Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

Reviews

Buffy the Vampire Slayer Season Eight 3 by Drew Goddard: C

by

From the back cover:
A team of Japanese vampires who can transform into wolves, panthers, and fog attack the Slayer compound in the highlands of Scotland, stealing Buffy’s mystical scythe—the weapon that transformed thousands of young women into Slayers. Unable to fight these mysterious new foes, Buffy sends Xander to see his old friend—the only vampire known to possess these incredible powers—Dracula.

Review:
I really disliked the “Wolves at the Gate” arc when it was coming out, but it works a little better when read all in one sitting, and with the stand-alone issue “A Beautiful Sunset” as an introduction. “A Beautiful Sunset” itself is quite good. In it, Buffy warns Satsu about the dangers of being in love with her, and has an encounter with the Big Bad, Twilight. I love that Twilight asks Buffy whether all of these additional Slayers have actually helped her in any way, and she can offer no response.

“Wolves at the Gate” spans issues twelve to fifteen, and it’s here where things start to get kind of annoying. How so? I’ll bust out the bullet points. Warning: full of spoilers.

* The Buffy/Satsu publicity buzz. Even though Joss insists that Buffy’s hook-up with a fellow Slayer was not a publicity stunt, you could’ve fooled me. There were reports of comic shops being told to stock up in advance on this one because it would be popular, and all kinds of interviews and stuff being given. I also don’t like that we never see how the two of them got to that point. Without that, I just can’t buy Buffy being attracted to a girl.

* Dracula. I am so tired of Season Eight bringing back random characters from the show. Please focus on the core group! Oh, and he supposedly lost his powers to this bunch of Japanese vampires by gambling.

* Andrew’s lecture on Dracula, during the course of which he says that Xander and Dracula have been letter-writing pals and that, after Anya died, Xander went to live with Dracula for a while. Um, what the hell?! This is stupid and retconny and entirely only there so that “Antique,” a short story Goddard contributed to the non-canon graphic novel Tales of the Vampires and which features Buffy coming to Dracula’s castle to retrieve Xander after this period of cohabitation, can become canon. I cry foul. (Note: Not that Andrew is at all a reliable source, but his comments are not contradicted.)

* Renee’s fate. Okay, yes, I never see these things coming, but jeez. Enough is enough. A happy ending for a couple would be more surprising these days.

* Mecha Dawn. Quite possibly the dumbest thing in this series yet. Why on earth would the Japanese vampires take the time to construct a Dawn mecha? What’s more, they have programmed it to say things like, “I cry a lot.” So they’ve, like, also taken the time to try to learn things about Dawn and her life? Probably this is supposed to be funny, but I think it’s incredibly stupid.

On the plus side, there is some good dialogue. When I first read these issues, I was peeved that Willow wasn’t mad at Buffy for taking advantage of Satsu’s feelings, but now their conversation on the subject works a bit better for me. There’s also lots of good Xander dialogue plus liberal use of the hand gestures Nicholas Brendon always employed. Too, I love Buffy’s reaction at the end of the fight upon hearing that the vampires are fleeing: “So chase them. No prisoners. Seal off the streets. Cut them down as they flee. Kill every single one of them.” Now that’s good continuity with Season Seven Buffy.

So, no, Wolves at the Gate is not a good arc. It has some good moments, but far too much of it is irksome. On its own, it earns a C-; the score for the volume is a bit higher because of “A Beautiful Sunset.”

Make Love & Peace

by Leave a Comment

By Takane Yonetani
Luv Luv Press, 224 pp.
Rating: Mature (18+)

College sophomore Ayame is dating Koichi, who is a cop. They have a loving relationship and a very active sex life, which would be even more active if only Kiochi’s work did not constantly interrupt them in bed. Kiochi worries about protecting Ayame, and Ayame worries about Koichi’s safety on the job. Various people come into their lives to keep the story going (criminals, family members, and so on), but the plot is not much more than a vehicle to move from one sex scene to the next. Still, the volume is readable and provides some sweet, if clichéd, moments.

Both of the main characters fulfill the roles set up for them by their gender stereotypes, but with a bit of slack that makes them more likable than they might be otherwise. Koichi is very protective and possessive of Ayame, though warmer and more nuanced than that would suggest. He also appears to be a generous lover, more often than not. Ayame is using college primarily as a time-killer until she is able to get married, but she displays more independence than might be expected. Both are good, kind people who always do the right thing and never stay angry, leaving the other characters who turn up with the job of providing any necessary conflict.

The art is pleasant, though not especially distinctive, and some of the explicit sex scenes become vague in places.

Despite its warm characters and serviceable storytelling, Make Love & Peace never rises above its genre to become anything more than mundane romance.

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

Life of me.

by 8 Comments

I’ve always thought you can tell a lot about a person just by looking at his/her desk. I was looking at mine just now, and I thought it revealed quite a bit about me.

Details after the jump! …

Read More

Happy New Year!

by 8 Comments

I’ve never really enjoyed New Year’s Eve parties, I’m not sure why. So last night, I was very happy to enjoy a quiet celebration at home, with a delicious meal cooked by my husband (Menu: Bacon wrapped asparagus, sweet potato tempura, and sliced chicken thighs, celery, carrot, and green beans cooked in soy sauce and mirin served over somen noodles in a chicken stock broth with spinach, topped with sliced green onion) and a little anime. Here’s hoping we’ve started the new year off right!

2008 was an amazing year for me here at There It Is, Plain As Daylight. I met a lot of incredible people, read a lot of great manga, and got invited to join the reviewing staff over at Manga Recon! My bookshelves are overflowing, and my blogroll has exploded to the point where I’ve had to turn to Google Reader to keep up. I hope to spend 2009 enjoying all of your blogs, attending more cons, reading more manga than ever, improving my writing, and plugging slowly away at my own comic!

One announcement I’d like to make for the new year, is that I recently invited my good friend Deanna Gauthier to come on board as a regular guest blogger! Deanna shares with me a deep love and enthusiasm for manga, and I’m thrilled that she has agreed to talk about it here! Please join me in welcoming her to my little blog!

Thank you all for being a part of my life in 2008! Here’s to a great 2009 for all of us!

Fruits Basket, Vol. 21

by 1 Comment

Fruits Basket, Vol. 21
By Natsuki Takaya
Published byTokyopop
Rated Teen (13+)

With only two volumes yet to go, the English language release of Fruits Basket is nearing its close, and as the story races forward, emotions run high all around. At the end of volume 20, Tohru attempted to confess her love to Kyo, but was cut off by Kyo’s stunning confession that he felt responsible for the death of her mother. She finally gets to voice her feelings in the opening chapter of this volume, but not before Kyo finishes his own painful story, ultimately leaving her in tears. Things continue to go horribly wrong, leading to an ugly confrontation between Akito and Tohru, and another later between Yuki and Kyo.

If you’re like me, you’ll need a box of tissues handy to make it through the first few chapters, in which even a raving, knife-wielding Akito manages to somehow evoke sympathy. The most touching scene, though, may be in the final chapter when after all the noisy drama of the rest of the volume, Yuki finds a cozy resting spot on his own personal journey with quiet student council secretary Machi.

Mangaka Natsuki Takaya’s practice of using only the most subtle visual cues (if any) to indicate who is speaking can be irritating, but in this case, forcing the reader to deliberate carefully over each fragment of text only encourages a deeper read, allowing for greater absorption of this volume’s intense emotional content. Each panel is rich with complex history and feeling between characters, presented in the deceptively simple manner that characterizes this series overall.

As always, much of Takaya’s ability to make palatable the selfishness and cruelty her characters often display can be credited to the refreshingly genuine quality of her protagonist. Few of us can claim to see the world through eyes as open, joyful, and compassionate as Tohru Honda’s, but the great appeal of Fruits Basket is in that it manages to make us believe we can, at least for an hour or so.

Review originally published at PopCultureShock.

Time Stranger Kyoko 3 by Arina Tanemura: C

by

From the back cover:
Kyoko Suomi is the princess of Earth in the 30th century. She lives among the commoners, unwilling to reveal her true identity and ascend the throne. The king will allow Kyoko to live as she pleases if she can revive her twin sister Ui, who has been trapped in time since birth.

Kyoko has found all but one telepath and is near awakening her sister. However, Hizuki can no longer hide his feelings for Kyoko and kisses her—a crime punishable by death. Now the only way to save his life is for Kyoko to accept him as her betrothed!

Review:
I only read this final volume for the sake of completeness, since the second volume got a C-, a rating equivalent to “Blech!” on my grading scale. Volume three is a little bit better, owing to some plot twists, but not much.

So, as she tells it in her sidebar columns, Arina Tanemura couldn’t decide where this story was actually supposed to go, so she asked her editors to be allowed to end it. And so, whereas it took the first two volumes to gather four Strangers, all of a sudden six of the remaining ones (bringing the total to eleven, counting Kyoko) are introduced on a single page, and then promptly neglected. There are actually a few translation errors on this page, as the Bird, Wind, and Snow Stranger guys are all mixed up.

The plot with Hizuki and his feelings for Kyoko is pretty stupid. First, he tricks her into saving his life by agreeing to marry him. Then he confesses to Sakataki that he was responsible for the destruction of their village and tries to get Sakataki to kill him. And then a few pages later everything’s fine and he’s all, “By the way, I’m the last Stranger.” And nobody is pissed about any of it.

The gathered Strangers then proceed to awaken Ui and plot twists occur. The secret of Kyoko’s identity is revealed, and I was kind of interested in the possibility that this manga would have a sad ending. But no, of course not. Mushy love must triumph. A completely stupid and kind of gross side story featuring the King’s pet cat android follows. It has no redeeming qualities whatsoever.

One problem I have with this series is that every time there’s a revelation, someone goes, “I always knew.” For example, Kyoko evidently knew all along that she wasn’t really Ui’s sister, Sakataki knew all along that Hizuki was responsible for the village’s destruction, and the King knew all along what the consequences of awakening Ui would be. It’s really annoying that no one’s ever, like, shocked by these developments!

Anyway, it’s over now. Hooray. Reading this series has made me kind of worried that I won’t like the manga of Kamikaze Kaitou Jeanne, which I own but have yet to read. I liked the anime, but maybe I just didn’t know any better at the time.

Review copy provided by the publisher.

Snow. Lots and lots of snow.

by 6 Comments

Today started out in a bit of a whirlwind, as I got up early to get into work by 7:00 AM, so that I could finish up all my pre-vacation business before getting hit by the 6-12 inches of snow coming our way. I then raced home to beat the storm, and now here I am, hatches battened, watching the snow come down. *whew*

We have a new roundtable discussion posted over at Manga Recon, where we discuss the canceled/indefinitely postponed series we would most love to see rescued! My personal choices were Yotsuba&! and the Kino no Tabi light novels, but there are a lot of amazing titles mentioned.

Other than that, I expect I’ll be shoveling snow for the rest of my life, but my vacation has started, and I’m feeling quite giddy! Happy Holidays, everyone!

Hitohira, Vol. 1

by Leave a Comment

Hitohira, Vol. 1
By Idumi Kirihara
Aurora Publishing, 192 pp.
Rating: T (13+)

Hitohira is the story of a painfully shy high school freshman, Mugi Asai, who becomes invariably tongue-tied when faced with speaking in front of other people, though she otherwise possesses an unusually powerful voice. Having let out her true voice in her excitement over being accepted to the Kumataka Art Academy, Mugi is discovered and pursued by the director of the school’s theater club, who later coerces her to join. Mugi soon learns that the club she has joined is not, in fact, the school’s official theater club, but rather the tiny “Theater Research Group” which is struggling for survival. Though she quickly realizes her mistake in joining a club dedicated to public performance, without Mugi, the club does not have enough members to continue, so she ultimately gives in to peer pressure and remains in the club.

Though much of the first volume is spent introducing the characters and their relationships with each other, it is clear where the story is headed. Mugi’s involvement in the theater club will help her overcome her fears and become the confident young woman she has the potential to be. Nono, the club’s director, tells Mugi very earnestly that she believes that one day Mugi will look back and be glad that she joined the theater club. Mugi certainly has not reached that point by the end of the first volume, but she does enjoy the other members of the club (especially Nono), and it’s obvious that she’s taken a first step toward defeating her social anxiety. The other major plot point we’re introduced to in this volume is Nono’s struggle with vocal chord paralysis, which threatens her future as an actress. It is Nono’s decision to keep acting in the face of her ailment that was responsible for the split between the members of the Theater Research Group and the school’s official theater club, which is headed up by Nono’s former best friend, Mirei.

Despite the characters’ proclaimed devotion to theater, Hitohira does not delve into the subject with much passion, or even much apparent knowledge. One of the things that drives Mugi forward is her desire to understand why Nono and the others love theater as they do. She ponders often over the “magic” of theater, wishing that she could experience it herself. It will be interesting to see whether, over the course of the series, Idumi Kirihara can effectively portray that magic, both to Mugi and the reader, but for now, theater in Hitohira feels more like cold theory. It almost seems, at times, as if Kirihara is avoiding the subject. For instance, much is made of the Theater Research Group’s brutal rehearsal schedule, but though there are a few chapters in which the club members are seen practicing physical exercises or improvisation, very little is shown of the rehearsals for their first play of the year, which makes its performance midway through the volume seem very much out-of-the-blue.

That said, the story’s lack of onstage drama is more than made up for offstage. Relationships are key in this character-driven series, and there are plenty of them to explore. The dynamic within the Theater Research Group is quite interesting. Club members follow Nono’s direction without question, despite her often harsh demands. Their loyalty seems to be due, at least in part, to events surrounding their split from the main theater group, but only a few details of that are revealed in this volume. The most compelling relationships in the story, however, are between Mugi and Nono (who have an obvious rapport, including a bit of a girl crush on Mugi’s part), and Nono and former friend Mirei. Despite their falling-out, Mirei clearly still cares for Nono a great deal, and at one point, after realizing that Nono and Mugi are becoming close, asks Mugi to “please take good care of her.”

The relationships make Hitohira intriguing, but the first volume drags in places and feels fragmented in others, as though bits of chapters were torn out of the book. Mugi’s first appearance onstage comes up with little warning, and then is barely spoken of again afterward. In another chapter, the two rival theater clubs make a bet regarding the mid-term scores of the Theater Research Group members. Just as the scores are posted, one of the members takes off with the score sheet, leading to a half-hearted chase, after which the matter is dropped completely. That chapter is a misstep all around, as the series’ earnest tone doesn’t lend itself well to spirited tales of student hijinks, and Kirihara isn’t particularly strong with humor (further demonstrated by the flat omake pages at the end of the volume).

Aurora Publishing is marketing Hitohira as shojo, despite the fact that it runs in seinen magazine Comic High! in Japan, which is a somewhat confusing move. Though Mugi’s personal journey could certainly be relatable for many shy young girls, the moe fan service is pretty blatant, and definitely geared toward male readers. There’s nothing extremely offensive to girls in Hitohira (though it is a bit distressing that the protagonist’s vision of a “confident” female is a cheerleader) but this classification is definitely misleading. Fan service aside, Kirihara’s art is pleasant (if a bit plain), though some of the girls look so much alike, they can only really be distinguished by the style of their hair.

Hitohira has some nice moments and strong chemistry between characters, but the storytelling is too uneven to be truly compelling. Perhaps a stronger second volume (due out December 29th) will give the series more solid footing.

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

Cat Street 2 (Japanese) by Yoko Kamio: B+

by

From the back cover:
Ever since she entered the school El Liston, Keito’s life has begun to change. Recovering from social withdrawal, she has made friends for the first time in seven years. There’s Rei, a formerly famous soccer player; Kouichi, a genius with an IQ of 200; and Momiji, a Gothic Lolita. As she slowly starts building new relationships with people, she begins to develop a little passion, and then… ?!

Review:
I’d praised Cat Street last time because the focus was not on romance, and just as I was thinking, “Well, maybe a little would be good,” Keito realized that she had feelings for her childhood friend, Taiyou. How it played out was quite different from other shoujo I’ve read.

Taiyou is an interesting character. Rather than allow Keito’s friend Rei, who used to be a phenomenal soccer player, to wallow in his past failures, he keeps engaging him on the topic and eventually helps him return to the sport he loves. Keito realizes he did the same with her while she was a shut-in, visiting her house frequently to try to get her to come back to school. So, essentially, she begins to like him because he is a good person, not because he is hot.

Even better, all of Keito’s new friends begin to support her in her efforts to get together with Taiyou. This isn’t limited to Momiji, the girl; the boys who would also be after Keito in most other series are also encouraging and helping her in her efforts. Alas, it turns out Taiyou has recently begun dating one of his classmates. In a completely awesome example of showing not telling, a weeping Keito encounters this girl, Hirano-san, who proves how like Taiyou she is by refusing to leave Keito alone, comforting her, and even crying on her behalf. I love that the romantic rival is not some evil wench, but also a thoroughly nice and good person.

Less successful is a subplot in which Keito’s old theatrical rival engages the help of a student studying cosmetology at El Liston to get a photograph of Keito, which he accomplishes by giving her a makeover and claiming he wants to save images of his work. Pretty smooth. It’s sad, though, that the nudging he gave Keito about returning to the acting world seems only to’ve been so the rival could face her in that realm once more and achieve a proper victory over her.

Cat Street is a very enjoyable series so far; I love that the heroine has a network of supportive friends. I guess it’s inevitable that Keito will return to the world of acting, but I hope the story won’t drift into silly confrontations with overly-devious foes.

Gaba Kawa by Rie Takada: B-

by

Rara is a demon who has come to the mortal world for the first time. She’d told everyone back home that her goal was to drag human souls into darkness, but really she just wants to meet the celebrity demon du jour, Hiroshi Akusawa, and become his girlfriend. When a dashing boy called Aku saves her from falling off a building, she’s convinced she’s met Akusawa. That is, until she meets the real Akusawa, who is not at all dreamy, and realizes that the other boy is a mere human.

It’d be easy for Rara to claim Aku’s heart using magic, but she wants him to fall in love with her for real. Some of her female classmates (yes, the younger demons all attend high school) advise against pursuing him, claiming that he is weird (on account of having been abducted by aliens) and gay (on account of having been spotted hugging his best friend). Rara, undaunted and clueless, decides that donning a boy’s uniform is the way to win his love, leading to my favorite line of the volume:

I don’t care if he is a gay alien. Once he gets a look at me in this, his heart will be mine.

Rara is warned several times not to use her magic to benefit a human, but as she gets closer to Aku, she can’t help lending him a hand when he could use it, like when his ability to see spirits results in him being pestered by wayward souls. As a result, she begins to lose her demon powers, which include things like invisibility and flight, and faces punishment for her actions from her demon brethren.

The concept is fairly unique, but Rara is still more or less your traditional clumsy, not-too-bright shojo heroine who somehow manages to make the hottest guy in school fall for her. Add to that the clichés of the boy who can see spirits and the old “trip and smooch” maneuver, and it winds up being pretty well-trod territory after all.

Still, while Gaba Kawa may be fluffy and familiar, it’s also pretty fun. I’m inspired to check out more by its creator.

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

Blank Slate 2 by Aya Kanno: B

by

If there’s one thing notorious criminal Zen can’t stand, it’s being controlled. At the end of the first volume, while he and his doctor companion, Hyakka, were liberating Amatan prisoners from a Galay Army facility, he fell into an involuntary trance after which he awoke with no memory of his violent actions. Now, he resolves to find the person responsible, which means finally getting some answers about his forgotten past.

Said answers are gradually revealed throughout the volume, and manage to be interesting but more or less what I had expected. Perhaps that’s why this volume, like its predecessor, was a little difficult to get into at first. Also, one major revelation that I hadn’t seen coming was telegraphed in advance. Alert readers get suspicious when you only show us parts of someone’s face, you know!

That said, I have to admire the economy of the storytelling—no extraneous information is offered nor is any essential detail lacking—as well as the way the series ends. Aspects of the climactic conclusion are melodramatic, but I like that we actually end up rooting for Zen, even after witnessing the evil of which he is capable.

Blank Slate presents an entertaining and thought-provoking story, even if the execution stumbles here and there. And at two volumes, it’s short and affordable. An afternoon spent on this series would not be wasted.

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

Suppli 2-3 by Mari Okazaki: A-

by

Minami Fujii works in the planning department of an advertising agency. At twenty-eight, she’s still trying to make a name for herself and is known for pulling all-nighters and juggling multiple projects. Mostly, this can be attributed to genuine dedication, though Minami also uses work as a distraction from her turbulent romantic life.

After her boyfriend of seven years breaks up with her and promptly gets married, Minami begins to notice the people around her and makes friends with some of her coworkers. Two of the men are interested in her and, after briefly being tempted by the impulsive Ishida, she ends up choosing Ogi-san, who is still hung up on his ex. After agonizing periods during which she’s convinced that he isn’t interested in her (even though they’ve slept together), they begin officially dating, though things are not as perfect as either would’ve wished. Minami still feels strangely lonely in Ogi-san’s company and the presence of his ex (with whom Minami must work on a project) makes it difficult to be sure of his feelings.

Meanwhile, the rejected Ishida is pursued by another coworker whose plight parallels Minami’s own. Add to this a saucy freelancer, the married producer with whom she’s having an affair, and his lascivious cameraman with an appreciation for Minami’s posterior, and you get quite a tangled web of workplace relationships, infidelity, unhappiness, and insecurity.

This might seem too convoluted to follow, but it’s not really a problem. The focus is primarily on Minami, but does shift at times to the other women characters and their situations. I appreciated seeing what they thought and said about the protagonist, too, particularly the difference between what they were thinking inwardly and what they were actually saying to her face. Another female character of note is the forty-something Hirano, who presents Minami with an example of a woman who has devoted her life to her work and yet has nothing to show for it. Just before being unceremoniously transferred, Hirano gives Minami all the credit for a daring decision, attempting to give a leg up to the girl in whom she sees so much of herself. It’s a truly wonderful moment.

Alas, not all of the workplace action is so terrific. Minami’s many projects are virtually indistinguishable, and the scenes involving them include vague dialogue like, “Let’s feature the product here.” It’d be easier to care about what was going on if more details of a particular project were known, or if one actually succeeded in getting to the commercial production phase. Most of them get derailed by rewrite requests, and it’s frustrating to never see any of Minami’s harried efforts come to fruition. Also, in this office it’s apparently acceptable to skip out on meetings for projects to which you’ve been assigned. Must be nice!

As Katherine pointed out in her review of volume one, the art can be symbolism heavy at times. Women out to snare their men are shown carrying hunting traps, for example, and when Minami is sleeping with Ogi-san, there’s often water nearby, threatening to cover and drown her, much like the welter of feelings she’s experiencing.

I do like a lot of the workplace art, though, particularly how Minami’s scattered thoughts are portrayed. Often, panels of her in work mode are mixed with what is distracting her, like the messy state of her book-strewn desk or memories of an intimate moment with Ogi-san, and sometimes she walks about conducting business while thought bubbles going “jumble jumble” accompany her around. When Minami gets especially frazzled, the art reminds me of Chica Umino’s (Honey and Clover), with scribbly eyes and flailing limbs.

The third volume concludes with Minami and Ogi-san sharing an impromptu casual meal, during which she confides in him her work-related fatigue and finally allows herself to lean on him for support. Not realizing at the time, as the retrospective narration points out, that it was a mistake.

And that’s it! That’s where we will forever languish unless TOKYOPOP resumes publication of this series. Please join us at Manga Recon as we cry, “Save Suppli!”

Review originally published at Manga Recon.

The Voices of a Distant Star

by 1 Comment

The Voices of a Distant Star
Adapted by Mizu Sahara
Original concept by Makoto Shinkai
Published by TOKYOPOP
Rated T (13+)

Based on Makoto Shinkai’s short film, The Voices of a Distant Star is a story of two young people separated by space and, more importantly, time. As the people of Earth carry on an intergalactic war with a technologically advanced alien race, fifteen-year-old Mikako is called into service on the U.N. spacecraft, Lysithea. She leaves behind her childhood friend, Noboru, just before they would have entered high school together, and right at the age when their friendship is on the brink of deepening into something more. Their sole means of communication is low-priority electronic mail using their cell phones, and as Mikako travels light years away the time it takes for their messages to be delivered increases, reaching over eight years for a single delivery before the story’s end.

Over the course of the story, Noboru grows to adulthood on his own while Mikako remains a teenager, her middle-school days barely behind her. As Mikako’s messages begin to arrive farther and farther apart, Noboru first tries to free himself from his doomed attachment, but he eventually abandons this in favor of working toward an opportunity to join the rescue party being sent out after Mikako’s ship, in hopes of reuniting with her.

Voices of a Distant Star was Makoto Shinkai’s first work released after his award-winning five-minute short, She and Her Cat. Created entirely on his home computer, it was completed in 2002. Its themes of loneliness and separation, revisited often in his later work, are perhaps most stunningly portrayed in this short film. While the film was focused tightly, even narrowly, on the two main characters, for the manga adaptation Mizu Sahara adds some additional context to each of their lives, introducing us to two shipmates of Mikako’s, as well as some friends (and even a short-lived girlfriend) of Noboru’s back on Earth.

The effect of this is twofold. On one hand, it is gratifying to see Mikako discovering kindred spirits on her journey. On the other hand, it becomes even more clear just how cruel the situation is. Both are affected, but especially Noboru, who is so firmly attached to Mikako that he is unable to connect with anyone in his present life, which, unlike Mikako’s, is rapidly passing him by. At one point in the manga, after more than a year with no messages from Mikako, Noboru begins to form an attraction to a girl in his class, but just as he might have finally broken free and allowed himself to live in the present (his present), a message finally arrives. This is incredibly romantic from a certain point of view, of course, but from another it is simply horrifying, demonstrating clearly just how destructive and hurtful a relationship like this might be. It is also good storytelling, and it’s impressive that a manga adaptation of such a moving film is able to achieve even greater effect here than the original. The idea that two people, each acting out of sincere love for the other, can still end up hurting one another terribly is one of those unfortunate truths of life that most people would prefer to ignore. Mizu Sahara makes that impossible here.

One difference in the adaptation that is less effective is the way Sahara handles the ending. In the film, the futures of both Noboru and Mikako are left unresolved, with Mikako fighting to save her comrades, and Noboru heading off to unspecified Armada duty. There is hope that they might meet again one day, reinforced by a vision Mikako has just before her squadron falls under attack, but both characters seem to have come to terms with the uncertainty of that hope. The manga, however, works very hard to bring them back together, sending Noboru off on a mission to rescue the survivors of Mikako’s last battle. The film ends with Mikako and Noboru, light years apart, each sending the same mental message to each other, “I am here,” to which the manga adds, “… Because we are destined to meet again.”

Again, this is a very romantic notion, but not as powerful, or even as conclusive as the open ending of the film. There was a kind of comfort in knowing that both characters had finally embraced their own lives and come to a place where simply understanding that the other was out there was enough, at least for the moment. In pandering to the reader’s (and perhaps her own) desire to bring the characters back together, Mizu Sahara has created an ending that is weaker and less satisfying.

That said, the manga is absolutely beautiful. The art is nicely detailed and very expressive, and the panel layouts, including the placement and style of dialogue and narrative text, make the story visually interesting and easy to follow. The additional material adds more layers to the relationship between the two main characters, like the scenario in which Noboru attempts to repair a favorite hair clip of Mikako’s, forced finally into giving up and buying her a new one to hide his failure. There is an extremely touching moment later where he admits this to Mikako (which of course, she’s known all along) that is very nicely written. Sahara also spends more time exploring both Mikako’s and Noboru’s feelings about Mikako’s appointment to the Lysithea, which is very revealing for both characters.

Regardless of the manga’s differences from its source material (both weak and strong), as a standalone piece, Mizu Sahara’s The Voices of a Distant Star is ultimately successful in telling a thoughtful, heart-wrenching story that is both visually and narratively appealing.

Review originally published at PopCultureShock.