale of a reluctant ninja. I found the first two volumes to be mighty boring, but I’m happy to report that things pick up a lot in volume three and stay pretty interesting through volume five!

The basic gist of the plot is that a middle schooler named Miharu Rokujou is inhabited by an immense power known as the “Shinra Banshou,” and two factions of ninja clans are fighting over him. Both are after a set of five scrolls containing the “secret arts” of the various ninja clans, though one group thinks they can use these scrolls to dispel Shinra Banshou while the other seeks to activate it. In volume three, Miharu and his protectors (they of the “dispel” camp) accept a job to assassinate a scientist in exchange for one such scroll, which leads Miharu’s protector Kumohira-sensei to question his convictions and ultimately, to a chilling culmination of the assignment. Volumes four and five deal primarily with the backstory for one of the characters’ brothers, and manage to sustain much of the momentum gained in volume three.

Don’t get me wrong, I still yawn when reading about the squabbling clans or the all-powerful scrolls, but the characters and their relationships are what have piqued my interest at last. Largely this is facilitated by the head of a rival clan—the one who hired them for the assassination job—who possesses the ability to read minds and threatens to reveal everyone’s “grave secrets.” This gets everyone suspicious of one another, with some pretty dramatic results. I’m most interested in the dynamic between Miharu and Kumohira, because the latter seeks to obtain the former’s trust while revealing as little as possible about what he remembers of some cataclysmic past event, but I also quite like scenes between Miharu and Yoite, another young man who should be Miharu’s enemy but for whom he seems willing to do just about anything. I’m sure there is loads of fanfic written about these two.

Anyway, I am finally on board the Nabari train.

MJ: I am very pleased to hear this! I feel like this series has been the skeleton in the closet of our friendship! Or something like that.

I agree that it’s the relationships that really make this series come alive, though I liked them earlier on than you did. Or maybe I just liked Miharu so much, I felt more patient about the rest. He’s the kind of enigma I enjoy most. I haven’t fully dug in to volume five yet, but now I’m really looking forward to it.

I feel like I should have many smart questions to ask you, now that you’ve read further into the series, but I find I mainly just agree, particularly on your feelings about where the most interesting relationship drama currently resides.

MICHELLE: I found Miharu petulant at first, but once the mind-reader arrived and saw that his indifference is just a front, I found him more appealing. I must say, it is somewhat of a relief for us to be on the same page at last! :)

What else have you been reading this week?

MJ: I’m a bit tardy on this one, but I’ve just finished the second volume of Shunjo Aono’s I’ll Give It My All… Tomorrow from Viz’s SigIKKI line.

I enjoyed the first volume of this series, but my greatest concern at the time was that the series might quickly become unreadable if something didn’t change for its painfully lost protagonist. Fortunately, that pitfall has not yet come to pass, though not for the reasons one might imagine.

The second volume finds Shizuo still plugging along in his half-hearted, humiliating way, creating bad manga that may never be accepted for publication, imagining romantic interest from a woman who is merely kind to him, and imposing on the few people who inexplicably care for him, including his daughter and his younger friend, Shuichi. A bit of backstory helps to put his stunted personality in perspective, but it’s truly agonizing to watch him fumble through life, especially should one catch a glimpse of oneself in Shizuo’s plight, which, believe you me, is uncomfortably easy for many of us to do.

What really saves this volume, however, is that it miraculously develops a hero, and that hero is, surprisingly, Shuichi. Here’s a quiet, pretty much expressionless guy, who manages somehow in the least likely arena to display the kind of compassion and fearlessness one might expect from a shounen battle hero. I won’t spoil you by telling you what happens, but I will say that I actually cheered audibly at one point in this volume. Being a melancholy seinen comedy, Shuichi’s heroism doesn’t get him much but a messed up face and the loss of his job, but it’s still a damn good read.

Of course, Shuichi isn’t actually the hero of this manga, and even now I find myself wondering how long the story’s premise can last without becoming too depressing to bear. But Aono’s won my confidence enough to compel me towards volume three, and that’s no small feat.

MICHELLE: I haven’t even been able to work up the desire to give this series a first chance, much less a second or third. It just sounds so… horribly frustrating and bound to leave the reader depressed. Maybe it’s shallow of me, but I’d much rather read something utterly frivolous.

MJ: It’s not necessarily an easy read, that’s for sure, though it is genuinely a comedy. It’s not self-consciously dark.

MICHELLE: Yeah, but I have a history of finding unfunny series that others find very amusing, like Detroit Metal City. I think I’ll continue to stay away from this one.

MJ: Probably a good call. Though I hope you’ll give fruitcake another try someday. ;)

MICHELLE: It might take some time to muster up the nerve.

MJ: So it’s often been said.

MICHELLE: Many times, many ways?

MJ: “Merry fruitcake… to yoooooou.”

MICHELLE: *pachi pachi*

Many thanks to Michelle for indulging me in 22 installments of this feature since we first began back in August! Join us again in the new year for an all new Off the Shelf!

The Seinen Alphabet: V

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“V” is for… well, not very much, when you make a conscious choice to ignore “Vampire” and “Virgin,” but that’s just how I roll.

Vagabond (Viz), written and illustrated by Takehiko Inoue. This is one of those Japanese comics that’s highly regarded both by manga devotees and by comics omnivores, though I think that’s generally true of all of Inoue’s work. Vagabond, which is still running in Kodansha’s Morning, though I believe it’s on hiautus, tells the tale of the “quintessential warrior-philosopher.”

Mizu Sahara adapted a one-volume manga of Makoto Shinkai’s animated film, The Voices of a Distant Star. The manga was originally published in Kodansha’s Afternoon, and it was later published in English by Tokyopop.

Lots of people would love for someone to publish Makoto (Planetes) Yukimura’s Vinland Saga, myself included. This sprawling tale of Vikings is still running in Kodansha’s Afternoon.

“V” is also for Viz, obviously, still barreling along as North America’s major manga publisher. It’s jointly owned by Shogakukan and Shueisha, and Viz makes a great deal of seinen manga available for free online in the form of its SigIKKI initiative.

And nobody should ever overlook Vertical, which initially made its manga name by focusing on classic works by Osamu Tezuka and Keiko Takemiya, but has recently begun publishing more contemporary (but still excellent) works, in addition to its prose fiction and non-fiction catalog.

Update:

On Twitter, Scott Green reminded me of Voyeurs, Inc. (Viz), written and illustrated by Hideo Yamamoto. It follows the misadventures of a group of surveillance experts. It originally ran in Shogakukan’s Young Sunday.