Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

Features & Reviews

Mijeong

by Leave a Comment

mijeongI have a new review over at Manga Recon this morning featuring Byun Byung-Jun’s Mijeong, a collection of short manhwa with a decidedly melancholy tone. This is the artist’s second published anthology and though the work still feels immature, it is clearly something special. For my full thoughts on the subject, read my review, but I’ll share here the last sentence which really sums up my feelings about this work. “Simultaneously dark and hopeful, Mijeong’s inconsistency and fretful tone may betray the early weaknesses of its creator, but its insight and uncommon beauty promise much greater things to come.”

I dearly hope that releases like this one will help push forward the publication of more and varied manhwa in English. Despite the medium’s 100 year history we still see so little of it here and I, for one, want much, much more!

Ghoul Trouble by John Passarella: B-

by

Ghoul_TroubleFrom the back cover:
Something wicked has been preying on Sunnydale students—and whatever it is, its methods are pretty gruesome. Buffy locates some human bones that have been picked clean, and knows that she’s dealing with an unearthly evil. Some help from the Scooby Gang would be ideal, but they’ve run into trouble of their own. Oz and Xander are literally (perhaps unnaturally) mesmerized by a hottie new chick band headlining at the Bronze, and Willow has been captured by Sunnydale’s latest resident carnivores.

What they need is the Slayer. But in order to help her friends, Buffy must first dust a vampire—one that has an urgent interest in Joyce Summers, the unique ability to resist sunlight, and an open invitation to the Summers’ house…

Review:
I don’t think I even read the back cover blurb when I found this used several years ago. I think I just liked the goofy title and bought it on that fact alone. It certainly doesn’t sound very promising, does it? It turns out, though, that it’s actually pretty decent.

I’ve tallied up its various attributes into two columns: flaws and merits.

Flaws:
* The story is set in season three, but it’s hard to pinpoint exactly when it occurs. Much is made of Cordelia and Xander having broken up, which would put it after episode 3.08, “Lover’s Walk.” Willow and Oz are together, which would place it after 3.10, “Amends.” However, there’s no mention at all of why Cordelia and Xander broke up or the fact that Willow and Oz are newly reconciled, so I am uncertain. There’s no mention of Faith at all, either.

* Tying in with my first point, there’s not a lot of relationship continuity. Why not mention Xander and Willow’s illicit smoochies? There were plenty of chances, including one scene where they’re imprisoned together and she’s surprised to learn that he thinks she’s pretty. Because Wesley is nowhere in sight during scenes in the school library, this probably takes place before 3.14, “Bad Girls,” so the incident should be fresh on everyone’s mind.

* The supernatural foes are very boring. We are reminded every time we see the ghouls about their green skin and many rows of teeth, and the vampire dude, Solitaire, has cheesy affectations like leaving playing cards at the scenes of his attacks and wearing only black and red so as to represent the suits in a deck of cards. Cheesy!

Merits:
* Passarella has a really good feel for characterization and Whedony dialogue. I think it’s pretty easy to get characters like Buffy and Xander right, but when I read lines from Oz and Angel and can actually hear the characters saying them in my head, that’s a very good sign. Also, I snickered more than once.

* Action scenes are described in a manner that is easy to picture. It’s not that I enjoy details about the extent of a person’s injuries, but having a mental image of what’s going makes one feel as if one is watching an episode of the show, which I assume is the desired effect.

To sum up: the plot is dumb, but the dialogue is good. That’s not too different from many early episodes of the series, actually, and I’d ordinarily award a higher grade because of that, but Passarella really dropped the ball when it came to acknowledging the interpersonal complications among the group at this point in time. He’s written two other Buffyverse novels, both starring the cast of Angel, and I enjoyed this enough that I’ll probably seek those out as well.

Full House, Volume 1

by 5 Comments

Full House, Vol. 1
By Sooyeon Won
Published by NETCOMICS

FullHouse1
Buy This Book

Ellie is a young, independently-minded, Oxford educated screenwriter living in London, far from her native Korea, on an estate called Full House, left for her by her recently deceased father. Having given up on romance with her childhood friend Felix, who became frustrated with her lack of interest in a physical relationship, Ellie is content to live the life of a single career woman in the house she so loves. Her happy existence is disrupted, however, when she is evicted from the house by its new owner, scandal-ridden matinee idol, Ryder Baye. Following her eviction, Ellie lingers on a street corner, pondering her future and vowing to complete the screenplay she holds in her hands. A gust of wind blows the pages into the street, and as Ellie struggles to gather them up, her foot is run over by a passing car, the driver of which turns out to be none other than Ryder Baye.

With Ryder already embroiled in scandal, he and his handlers pamper Ellie in the hospital, hoping to keep the accident out of the news. In a burst of anger and desperation, Ellie suggests that Ryder marry her so that she can recover ownership of her home, an idea which–much to her surprise–is pounced upon eagerly by Ryder’s manager, Miranda, who is anxious to prove that Ryder is not gay. Finally agreeing to a false engagement with a guarantee she can return to Full House (which she will share with Ryder, whom she hates), Ellie begins her new life in the public eye, for better or worse.

Though the setup is classic and so far predictable, Full House has a number of things working strongly in its favor. First of all, Sooyeon Won is delightfully wordy, crafting pages of pithy banter between determined enemies Ellie and Ryder as well as long pieces of narration that read more like a novel than a comic. Though this is the same style responsible for the deliciously overwrought melodrama of her well-known boys’ love series, Let Dai, here it reads as stylish romance with a vintage theatrical feel. Ellie’s quick wit and sharp tongue make her an unconventionally appealing heroine, more interested in her career than her appearance or any other traditionally feminine concerns. Ryder is thoroughly enjoyable as her foil, whose only goals are to do his work and carry on his affairs without hassle. That he is especially drawn to the house that Ellie would do anything to keep gives them one piece of common ground, though this romantic comedy is guaranteed to be volatile for a good long time before either of them recognize it.

Another point in this series’ favor is NETCOMICS’ English adaptation, which reads surprisingly well, even capturing a genuinely British feel in the dialogue, something that is helped along significantly by the decorous third-person narration that accompanies much of the volume. Not having read any of the volumes of this series released by its former licensee, Central Park Media, I can’t compare the two, but considering NETCOMICS’ poor early track record with translation, it seems important to mention how nicely they’ve done with this series so far.

Sooyeon Woo’s art, though not as detailed or beautiful to look at as her work on Let Dai, has a light, sketchy feel that complements the breezy tone of the series, aided further by her playful paneling which keeps the pace brisk despite the abundance of dialogue. Both art and dialogue look clean and crisp in NETCOMICS’ online reader, even at its lower-resolution setting, and even the smallest text is readable against the series’ backgrounds, something that can’t be said for Let Dai.

Despite its questionably believable plot and obvious setup, this series has enough spark and energy behind it to easily propel readers into its second volume. Its fast-paced banter and classic romantic comedy feel make Full House an appealing new addition to NETCOMICS’ manhwa catalogue.

Volume one of Full House is available from NETCOMICS online.

Manga Artifacts: Domu: A Child’s Dream

by

Revisiting AKIRA prompted me to re-read Domu: A Child’s Dream, an earlier work that helped cement Katsuhiro Otomo’s reputation as the leading manga-ka of his generation. Though both series include elements of horror and science fiction, the two are utterly different in approach: AKIRA is sweeping, grand, and allegorical, whereas Domu is compact, a taut psychological thriller that unfolds in a mere 230 pages.

Domu begins like a police procedural: an older detective and his hot-headed young partner arrive at a Tokyo apartment complex to investigate a series of deaths. Though the victims’ histories suggest foul play rather than suicide, the detectives are baffled by the crime scenes: all of the victims have jumped off rooftops or slashed their own throats, with no evidence of anyone watching or aiding them. A few tantalizing clues lead investigators to “Old Cho,” a seemingly benign, senile resident who spends most of his time sitting on a bench and muttering. Inspectors Yamagawa and Tamura can’t connect Cho to the crimes, but Etsuko, a stolid little girl who has just moved into the complex, knows how Cho killed them: telekinesis and hypnotic suggestion.

What follows is an intensely creepy cat-and-mouse game between Etsuko and Cho. Though Cho is nominally an adult, his mind is terrifyingly child-like; he kills his neighbors for their “treasures”: a baseball cap with wings, a fake ruby ring, an umbrella, a stuffed toy. Cho initially regards Etsuko as an impediment to his fun, but when he discovers that Etsuko can also move objects with her mind, he begins testing her strength and sense of morality. Their battle begins in the narrow hallways and dim elevator shafts of Etsuko’s building, but quickly consumes the entire complex as Cho attempts to annihilate Etsuko.

domu_page

Though I found the artwork for AKIRA a bit dated, a relic of a particular moment in sci-fi history, Domu seemed less mired in the 1980s. The characters are refreshingly realistic in their appearance; Cho actually looks like an eighty-year-old man, with a stooped frame, a deeply-etched face, and liver-spotted hands, while Etsuko’s plump cheeks and slightly awkward proportions seem appropriate for an eight-year-old. Otomo lavishes similar attention on his bit players, too, giving each apartment dweller a distinctive look that speaks volumes about his economic status, age, and fear of being swept up in Yamagawa and Tamura’s murder investigation. Even the apartment complex functions as a kind of character, a sterile collection of high-rise buildings whose imposing exteriors give way to dark, dingy interiors and cramped apartments. As Otomo guides us through its labyrinthine hallways and stairwells, we feel a palpable sense of dread; the complex is filled with the kind of dead ends and blind spots that feature prominently in our worst nightmares.

Domu would be a solid, if not remarkable, thriller on the strength of its artwork alone, but Etsuko’s predicament gives the story an added jolt of energy and terror. She’s the strongest, most adult character in the story, the only one with a clear sense of what’s happening, and the only one powerful enough to stop Cho. Making her plight more compelling is the fact that Etsuko behaves like an eight-year-old who just happens to have a deadly gift, rather than a god-like creature who just happens to be eight years old; she’s small and vulnerable, eager for the comfort of her mother’s arms, but she’s also fiercely moral and incredibly brave in the face of nightmarish events, a child whose natural desire to set things right is cruelly tested by a childish adult.

N.B. Domu has been out of print for several years, though copies are relatively easy to find through eBay and Amazon’s extended seller network. Dark Horse released Domu in several formats, including three slim TPBs and an omnibus edition.

DOMU: A CHILD’S DREAM • BY KATSUHIRO OTOMO • DARK HORSE • NO RATING (RECOMMENDED FOR OLDER TEENS)

Oh! My Brother 1 by Ken Saito: B-

by

ohmybrother1-125Masago Kamoguchi is a normal girl: normal looks, normal grades, and normal athletic ability. But normal isn’t good enough for Masago when she’s constantly being compared to her older brother, Shiro, who is smart, good-looking, popular, and someone who draws people to him wherever he goes. As the story begins, Shiro is leading the student council in preparations for the school’s Cultural Festival and Masago is keeping a relatively low profile. All of that changes when Shiro dies saving Masago’s life and his consciousness somehow ends up sharing his sister’s body. Assuming that the incomplete plans for the festival are the “unfinished business” keeping Shiro around, Masago (with some oratorical assistance from her brother) convinces the remaining members of the student council to put aside their grief and make the festival a success in his honor. The students do just that, and though Shiro doesn’t move on as a result, that’s okay with Masago, who has decided she likes having him around.

The name Ken Saito might be familiar to some as the creator of The Name of the Flower. I like that series a lot, so I’d been looking forward to Oh! My Brother ever since the license acquisition was announced. Unfortunately, I found it to be somewhat of a disappointment. There are quite a few characters introduced all at once, and their various reactions to Shiro’s death—stemming from unrequited love or unfulfilled soccer rivalry—lack poignancy when we’ve only just met them; the tone is inconsistent, with the comedic aspect of the body-sharing predicament vying with teary moments for dominance; and I literally groaned aloud when the first page revealed the series was entering well-trod school festival territory already. Also, the relationship between the siblings is kind of icky at times: seriously, who blushes furiously when their brother gives them a peck on the cheek?

That isn’t to say it’s without good moments or the potential for a compelling story. When the successful completion of the festival fails to free Shiro’s spirit from this earthly plane, Masago realizes that his unfinished business is actually her and that his wish is for his sister to live life more fully. Of course, one of the ways in which she might do this is by allowing her feelings for Shiro’s friend, Kurouma-sempai, to flourish (and most likely be reciprocated), a path that Shiro seems determined to thwart by taking control of her body any time he thinks they’re getting too close. This dichotomy in Shiro’s intentions is interesting; I hope it’ll be explored later in the series. Also, it’s always completely clear which sibling is in control of Masago’s body at any given time, either by mannerism, expression, or dialogue. That can’t have been easy to achieve.

Artistically, Oh! My Brother has a cute style, though it’s a little too sketchy sometimes, particularly where light-haired characters are concerned. There’s one panel in particular in which a wispy-looking Masago appears right next to a solid-looking, dark-haired Kurouma-sempai. Perhaps there’s actually some deep symbolism going on here—she’s not fully here while he’s got both feet firmly on the ground?—but I rather doubt it. Also, there are a few errors in CMX’s script, a “your” that should be a “you’re,” and a “thoese” that should be either a “those” or a “these,” but definitely not both at once.

Ultimately, while I am slightly disappointed in this first volume, I plan to continue reading. Maybe this one just needs a little time to grow.

Oh! My Brother is published by CMX. The series is complete in Japan with four volumes, though only one has been published in English so far.

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

AKIRA, Vol. 1

by

My first exposure to Katsuhiro Otomo came in 1990, when a college boyfriend insisted that we attend a screening of AKIRA at an artsy theater in the Village. I wish I could say that it had been a transforming experience, one that had awakened me to the possibilities of animation in general and Japanese visual storytelling in particular, but, in fact, I found the film tedious, gory, and self-important. Little did I imagine that I’d be reviewing AKIRA nineteen years later, let alone in its original graphic novel format.

I was pleasantly surprised to discover that Otomo’s epic tale works better on the page than it does on the screen, though it’s easy to see why Otomo felt the lengthy motorcycle chases and fight scenes were swell fodder for a movie. Ditto for the setting: what artist wouldn’t want the chance to rebuild a city as complex and ultra-modern as Tokyo from the ground up?

The story, however, demands the more intimate medium of print, as those chases and fights seem urgent and kinetic on the page, an essential tool for drawing the reader into the story, rather than an opportunity for the animators to dazzle audiences with their technical prowess. The story’s setting works better in print as well; the city feels feels more claustrophobic when rendered in black and white than in color. And the story’s length, too, is a factor; the movie compresses over 2,000 pages of material into two hours, trimming some of the manga’s more interesting subplots and secondary characters in order to accommodate the explosions and high-speed chases, and grossly simplifying the relationship between Tetsuo and Kaneda. As in the movie, neither personality is firmly established before Tetsuo begins morphing from juvenile delinquent to god-like psychopath, yet the manga gives each character more room to be, and not just react. As a result, both seem human and vulnerable, more teenage boys than action figures.

The basic plot has held up well. Its paranoid, don’t-trust-the-military vibe seems as resonant in 2009 as it did when the manga was first released in 1982, as does its message about the devastating consequences of WMDs. Watching China prepare for the Beijing Olympics in 2008 — leveling shanty towns, silencing protests — suggested parallels with AKIRA‘s own Olympic subplot, both in the secrecy surrounding the facilities’ construction and in the government’s adamant denial of citizen opposition to the projects.

The artwork hasn’t aged quite as gracefully as the story; it’s the manga equivalent of a mullet, betraying its early eighties roots. Otomo’s backgrounds and weaponry look liked they’ve been traced from The Star Wars Storybook, exuding the same mixture of sterility and rust that was a hallmark of period science fiction, while his characters have thick bodies and pudgy faces, just like the heroes of Tsukasa Hojo’s manga. Yet it’s hard to deny AKIRA‘s visual appeal. Otomo is one of the few artists who can make a chase or an explosion seem like it’s actually happening on the page, thanks to his ability to convey what I call the “geography” of the scene: how big the space is, how high off the ground it is, how far apart the characters are standing. The sound effects are almost superfluous, as Otomo does such a superb job of showing us how the characters move through the space that one can almost hear the whoosh! and vroom! as they fly past.

If you didn’t finish collecting AKIRA when it was still a Dark Horse property, you can round out your set without compromising its appearance on your shelf; the Kodansha edition is virtually identical, save for the logo on the spine. (No, really: it’s the same translation, same trim size, same cover design, and same price as the 2000 version.) And if you haven’t read it yet? Well, now’s your chance to read one of the medium’s greatest sci-fi epics in a nice, oversized package. Recommended.

Review updated on October 5, 2010.

AKIRA, VOL. 1 • BY KATSUHIRO OTOMO • KODANSHA • RATING: OLDER TEEN (16+) • 368 pp.

Picks for Right Stuf’s DMP Sale!

by 5 Comments

Like many of you I’m a sucker for a sale and though I missed the recent sale on Vertical books while I was out of town (*snif*) I’ve perked up a bit over this week’s specials at rightstuf.com from Digital Manga Publishing, whose eclectic mix of titles (on sale through tomorrow, October 22nd) offers something for everyone. Taking a look at my review index, I realize I’ve actually reviewed very few of these, but my recommendations are as hearty as ever!

floweroflifeAt the top of my list are a couple of titles from the brilliant Fumi Yoshinaga, Antique Bakery and Flower of Life, both wonderfully quirky series as only Yoshinaga can produce. She has a great gift for painting her characters through dialogue that is uniquely hers and it is this that draws me most to her work. Also, she’s funny–really, really funny, yet simultaneously poignant and frequently deep. If that alone is not enough to sway you, check out Michelle Smith’s lovely review of Antique Bakery and Shaenon Garrity’s hilarious overview of Flower of Life. As Shaenon says at the end of her write-up, “Thank you, Fumi Yoshinaga, for continuing to be better than everyone!” …

Read More

xxxHOLiC, Vol. 14

by Leave a Comment

By CLAMP
Del Rey, 192 pp.
Rating: T (13+)

With a quiet life restored thanks to her wish, Kohane gives her mother the space necessary for her to gain an understanding of how she must change by moving in with the fortune-teller from volume two, who will also take the opportunity to pass on her craft to Kohane. While visiting, Watanuki teaches Kohane to cook and Doumeki reveals to Kohane the reason behind his friendship with Watanuki. As they walk home later that evening, Watanuki startles Doumeki with a confession (no, not that kind) of his own. Back at the shop, a new customer arrives—a young woman with a wish to obtain cooking lessons. Watanuki is (unwillingly) tasked with fulfilling her wish, which gives him some unexpected insight into both Doumeki’s eating habits and the individual nature of cooking.

Though this volume proceeds more quietly than the last, it is filled with wry humor and thoughtful revelation, two of the series’ best qualities. Also notable in this volume is a strong sense of warmth, something that has increasingly become a part of the series. This is particularly evident in each character’s relationship with Watanuki—from Yuuko to the fortune-teller—including even dry-humored characters like Doumeki and Mokona (with whom Watanuki shares an especially sweet moment in this volume). It is the connection between people that makes this series feel so rich, a point made stronger in this volume when Watanuki reveals that it is these connections that have inspired him to continue his own existence. As usual, this volume also provides enough mouth-watering discussion of food to send every reader running to the kitchen (or at least the nearest Japanese restaurant).

With its gorgeous artwork and philosophical tone, xxxHOLiC continues to provide a feast for both the eye and soul.

Review copy provided by the publisher. Review originally published at PopCultureShock.

The Daughter of Time by Josephine Tey: A

by

daughtertimeFrom the back cover:
Confined to a hospital bed, Scotland Yard’s Inspector Grant is engrossed with a portrait of Richard III. How is it possible, he wonders, that such a sensitive-appearing soul could have been the odious villain, the Wicked Uncle responsible for the murder of his own nephews to secure the British crown for himself? Grant reconsiders 500-year-old evidence and brilliantly arrives at a compelling new answer to one of the most intriguing mysteries in history: who really murdered the Princes in the Tower.

“For truth is rightly named the daughter of time, not of authority.” – Sir Francis Bacon

Review:
After an embarrassing accident, Inspector Grant faces an extended convalescence in a hospital bed. Helpfully minded friends have dropped off some novels, but they hold no appeal. It’s only when Grant’s friend Marta, knowing his interest in faces, brings by a selection of historical portraits that the irksome prickles of boredom begin to fade. Particularly captivating is the portrait of Richard III, whose sensitive expression speaks more of illness and suffering than the villainy for which he is chiefly remembered. His police instincts roused, and together with a research assistant (also supplied by Marta) to do the necessary leg work, Grant sets about proving whether Richard III really did murder his nephews as history claims.

Ever since reading Sharon Kay Penman’s The Sunne in Splendour, I’ve had an interest in Richard III and, if pressed, would count myself among those who believe in his innocence. The Daughter of Time comes to the same conclusion, eschewing the hearsay accounts that fill the history books—often penned by historians from the Tudor years who did not like to write too favorably about the Plantagenets—in favor of contemporary sources and, when that isn’t available, a basic understanding of human nature. Taking it one step further, Grant examines the question of who had the most to gain by the princes’ deaths, and ends up making the case that Henry VII was ultimately responsible.

The wealth of historical information required to make these points is presented in a way that’s anything but dry; on the contrary, I found it fascinating. What makes The Daughter of Time so great, though, is that the storyline in the present is also fun. In what other novel does the protagonist spend the whole of the book confined to bed, his mind challenged and engaged but his body immobile? Anyone who ventures into Grant’s room is liable to be subjected to questioning on the topic of Richard III, and indeed, it’s a member of the hospital staff whose change in opinion regarding the much-maligned monarch is the first triumph of the inspector’s efforts.

Now that I’ve read something so pro-Richard, I feel the need to achieve a balanced view by reading an account that casts him as the murderer. Look, therefore, for a review of Alison Weir’s The Princes in the Tower in the near future.

xxxHolic, Volume 14

by 6 Comments

xxxholic14Today I have a short review of xxxHolic, Vol. 14 in a special Tuesday edition of Manga Minis. This series is so wonderfully rich and there is much I might have said about this volume, given more space. I’ll try to include some of it here.

First of all, one of the things I discussed in my mini is the level of warmth this series has taken on. The “sweet” moment I mention between Watanuki and Mokona, for instance, is so adorable one could die, and when Kohane asks Doumeki why he remains with Watanuki, the image Doumeki calls forth–Watanuki by the river on a particular rainy day–is enough to break one’s heart. That this is followed by Kohane asking Doumeki to “Take care of Kimihiro-kun… please?” is truly the final nail in the coffin.

It is here, too, that I must mention CLAMP’s effective use of paneling, because it is not so much the dialogue that does the work here, but the imagery. Doumeki doesn’t respond to Kohane with anything more than the squeeze of a hand, but the way that moment is built up–with a flashback to Yuuko’s ominous words about hesitation, individual profiles (cut narrowly within wide horizontal panels) of Doumeki and then Kohane, then a single page consisting only of a larger, fuller profile of Doumeki followed by a close-up of his hand squeezing Kohane’s–draws out the moment perfectly, giving it enormous emotional weight. Similarly effective means are used in the story’s next scene too, in which Watanuki confesses his new resolve to remain in this world. The panels are clean and heavy on contrast as is usual for CLAMP (especially in this series) and this deceptive visual simplicity, much like simplicity of language, allows for stronger statements than could ever be made with more verbose visual language.

This volume is filled with foreshadowing, which I suppose is no different than the rest of the series to this point, but at this point the foreshadowing contains a sense of urgency and immediacy that has not been present before, at least to this extent. That a customer arrives in the middle of it all–something we haven’t seen for quite some time–might appear to break the momentum, but it actually seems to be a part of it somehow, with Watanuki taking on Yuuko’s usual role. A later scene with the voices (but not the bodies) of Maru and Moro only strengthens this feeling, and the book’s final scene sets an uneasy, anticipatory tone for the next volume, despite the unearthly calm of its participants. Will it be Watanuki who is able to grant Yuuko’s wish after all, just as he has hoped to do? It seems likely that we will find out soon.

What read as cold philosophy at the beginning of this series has become intimate personal drama fourteen volumes in, and even Yuuko can’t pretend to be detached from the story’s outcome, particularly as concerns Watanuki, whom she obviously loves. Though I think it goes without saying at this point that reading Tsubasa: Reservoir Chronicle has become an essential part of understanding this series, there is something deep at the core of xxxHolic that stands entirely on its own, and nowhere is that clearer than in this volume.

Click here to read my miniaturized thoughts on the subject (I’m not lying about the food thing; I made rice balls immediately after reading this volume). And please, read xxxHolic. It is truly a thing of beauty.

Review copy provided by the publisher.

Boys Over Flowers Jewelry Box

by 2 Comments

Boys Over Flowers Jewelry Box
By Yoko Kamio
Published by Viz Media

BoysOverFlowers_JB_500
Buy This Book

Though Boys Over Flowers‘ main story finally concluded after 36 volumes, neither fans nor mangaka Yoko Kamio were quite content, thus the release of Boys Over Flowers Jewelry Box featuring two side stories set after the series’ final volume. The first of these follows heroine Tsukushi Makino, now out of high school and working as a clerk in a real estate office to pay her family’s bills. With boyfriend Tsukasa still in New York, former love interest Rui has taken to visiting Tsukushi’s family regularly, becoming so familiar he even addresses her father as “dad.” When the whole group is assembled in Paris to witness the wedding of Rui’s former crush, Shizuka, Tsukasa clearly demonstrates his jealousy by asserting control and throwing money (and insults) at Tsukushi, as usual. The second story focuses on Rui, his uncertainty over his future, and his difficulty letting go long-held feelings for Tsukushi.

Unlike many fans, I felt quite satisfied with the way things were left at the end of volume 36, with true love finally settled (at least for Tsukushi and Tsukasa) but not so settled that the character’s futures were unnecessarily narrowed. After all, the story’s heroine was still in high school at the end of the series, and I think I’d have felt incredibly uncomfortable if things had been left any more certain than they were. That said, there is something decidedly comforting about sneaking a peek into Tsukushi and Tsukasa’s future lives and seeing them still bumbling along in their fiery-yet-conservative romance, as awkward and volatile as ever. Though it is disconcerting to see Tsukasa falling back into his worst, most controlling self at the first twinge of insecurity, demonstrating very little personal growth since the end of the series proper, if there’s one thing that has been made clear over the course of the series, it is that Tsukushi can handle herself regardless of his behavior.

Even nicer is the look into Rui’s world, something that remained largely mysterious throughout the series particularly in terms of his feelings for Tsukushi and, really, women in general. With its thoughtful, melancholy look at Rui and his place both in Tsukushi’s life and within the F4, this volume’s second story is quite plainly the best reason to buy it. I’d consider it a must-read for any fan.

Though this manga offers nothing on the level of Boys Over Flowers‘ greatest drama, that is perhaps the secret to its charm. Short but not too sweet, Boys Over Flowers Jewelry Box provides a nicely quiet postscript to this deliciously melodramatic epic.

Review copy provided by the publisher.

Rin-Ne, Vol. 1

by

I read a Rumiko Takahashi manga for the same reason I watch an Alfred Hitchcock thriller: I know exactly what I’m going to get. Certain plot elements and motifs recur throughout each artist’s work — Hitchcock loves pairing a brittle blond with a rakish cad on the run from authorities, for example, while Takahashi loves pairing a female “seer” with a demonically-tinged boy — yet the craft with which Hitchcock and Takahashi develop such tropes prevents either artist’s work from feeling stale or repetitive. Takahashi’s latest series gives ample proof that while she may have a limited repertory, she’s the undisputed master of the supernatural mystery.

Sakura Mamiya and Rinne Rokudo, Rin-ne‘s oil-and-water leads, are a classic Takahashi pair: Sakura is a seemingly ordinary teenager with the ability to see ghosts, while Rinne is a hot-headed boy who’s part human and part shinigami. The two meet cute in Sakura’s tenth-grade classroom when Rinne arrives to claim his long-empty seat. “Looks like he made it,” Sakura whispers to a friend before realizing that she’s the only person who can see the tall, flame-haired boy in a fancy ceremonial robe. Sakura then watches Rinne  attempt to banish an enormous Chihuahua demon to the afterlife — an exorcism that goes horribly (and comically) awry when the dog’s spirit merges with the spirit of a love-starved teen. Now forced to contend with an even more powerful, angry ghost, Rinne uses Sakura to lure it to the Wheel of Reincarnation, an enormous portal that separates the material and spirit worlds.

rinne_chihuahua

After their dramatic introduction, Sakura and Rinne forge a reluctant partnership. Sakura provides material assistance and ethical guidance to Rinne, while Rinne banishes the spirits that plague Sakura’s high school. Sakura soon learns that Rinne’s grandmother, a shinigami, fell in love with a young man whose spirit she was sent to collect. In exchange for extending his life by fifty years, Rinne’s grandmother agreed to “fulfill her shinigami duties at ten times her usual quota.” When she failed to reach that target, Rinne was forced to enter the family trade, operating on the fringes of both the human and spectral worlds with limited ability to function in either realm — hence his weak exorcism skills.

Where, exactly, Takahashi plans to take the story is still something of a mystery. As she did with InuYasha, she’s using the first few volumes to establish the premise, explain how the Wheel of Incarnation works, and develop the chemistry between her lead characters by subjecting them to a host of unhappy spirits. The first eight chapters have a pleasant, spook-of-the-week feeling, as Sakura and Rinne tangle with a ghostly cell phone caller, a damashigami (a shinigami who meets his quota by luring innocent people to their deaths), and an ochimusa (a disgraced warrior). At the same time, however, Takahashi is clearly laying the groundwork for a more extended storyline, introducing several supporting characters, leaving key questions about Sakura’s past unanswered, and creating space for a Naraku-esque villain to fill.

The first volume’s leisurely pace also allows Takahashi plenty of room to showcase her comedic talents. Though InuYasha, Mermaid Saga, and Rumic World have canted more strongly towards horror, Rin-ne is decidedly humorous, incorporating supernatural elements into everyday settings in delightfully absurd ways. Takahashi’s demon Chihuahua is a great example: the demon continues to behave like a nervous, short-haired toy even after it grows to enormous size, and remains susceptible to the savory appeal of milk bones. Rinne’s grandfather is another example of the supernatural made ridiculous; as Rinne’s grandmother wistfully notes, her husband was reincarnated as a mackerel — the destiny for which he was slated when she fell in love with him.

Though utterly enjoyable, Rin-ne has its flaws. Takahashi relies a little too heavily on interior monologues to cue us into what’s happening; Sakura is frequently called upon to mutter, “So that’s why no one can see him!” even when the illustrations make it plain that Rinne is invisible to humans when he dons his flame-patterned haori. Takahashi isn’t above recycling bits from other works, either; Rokumon, a familiar introduced in chapter six, bears a strong resemblance to InuYasha‘s Shippo in both appearance and plot function, comic relief in the form of a child-like animal spirit. Sakura, too, seems more like a Kagome clone than a character in her own right, though she’s a little edgier and more skeptical than her jewel-seeking predecessor.

Still, it’s hard to dismiss a manga that’s crafted with as much skill and good humor as Rin-ne. The story and characters may remind readers of other works in the Takahashi canon, but that strikes me as a good thing — yet another opportunity to spend time with the kind of spunky heroines, rash-but-kind heroes, and oddball supporting characters that give Takahashi’s work its distinctive flavor.

Review copy provided by VIZ Media, LLC. Volume one of Rin-ne will be available on October 20, 2009.

RIN-NE, VOL. 1 • BY RUMIKO TAKAHASHI • VIZ • 182 pp. • RATING: OLDER TEEN (16+)

The Gentlemen’s Alliance Cross 10 by Arina Tanemura: C

by

gentlemen's10After resolving some convoluted-sounding subplots involving Haine’s family—featuring maternal amnesia, uncertain paternity, and mansions afire—The Gentlemen’s Alliance Cross moves into the home stretch as Haine is pressed to finally choose between the identical twins with whom she is in love. Alas, just when she finally grasps the idea that the nice twin (Takanari) is probably a better choice than the scheming git (Shizumasa), he’s captured by his brother’s minions and imprisoned. Like any self-respecting shojo heroine, Haine vows to rescue him.

Being the penultimate volume of the series, volume ten offers a variety of dramatic moments and revelations, including arranged marriages, envelopes with surprising contents, and a tale of childhood betrayal that explains the current animosity between the twins. My favorite, though, is the surprise leukemia.

The end product of all these dire events tumbling one atop the other can be described as little else than a mess, and I was much more compelled to snicker at the ridiculous developments than sympathize with anyone involved. Still, I was pretty impressed by how easy it was to jump in and follow the story at this point and ended up liking Takanari, too, though I must question his taste in girls.

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

Rasetsu, Vol. 2

by Leave a Comment

By Chika Shiomi
Viz, 192 pp.
Rating: T+ (Older Teen)

Marked by a demon as a young teen, tough eighteen-year-old Rasetsu Hyuga has two years left of her life before the demon claims her as his own, unless she is able to meet her own true love before her time is up. She is also a gifted exorcist who was taken in and nurtured by the head of the Hiichiro Amakawa Agency (a man referred to mainly as “Chief”), a company that offers exorcisms for a fee. Rasetsu is joined in her work by Kuryu, a master of koto dama, the power of words, and eventually by Yako, a former librarian with his own spiritual powers who was manipulated into joining the agency in the first volume. In volume two, Rasetsu’s terror of her fate shines through in a rare moment of vulnerability, prompting Yako to promise to be there for her on the fated day. Later, Kuryu plays around with his ability in an unusually insensitive way while also unintentionally revealing to Yako that he is much more powerful than he pretends to be.

Though the premise of this series is fairly unoriginal and its character development even less so, there is a certain comfort to watching its familiar scenarios play out that lends a particular charm and with the first volume’s exposition out of the way, Rasetsu is able to relax right into the task. It seems obvious that Yako is intended to be Rasetsu’s “true love” (Rasetsu even resembles his first love, guardian spirit Yurara from the series of the same name) and there are traces of this emerging already in volume two, at least on Rasetsu’s side. Kuryu, with his harmless, puppy-dog front hiding a potentially sinister power, is reminiscent of Tokyo Babylon‘s murderous veterinarian, Seishiro, casting a suspicious light on him immediately, especially after this volume in which he accidentally shows his hand. The series’ other characters, mysterious chief Hiichiro and cheerful office boy Aoi, are shojo staples as well, but quite fun and appealingly rendered, skipping off to enjoy rides at an amusement park while everyone else is working.

Fans of supernatural romance may not find anything new in Rasetsu, but tried-and-true formulas are alive, well, and downright agreeable here in its second volume.

Review copy provided by the publisher. Review originally published at PopCultureShock.