Classic

A Drunken Dream and Other Stories

July 22, 2010 by Katherine Dacey

The 1970s marked a turning point in the development of shojo manga, as the first time in the medium’s history that a significant number of women were working in the field. These “founding mothers” weren’t the first female manga artists; Machiko Hasegawa was an early pioneer with Sazae-san,^[1] a comic strip that first appeared in her hometown newspaper in 1946, followed in the 1950s by such artists as Masako Watanabe, who debuted in 1952 with Suama-chan, Hideko Mizuno, who debuted in 1956 with Akakke Pony (Red-Haired Pony),^[2] and Miyako Maki, who debuted in 1957 with Hahakoi Waltz (Mother’s Love Waltz). Beginning in the mid-1960s and continuing throughout the 1970s, more female creators entered the profession, thus beginning the quiet transformation of shojo manga from sentimental stories for very young readers to a vibrant medium that spoke directly to the concerns and desires of teenage girls.

Several figures played an important role in affecting this transformation. One was Osamu Tezuka, whose Princess Knight (1954)^[3] is often erroneously described as “the first shojo manga.” (Shojo manga, in fact, dates to the beginning of the twentieth century, when magazines such as Shojo Sekai, or Girls’ World, featured comics alongside stories, articles, and illustrations.) An affectionate pastiche of Walt Disney, Zorro, and Takarazuka plays, Tezuka’s gender-bending story focused on a princess with two hearts — one female, one male — who becomes a masked crusader to save her kingdom from falling into the hands of a wicked nobleman. However conventional the ending seems now — Princess Sapphire eventually marries the prince of her dreams and hangs up her sword — the story was a rare example of a long-form adventure for girls; well into the 1950s, most shojo manga featured plotlines reminiscent of Victorian children’s literature, filled with young, imperiled heroines buffeted by fate until happily reunited with their families.

Another major influence was Yoshiko Nishitani, whose ground-breaking series Mary Lou appeared in Weekly Margaret in 1965. Mary Lou was among the very first shojo manga to feature an ordinary teenager as both the protagonist and romantic lead; its eponymous heroine suffered from the kind of everyday problems — a beautiful older sister, a boy who sends confusing signals — that invited readers to identify with her. Like Princess Knight, the gender politics of Mary Lou may strike contemporary Western readers as nostalgic at best, retrograde at worst, but Nishitani’s ability to make a compelling story out of ordinary adolescent experience struck a chord with Japanese girls, providing an important model for subsequent generations of shojo artists.

Moto Hagio and The “Founding Mothers” of Modern Shojo

In the hands of the Magnificent Forty-Niners and the other women who entered the field in the 1970s, shojo manga underwent a profound transformation, giving rise to a new kind of storytelling that emphasized the importance of relationships and introspection, even when the stories took place in eighteenth-century France (The Rose of Versailles), Taisho-era Japan (Haikara-san ga Toru, or, Here Comes Miss Modern), or the distant future (They Were Eleven!). Inspired by Tezuka’s cinematic approach to storytelling, they sought to dramatize their characters’ inner lives with the same dynamism that Tezuka brought to car chases, fist fights, and heated conversations. Hagio and her peers placed a premium on subjectivity, trying their utmost to help readers see the world through the characters’ point of view, eschewing tidy grids for fluid, expressionist layouts, and employing an elaborate code of visual signifiers to represent emotions from love to anxiety — symbols still in widespread use today.

Moto Hagio was one of these shojo trailblazers, making her professional debut in 1969 with “Lulu to Mimi,” a short story that appeared in the girls’ magazine Nakayoshi. In the years that followed, she proved enormously versatile, working in a variety of genres: “November Gymnasium” (1971) explores a romantic relationship between two young men, for example, while The Poe Family (1972-76) focuses on a vampire doomed to live out his existence in a teenage boy’s body. Hagio is perhaps best known to Western readers for her science fiction’s unique blend of social commentary and lyrical imagery. A, A’, for example, examines the relationship between memory and identity, while They Were Eleven tackles the thorny question of whether gender determines destiny.

A Drunken Dream and Other Stories

The ten stories that comprise A Drunken Dream span the entire length of Hagio’s career, from “Bianca” (1970), one of her first published works, to “A Drunken Dream” (1985), a sci-fi fantasy written around the same time as the stories in A, A’, to “The Willow Tree” (2007), an entry in her recent anthology Anywhere But Here.

What A Drunken Dream reveals is an author whose childhood passion for Frances Hodgson Burnett, L.M. Montgomery, and Isaac Asimov profoundly influenced the kind of stories she chose to tell as an adult. “Bianca,” for example, is a unabashedly Romantic story about artistic expression. The main narrative is framed by a discussion between Clara, a middle-aged woman, and an art collector curious about the “dryad” who appears in Clara’s paintings. As a teenager, Clara secretly witnessed her younger cousin Bianca dancing with great abandon in a wooded glen, a child’s way of coping with the pain of her parents’ tumultuous relationship. Bianca’s dance haunted Clara for years, even though their acquaintance was brief. “The way [Bianca] danced… the way it made me feel… I can’t describe it in words,” the middle-aged Clara explains to her guest. “But the thrill of that moment still shines today, and still shakes me to my core. And it was my irresistible need to draw that which led me to become a painter.”

Other stories explore the complexity of familial relationships. “Hanshin: Half-God,” for example, depicts conjoined twins with a rare medical condition that leaves one brilliant but physically deformed and the other simple but radiantly beautiful. When a life-threatening condition necessitates an operation to separate them, Yudy, the “big sister,” imagines it will liberate her from the responsibility of caring for and about Yucy, never considering the degree to which she and Yucy are emotionally interdependent. In “The Child Who Comes Home,” the emphasis is on parent-child relationships, exploring how a mother and her son cope with the death of the family’s youngest member. Throughout the story, the deceased Yuu appears in many of the panels, though we are never sure if Yuu’s ghost is real, or if his family’s lingering attachment to him is making his memory palpable.

iguanagirl The emotional core of A Drunken Dream — for me, at least — is Hagio’s 1991 story “Iguana Girl.” Rika, the heroine, is a truly grotesque figure — not in the everyday sense of being ugly or unpleasant, but in the Romantic sense, as a person whose bizarre affliction arouses empathy in readers. Born to a woman who appears human but is, in fact, an enchanted lizard, Rika is immediately rejected by her mother, who sees only a repulsive likeness of herself. Yuriko’s disgust for her daughter manifests itself in myriad ways: withering put-downs, slaps and shouts, blatant displays of favoritism for Rika’s younger sister Mami. As Rika matures, Hagio gives us tantalizing glimpses of Rika not as an iguana, but as the rest of the world sees her: a lovely but reserved young woman. As with “The Child Who Comes Home,” the heroine’s appearance could be interpreted literally, as evidence of magical realism, or figuratively, as a metaphor for the way in which children mirror their parents’ own flaws and disappointments; either way, Rika’s quest to heal her childhood wounds is easily one of the most moving stories I’ve read in comic form, a testament to Hagio’s ability to make Rika’s fraught relationship with her mother seem both terribly specific and utterly universal.

Perhaps the best compliment I can pay Hagio is praising her ability to make the ineffable speak through pictures, whether she’s documenting the grief that a young woman feels after aborting her baby (“Angel Mimic”) or the intense longing a middle-aged man feels for the college friends who abandoned him (“Marie, Ten Years Later”). Nowhere is this more evident than in the final story, “The Willow Tree.” At first glance, the layout is simple: each page consists of just two large, rectangular panels in which a woman stands beneath a tree, watching a parade of people — a doleful man and a little boy, a group of rambunctious grade-schoolers, a teenager wooing a classmate — as they stroll on the embankment above her. A careful reading of the images, however, reveals a complex story spanning many years. Hagio uses subtle cues — light, weather, and the principal character’s body language — to suggest the woman’s relationship to the people who walk past the tree. The last ten panels are beautifully executed; though the woman never utters a word, her face suddenly registers all the pain, joy, and anxiety she experienced during her decades-long vigil.

For those new to Hagio’s work, Fantagraphics has prefaced A Drunken Dream with two indispensable articles by noted manga scholar Matt Thorn.^[4] The first, “The Magnificent Forty-Niners,” places Hagio in context, introducing her peers and providing an overview of her major publications. The second, “The Moto Hagio Interview,” is a lengthy conversation between scholar and artist about Hagio’s formative reading experiences, first jobs, and recurring use of certain motifs. Both reveal Hagio to be as complex as her stories, at once thoughtful about her own work and surprised by her success. Taken together with the stories in A Drunken Dream, these essays make an excellent introduction to one of the most literary and original voices working in comics today. Highly recommended.

A DRUNKEN DREAM AND OTHER STORIES • BY MOTO HAGIO, TRANSLATED BY MATT THORN • FANTAGRAPHICS • 288 pp.

NOTES

1. The Wonderful World of Sazae-San ran in newspapers from 1946 to 1974. The collected strips, comprising 45 volumes in all, have been perennial best-sellers in Japan, with over 60 million books sold. It’s imporant to note that Sazae-san is not shojo manga; the story focuses on a resourceful, strong-willed housewife and her family, a kind of Mother Knows Best story. Nonetheless, Machiko Hasegawa is an important figure in the history of the medium, both for the influence of her strip and her trailblazing role as a female creator.

2. For more information about Hideko Mizuno, see Marc Bernabe’s recent profile and interview at Masters of Manga.

3. Princess Knight has a long and complex publishing history. The original story appeared in Shojo Club from 1953 to 1956, was continued in Nakayoshi in 1958, and revived again for Nakayoshi in 1963. The third version is generally considered to be the definitive one; Tezuka re-worked a few details from the original version and re-drew the series. In 2001, Kodansha released a bilingual edition of the 1963 version which is now out of print.

4. Both essays originally appeared in issue no. 269 of The Comics Journal (July 2005).

FOR FURTHER READING

Bernabe, Marc. “What is the ‘Year 24 Group’?” Interview with Moto Hagio. [http://mastersofmanga.com/2010/06/hagioyear24] [Accessed 7/22/10.]

Gravett, Paul. Manga: 60 Years of Japanese Comics. New York: Collins Design, 2004.

Randall, Bill. “Three By Moto Hagio.” The Comics Journal 252 (April 2003). (Full text available online at The Comics Journal Archives.)

Shamoon, Deborah. “Revolutionary Romance: The Rose of Versailles and the Transformation of Shojo Manga.” Mechademia 2 (2007): 3-18.

Schodt, Frederick. Manga! Manga! The World of Japanese Comics. New York: Kodansha International, 1983.

Thorn, Matt. “The Multi-Faceted Universe of Shoujo Manga.” [http://www.matt-thorn.com/shoujo_manga/colloque/index.php] (Accessed 7/21/10.)

Thorn, Matt. “What Japanese Girls Do With Manga and Why.” [http://www.matt-thorn.com/shoujo_manga/jaws/index.php] (Accessed 7/21/10/)

Toku, Masaki, ed. Shojo Manga! Girl Power! Chico, CA: Flume Press, 2005.

Vollmar, Rob. “X+X.” The Comics Journal 269 (July 2005): 134-36.

WORKS BY MOTO HAGIO AND HER PEERS (IN ENGLISH)

Aoike, Yasuko. From Eroica With Love. La Jolla, CA: CMX Manga/Wildstorm Productions, 2004 – 2010. 15 volumes (incomplete).

Ariyoshi, Kyoko. Swan. La Jolla, CA: CMX Manga/Wildstorm Productions, 2005 – 2010. 15 volumes (incomplete).

Hagio, Moto. A, A’ [A, A Prime]. Translated by Matt Thorn. San Francisco: Viz Communications, 1997. (Reviewed at The Manga Critic on 5/31/10.)

Hagio, Moto, Keiko Nishi, and Shio Sato. Four Shojo Stories. Translated by Matt Thorn. San Francisco: Viz Communications, 1996. (Reviewed at The Manga Critic on 5/31/10.)

Mitsuse, Ryu and Keiko Takemiya. Andromeda Stories. New York: Vertical, Inc., 2007. 3 volumes. (Reviewed at The Manga Critic on 5/26/10.)

Takemiya, Keiko. To Terra. New York: Vertical, Inc., 2007. 3 volumes. (Reviewed at The Manga Critic on 5/23/10.)

5 Underrated Shojo Manga

July 10, 2010 by Katherine Dacey

Earlier in the week, I sang the praises of Kaze Hikaru, my all-time favorite shojo manga (and one of my all-time favorite manga, period). Today I shine the spotlight on five great titles that haven’t garnered as much favorable notice as they deserve. Sadly, all but one are officially out of print or will be soon, owing to publisher closings, lapsed licenses, and so-so sales. If you can’t find them through retailers such as Amazon, Buy.com, or Right Stuf!, you might wish to cast your net wider to include sites like Robert’s Anime Corner Store (a good source for older titles) and eBay, or try your local library for copies.

phoenix12 5. Phoenix: Early Years, Vol. 12
By Osamu Tezuka • VIZ Media • 1 volume (complete)
A better subtitle for volume twelve of Phoenix would be I Lost It At the Movies, as these four stories reveal just how passionately Osamu Tezuka loved American cinema. In a 1980 essay, Tezuka explained that “watching American big-screen spectacle movies such as Helen of Troy and Land of the Pharaohs made me want to create a similar sort of romantic epic for young girls’ comics.” Looking at this collection, the sword-and-sandal influence manifests itself in almost every aspect of Tezuka’s storytelling, from the costumes and settings to the dialogue, which the characters declaim as if it were of Biblical consequence. (Paging Charlton Heston!) What makes this Hollywood pomposity bearable — even charming — is the tempering influence of Walt Disney. The character designs owe an obvious debt to Snow White, while the supporting cast could easily belong to Cinderella or Sleeping Beauty’s entourage of chatty animal friends.Anyone looking for the moral complexity of later Phoenix stories will be disappointed in volume twelve, as Tezuka’s villains are cartoonishly evil and his heroes (and heroine) chastely noble. If one approaches this collection in the spirit of, say, a musicologist flipping through Beethoven’s pre-Eroica manuscripts, however, the rewards are more palpable. In these early stories we see Tezuka developing his comedic chops with pop culture references and physical slapstick; we see him experimenting with layout, as he renders the battlefields of Troy and Rome in sweeping, full-page panels; and we see him creating his first cycle of interconnected stories, introducing some of the themes that would unify the entire Phoenix saga. In short, we see Tezuka’s first attempts to find his own voice as he pays tribute to the artists who influenced him, learning more about his exuberant, unique artistry in the process. (Originally reviewed at PopCultureShock on 3/19/08.)

xday1 4. X-Day
By Setona Mizushiro • Tokyopop • 2 volumes (complete)
When star high jumper Rika injures her leg and loses her boyfriend to a teammate, she becomes profoundly depressed. She soon discovers an online community of similarly disaffected students, however, all of whom share her desire to “make the school disappear.” Their internet chats soon give way to in-person meetings, where Rika comes face-to-face with three very different people: “Polaris,” a shy teen who dresses like a Goth off campus, “Mr. Money,” a friendly underclassman, and “Janglarian,” a young biology teacher who wants to dynamite the school. Setona Mizushiro’s dark story could easily spiral into melodrama, but she does a fine job of showing us how the normal tribulations of being a teenager — fighting with parents, enduring harassment from peers, feeling overwhelmed by anxiety — have led these four fragile people to hatch such a radical plan for coping with their pain. The second volume lacks the dramatic urgency of the first, as the students’ plot begins to come unraveled, but X-Day remains persuasive until its final pages, thanks to Mizushiro’s vivid characterizations and nuanced artwork.

airevolution1 3. A.I. Revolution
By Yuu Asami • Go! Comi • 5 volumes (incomplete; 17 volumes in Japan)
A.I. Revolution starts from a premise familiar to legions of Isaac Asimov fans: a human builds a robot, only to discover his creation has a mind and feelings of its own. Sui, the story’s human protagonist, initially views robots as household appliances, not unlike toasters or vaccuum cleaners. When her father presents her with an android companion, however, Sui develops a strong bond with it, discovering that Vermillion has a capacity for emotion that far outstrips her expectations.

A.I. Revolution may sound like I, Robot Hottie, but Yuu Asami puts a thoughtful spin on the material, filtering familiar sci-fi themes through a shojo lens. Though she weaves evil scientists and corporate espionage into the narrative, the story is at its best when focusing on Vermillion’s interactions with his human family; Sui’s father, for example, has modeled Vermillion in the image of a colleague that he admired, leading to a few funny, awkward moments of human-robot flirtation, while Sui seesaws between sisterly protectiveness and romantic attachment to her handsome companion. (Really, is there any other kind of robot in shojo manga?) Asami’s art reminds me of Akimi Yoshida’s with its elongated character designs, delicate linework, and sparing use of screentone. It’s a little dated perhaps, but a welcome change of pace from the slicker, busier layouts characteristic of the titles licensed by Tokyopop and VIZ. Highly recommended for fans of old-school shojo. (Originally reviewed at PopCultureShock on 3/4/08.)

gals1 2. GALS!
By Mihona Fuji • CMX Manga • 10 volumes (complete)
This wacky comedy is one of the better shojo licenses in the CMX catalog, a rude, raunchy, and oddly moral tale about a feisty kogal named Ran Kotobuki. Though Ran and her pals are primarily interested in shopping for outrageous outfits, visiting the tanning salon, and stealing book bags from students at rival schools, Ran’s upbringing in a household full of police officers (dad, mom, and big brother are all cops) has taught her to adhere to a strict code of conduct: no sex for favors, and no tolerance for anyone who disrespects her friends.

Ran is a terrific, memorable character — impetuous, loud, funny, and tough, the kind of person who would literally smack sense into another girl if she thought it would work. Better still, she’s not easily swayed by boys; her relationship with the sweet but dim Tatsuki is surprisingly chaste, limited primarily to hand-holding and awkward discussions about feelings. (Ran won’t deign to say, “I love you,” as it compromises her tough-girl image.) As befits a manga that was serialized in Ribon, all of the characters have enormous, doll-like eyes in the Arina Tanemura style, and fabulous outfits that shame the Gossip Girls. The backgrounds are surprisingly detailed, conveying the look and feel of the Shibuya district with a specificity that’s all too rare in shojo manga. In sum, Gals! is the kind of good-natured gang comedy that I hoped My Darling! Miss Bancho would be: full of humor and heart, but with fewer capitulations to shojo convention.

lovesong 1. Love Song
Keiko Nishi • VIZ Media • 1 volume (complete)
Back in the 1990s, Matt Thorn labored hard to make Keiko Nishi a household name among American manga readers, translating six of her stories for VIZ; two appeared in Four Shojo Stories alongside work by Moto Hagio and Shio Sato, and four appeared in a stand-alone volume called Love Song. Though Nishi didn’t catch on with Western shojo fans, it’s easy to see why Thorn championed her work: she’s a terrific, versatile storyteller, equally capable of writing light-hearted fantasies and character studies of deeply damaged people.

Of the four stories that appear in Love Song, two are standouts: “Jewels of the Seaside,” a black comedy about three sisters who compete for the same man’s affection, with disastrous results, and “The Skin of Her Heart,” a quiet sci-fi tale about a young woman torn between what she wants and what her mother wants for her. (Readers who enjoyed A, A’ or Twin Spica are a natural audience for “Skin of Her Heart,” though it works equally well for folks who aren’t big sci-fi buffs.) Nishi’s artwork is an acquired taste, at times precise, elegant, and naturalistic, and at times loose and sketchy, with the white of the page playing an important role in underscoring the emotional distance between her characters. Her minimalist approach won’t be to every shojo fan’s liking, but she demonstrates that it’s perfectly possible to convey the interior lives of her characters without resorting to the kind of visual shorthands — flowers, sweatdrops, nosebleeds — that have been overused in contemporary shojo manga. Love Song is out of print, but unlike Four Shojo Stories and A, A’, is still relatively easy to obtain through online retailers like Amazon. Highly recommended.

HONORABLE MENTIONS

duckprince1 Duck Prince
By Ai Morinaga • CMP • 3 volumes (suspended)
Morinaga’s battle-of-the-sexes comedy takes a standard shojo plot — homely gal gets makeover to win the guy of her dream — and turns it on its head, substituting a sweet, helmet-haired nerd for the customary plain Jane, and adding a novel twist: Reiichi appears to most girls as a smokin’ hottie, but in the presence of his beloved Yumiko, he reverts to his original form. As in all her work, Morinaga uses humor to make deeper points about gender roles and physical beauty, though Duck Prince is too rude and risque to be mistaken for an Afterschool Special. Central Park Media released three of the five volumes before suspending Duck Prince; of all the titles left homeless by CPM’s demise, it seems like one of the strongest candidates for a license rescue, though middling sales of Your & My Secret and My Heavenly Hockey Club may have scared American publishers away from Morinaga’s distinctive comedies.

shirahimesyo Shirahime-Syo: Snow Goddess Tales
By CLAMP • Tokyopop • 1 volume
This lovely anthology is a radical departure for CLAMP. Gone are the super-detailed costumes and fussy character designs of their early, post-doujinshi work; in their place are spare, simply-drawn figures that seem consciously modeled on examples from eighteenth- and nineteenth-century scroll paintings. The stories themselves are told directly without embellishment, though CLAMP infuses each tale with genuine pathos, showing us how the characters’ anger and doubt lead to profound despair. As a result, the prevailing tone and spirit are reminiscent of Masaki Kobayashi’s 1964 film Kwaidan, both in the stories’ fidelity to the conventions of Japanese folklore and in their lyrical restraint. And if my description didn’t sell you on Shirahime-Syo, let this beautiful image, taken from the final story of the collection, persuade you to give this out-of-print gem a try:

snowgoddess2

* * * * *

So what titles top your list of underrated shojo manga? Inquiring minds want to know!

5 Underrated Shojo Manga

July 10, 2010 by Katherine Dacey 7 Comments

5. PHOENIX, VOL. 12: EARLY WORKS

OSAMU TEZUKA • VIZ • 1 VOLUME (complete)

A better subtitle for volume twelve of Phoenix would be I Lost It At the Movies, as these four stories reveal just how passionately Osamu Tezuka loved American cinema. In a 1980 essay, Tezuka explained that “watching American big-screen spectacle movies such as Helen of Troy and Land of the Pharaohs made me want to create a similar sort of romantic epic for young girls’ comics.” Looking at this collection, the sword-and-sandal influence manifests itself in almost every aspect of Tezuka’s storytelling, from the costumes and settings to the dialogue, which the characters declaim as if it were of Biblical consequence. (Paging Charlton Heston!) What makes this Hollywood pomposity bearable — even charming — is the tempering influence of Walt Disney. The character designs owe an obvious debt to Snow White, while the supporting cast could easily belong to Cinderella or Sleeping Beauty’s entourage of chatty animal friends.

Anyone looking for the moral complexity of later Phoenix stories will be disappointed in volume twelve, as Tezuka’s villains are cartoonishly evil and his heroes (and heroine) chastely noble. If one approaches this collection in the spirit of, say, a musicologist flipping through Beethoven’s pre-Eroica manuscripts, however, the rewards are more palpable. In these early stories we see Tezuka developing his comedic chops with pop culture references and physical slapstick; we see him experimenting with layout, as he renders the battlefields of Troy and Rome in sweeping, full-page panels; and we see him creating his first cycle of interconnected stories, introducing some of the themes that would unify the entire Phoenix saga. In short, we see Tezuka’s first attempts to find his own voice as he pays tribute to the artists who influenced him, learning more about his exuberant, unique artistry in the process. (Originally reviewed at PopCultureShock on 3/19/08.)

4. X-DAY

SETONA MIZUSHIRO • TOKYOPOP • 2 VOLUMES (complete)

When star high jumper Rika injures her leg and loses her boyfriend to a teammate, she becomes profoundly depressed. She soon discovers an online community of similarly disaffected students, however, all of whom share her desire to “make the school disappear.” Their internet chats soon give way to in-person meetings, where Rika comes face-to-face with three very different people: “Polaris,” a shy teen who dresses like a Goth off campus, “Mr. Money,” a friendly underclassman, and “Janglarian,” a young biology teacher who wants to dynamite the school. Setona Mizushiro’s dark story could easily spiral into melodrama, but she does a fine job of showing us how the normal tribulations of being a teenager — fighting with parents, enduring harassment from peers, feeling overwhelmed by anxiety — have led these four fragile people to hatch such a radical plan for coping with their pain. The second volume lacks the dramatic urgency of the first, as the students’ plot begins to come unraveled, but X-Day remains persuasive until its final pages, thanks to Mizushiro’s vivid characterizations and nuanced artwork.

3. A.I. REVOLUTION

YUU ASAMI• GO! COMI • 5 VOLUMES (incomplete; 17 volumes in Japan)

A.I. Revolution starts from a premise familiar to legions of Isaac Asimov fans: a human builds a robot, only to discover his creation has a mind and feelings of its own. Sui, the story’s human protagonist, initially views robots as household appliances, not unlike toasters or vaccuum cleaners. When her father presents her with an android companion, however, Sui develops a strong bond with it, discovering that Vermillion has a capacity for emotion that far outstrips her expectations.

2. GALS!

MIHONA FUJI • CMX • 10 VOLUMES (complete)

This wacky comedy is one of the better shojo licenses in the CMX catalog, a rude, raunchy, and oddly moral tale about a feisty kogal named Ran Kotobuki. Though Ran and her pals are primarily interested in shopping for outrageous outfits, visiting the tanning salon, and stealing book bags from students at rival schools, Ran’s upbringing in a household full of police officers (dad, mom, and big brother are all cops) has taught her to adhere to a strict code of conduct: no sex for favors, and no tolerance for anyone who disrespects her friends.

1. LOVE SONG

KEIKO NISHI • VIZ • 1 VOLUME (complete)

Back in the 1990s, Matt Thorn labored hard to make Keiko Nishi a household name among American manga readers, translating six of her stories for VIZ; two appeared in Four Shojo Stories alongside work by Moto Hagio and Shio Sato, and four appeared in a stand-alone volume called Love Song. Though Nishi didn’t catch on with Western shojo fans, it’s easy to see why Thorn championed her work: she’s a terrific, versatile storyteller, equally capable of writing light-hearted fantasies and character studies of deeply damaged people.

HONORABLE MENTIONS

duckprince1 DUCK PRINCE (Ai Morinaga • CMP • 3 volumes, suspended)
Morinaga’s battle-of-the-sexes comedy takes a standard shojo plot — homely gal gets makeover to win the guy of her dream — and turns it on its head, substituting a sweet, helmet-haired nerd for the customary plain Jane, and adding a novel twist: Reiichi appears to most girls as a smokin’ hottie, but in the presence of his beloved Yumiko, he reverts to his original form. As in all her work, Morinaga uses humor to make deeper points about gender roles and physical beauty, though Duck Prince is too rude and risque to be mistaken for an Afterschool Special. Central Park Media released three of the five volumes before suspending Duck Prince; of all the titles left homeless by CPM’s demise, it seems like one of the strongest candidates for a license rescue, though middling sales of Your & My Secret and My Heavenly Hockey Club may have scared American publishers away from Morinaga’s distinctive comedies.

shirahimesyo SHIRAHIME-SYO: SNOW GODDESS TALES (CLAMP • Tokyopop • 1 volume)
This lovely anthology is a radical departure for CLAMP. Gone are the super-detailed costumes and fussy character designs of their early, post-doujinshi work; in their place are spare, simply-drawn figures that seem consciously modeled on examples from eighteenth- and nineteenth-century scroll paintings. The stories themselves are told directly without embellishment, though CLAMP infuses each tale with genuine pathos, showing us how the characters’ anger and doubt lead to profound despair. As a result, the prevailing tone and spirit are reminiscent of Masaki Kobayashi’s 1964 film Kwaidan, both in the stories’ fidelity to the conventions of Japanese folklore and in their lyrical restraint. And if my description didn’t sell you on Shirahime-Syo, let this beautiful image, taken from the final story of the collection, persuade you to give this out-of-print gem a try:

snowgoddess2

* * * * *

So what titles top your list of underrated shojo manga? Inquiring minds want to know!

The Best Manga You’re Not Reading

July 2, 2010 by Katherine Dacey

On Saturday, June 26th, Brigid Alverson, Robin Brenner, Martha Cornog, and I gave a presentation at the American Library Association’s annual conference called “The Best Manga You’re Not Reading.” The goal of our talk was to remind librarians about all the weird, wonderful, and diverse offerings for older teens and adults. Recommendations ran the gamut from Junko Mizuno’s Cinderalla (one of Martha’s picks) to ES: Eternal Sabbath (one of Brigid’s), with an emphasis placed on titles that are in-print and appealing to readers who self-identify as manga fans — and those who don’t. Below are my four picks, plus a “mulligan” (to borrow a term from Brigid).

THE FOUR IMMIGRANTS MANGA: A JAPANESE EXPERIENCE IN SAN FRANCISCO, 1904 – 1924

Henry Yoshitaka Kiyama • Stone Bridge Press • 1 volume

In 1904, aspiring artist Henry Kiyama sailed from Japan to the United States in search of economic opportunity. After living in San Francisco for nearly twenty years, Kiyama documented his experiences in the form of 52 short comics. His memoir — one of the very first examples of a graphic novel — examines the racism and economic hardships that he and his friends encountered on a daily basis. Kiyama also addresses major events of the day, critiquing several Congressional acts designed to curtail Asian immigration, and remembering what it was like to live through the Great Earthquake of 1906, attend the Panama Pacific International Exposition of 1915, and survive the flu pandemic of 1918.

…

The Best Manga You’re Not Reading

July 2, 2010 by Katherine Dacey

fourimmigrants The Four Immigrants Manga
Henry Yoshitaka Kiyama • Stone Bridge Press • 1 volume
In 1904, aspiring artist Henry Kiyama sailed from Japan to the United States in search of economic opportunity. After living in San Francisco for nearly twenty years, Kiyama documented his experiences in the form of 52 short comics. His memoir — one of the very first examples of a graphic novel — examines the racism and economic hardships that he and his friends encountered on a daily basis. Kiyama also addresses major events of the day, critiquing several Congressional acts designed to curtail Asian immigration, and remembering what it was like to live through the Great Earthquake of 1906, attend the Panama Pacific International Exposition of 1915, and survive the flu pandemic of 1918.

What makes these autobiographical comics truly extraordinary, however, was that they were originally published in 1931 in a bilingual edition right here in America. As Frederik Schodt explains in his introductory essay, Kiyama’s work was aimed at other first-generation immigrants who, like him, were caught between two worlds, trying to make sense of their place in both. The visual style and subject matter may not strike contemporary readers as manga-esque (Schodt notes the influence of American cartoonist George McManus on Kiyama), but the intimate quality of the stories will leave as lasting an impression as graphic memoirs such as Marjane Satrapi’s Persepolis and Alison Bechdel’s Fun Home.

parasyte-v2 Parasyte
Hitoshi Iwaaki • Del Rey • 8 volumes, complete
Imagine, if you can, a manga that combined elements of My Left Foot, Invasion of the Body Snatchers, and The Defiant Ones with the witty banter of a good buddy cop picture, and you have some idea of what Hitoshi Iwaaki’s Parasyte is all about. The story focuses on Shin, a high school student who wakes up one night to find a worm-like alien tunneling up his right arm towards his brain. In a moment of panic, Shin applies a tourniquet, arresting the creature’s progress but creating a brand-new problem in the process: the parasite takes up residence in his right hand, manifesting itself as a snail-like entity with googly eyes, a mouth, and the ability to transform itself into an astonishing array of shapes. Recognizing that their bodies are becoming interdependent, Shin and Migi (as he decides to call the parasite) agree to an uneasy truce. It isn’t long before other aliens are alert to Shin and Migi’s presence, forcing Shin and Migi to flee when it becomes apparent that the other parasites won’t tolerate their symbiotic existence. Shin and Migi can’t go to the human authorities, either, without risking imprisonment, quarantine, or worse.

Like a good B-movie, Parasyte uses elements of science fiction and horror to explore Big Questions about human nature while scaring the hell out of readers; the series is filled with nail-biting scenes of Shin and Migi trying to escape detection or fight other parasites. The violence is graphic but not sadistic; most of the action takes place between panels, with only the grisly aftermath represented in pictorial form. (Read: no torture scenes, no female characters being sexually assaulted before becoming an alien’s dinner.) The script is clever and funny, as Shin and Migi trade barbs with the antagonistic affection of Ernie and Bert, Oscar Madison and Felix Unger, or Detectives Mike Logan and Lenny Briscoe. Their relationship is one of Parasyte‘s greatest strengths, adding an element of novelty to a familiar story while deftly critiquing the idea that human beings’ intellect and emotional attachments place them squarely atop the food chain.

satsuma Satsuma Gishiden
Hiroshi Hirata • Dark Horse • 3 volumes, suspended
With its heady mix of social commentary, political intrigue, and battlefield action, Hiroshi Hirata’s Satsuma Gishiden reads like Kagemusha as told by Sam Peckinpah. Hirata dramatizes the plight of a powerful southern province that rebelled against the shogunate in the late eighteenth century (and would again, more famously, in the nineteenth). The story unfolds in a kaleidoscopic fashion, introducing us to the the sanpin and goshi, low-born samurai who eked out a living as farmers and laborers between military engagements; the daimyo, the leaders of Satsuma’s ruling Shimazu clan; and the administrators, spies, and chonin swept up in the violent conflict.

In the wrong hands, this material would be horribly dull; the initial showdown between Satsuma and shogunate stems from a public works project. (Makes you wonder: was Satsuma Gishiden the favorite manga of Robert Moses?) But Hirata successfully balances historical narrative and dramatic action. He explains the caste system and politics of the Edo period, the ritual of hiemontori, the concept of nise — even the type of water works found in eighteenth-century Japan — tossing in some jokey panels of winged ryo and money-grubbing donjon to illustrate the shogunate’s corruption. Some readers may find these passages didactic, but they provide an essential foundation for grasping nuances of plot and character. Lest the tone become too pedantic, Hirata liberally sprinkles the story with passages of bawdy humor and baroque violence. In one gruesomely funny scene, for example, a dying character uses his own broken rib to puncture an opponent’s skull. Top that, Mr. Peckinpah!

The chief attraction of Satsuma Gishiden, however, is its distinctive visuals. Hirata’s layouts evoke the films of mid-century masters such as Kurosawa, Kobayashi, and Ozu, blending cinematic realism with the rough-hewn aesthetic of woodblock prints. The characters, costumes, and horses are rendered in meticulous detail, yet the artwork is never static; through creative use of perspective, Hirata immerses the reader in vivid battle scenes, lively clan meetings, and ocean voyages. (Just a thought: Satsuma Gishiden would be awesome in 3-D. Maybe Dark Horse could repackage future editions with goggles to enhance the effect?) Recommended for samurai movie buffs, amateur Japanese historians, and readers who’ve exhausted the Kazuo Koike canon. (Originally reviewed at PopCultureShock on 2/16/07.)

town_cover Town of Evening Calm, Country of Cherry Blossoms
Fumiyo Kouno • Last Gasp • 1 volume
If Barefoot Gen shows readers what it was like to live through the Hiroshima bombing and its horrific aftermath, Town of Evening Calm, Country of Cherry Blossoms shows readers what it was like to live with the memories of that day ten, twenty, and forty years later. Fumiyo Kouno’s book is divided into two stories. The first, “Town of Evening Calm,” is set in 1955, and focuses on one young woman’s attempt to preserve the remnants of her family, while the second, “Country of Cherry Blossoms,” is set in the 1990s, and focuses on the strained relationship between a survivor and his adult daughter. Both stories are simply but beautifully illustrated, avoiding the kind of visual tropes (big eyes, tiny noses, super-cute deformations) that many Western readers find jarring when reading Serious Manga.

In the few panels alluding to the actual events of August 6, 1945, Kouno’s art becomes more primitive and stylized, suggesting the horrific effects of the blast by depicting the victims as stick figures with swollen faces. The child-like simplicity and directness of these images are startling yet effective, a powerful representation of the radiation’s devastating ability to rob its victims of their identities by destroying their hair, hands, and faces. These scenes are notable as well for the skillful way in which present and past co-exist within the same panels; we see the landscape as the survivors do, alive with vivid memories of the blast. None of these images are graphic, though they are an unsettling reminder of the characters’ deep emotional scars.

The book’s strong anti-war message is balanced by the story’s emphasis on quiet, everyday moments, preventing Town of Evening Calm, Country of Cherry Blossoms from succumbing to didacticism or sensationalism. Though Kouno did not grow up in Hiroshima, her meticulous research and careful reading of survivor memoirs lends her work a kind of emotional authenticity that a more dramatic story might have lacked. The result is a moving work that challenges readers to imagine how they might rebuild their lives in the aftermath of incomprehensible tragedy. (Reviewed at The Manga Critic on 1/4/10.)

phoenix7 BONUS PICK: Phoenix: Civil War
Osamu Tezuka • VIZ • 2 volumes
A quick glance through Phoenix: Civil War might not suggest that this is the stuff of high art. The characters bear an uncanny resemblance to the denizens of Popeye and jokey anachronisms abound. (Although the story ostensibly takes place in twelfth-century Japan, one character receives a telephone call and chows down on a bucket of KFC.) But flip to the back pages, where VIZ has included a brief statement from the manga-ka explaining the origins and meaning of Phoenix, and you’ll learn that Tezuka claimed Igor Stravinsky’s ballet The Firebird as the inspiration for Phoenix. Tezuka saw parallels between Stravinsky’s firebird and a similar creature from Japanese legend, Hou-ou. The phoenix, Tezuka decided, was a powerful symbol of “man’s attachment to life and the complications that arise from greed.” Using the phoenix as a touchstone, Tezuka constructed an elaborate, twelve-volume series exploring Japan’s historic past and possible future. He planned a final volume set in present-day Japan (“where past and future converge”), but passed away without completing his epic.

One of the best things about Phoenix is that readers can enjoy it as a series or a collection of stand-alone stories. Though I love Sun (the series’ epic, two-volume conclusion) and Karma (the fourth volume of the English edition), I think the two-volume Civil War (the seventh and eight volumes of the English edition) make the best introduction to Tezuka’s masterpiece. Civil War is set in Heian-era Kyoto, where several powerful families vie for control of the city. We experience the conflict through myriad perspectives: a lowly woodcutter and his fiancee, a ragtag band of samurai, an apolitical sage, and two powerful clan leaders, both of whom seek the phoenix in an effort to consolidate their political victories and perpetuate their bloodlines. The story may remind readers of The Hidden Fortress as it moves between epic battles and domestic drama, romance, and earthy comedy. While Tezuka isn’t above a little flatulence humor, he never condescends to his characters, using such lowbrow moments to demonstrate the common humanity of his entire cast. The character designs may be too cartoonish for some tastes, but Tezuka’s artwork is never short of spectacular; his imaginative layouts and flair for caricature are as distinctive as Igor Stravinsky’s brilliant orchestrations, churning rhythms, and pungent octatonic harmonies. (Originally reviewed at PopCultureShock on 10/26/06.)

* * * * *

Click here to read Brigid and Martha’s recommendations; click here to read Robin’s. Have a title you’d like to suggest? Let me know in the comments — we’re hoping to do this panel again at another convention, and would welcome your feedback.

Manga Artifacts: Pineapple Army

June 30, 2010 by Katherine Dacey

About two years ago, I reached a tipping point in my manga consumption: I’d read enough just enough stories about teen mediums, masterless samurai, yakuza hit men, pirates, ninjas, robots, and magical girls to feel like I’d exhausted just about everything worth reading in English. Then I bought the first volume of Taiyo Matsumoto’s No. 5. A sci-fi tale rendered in a stark, primitivist style, Matsumoto’s artwork reminded me of Paul Gauguin’s with its mixture of fine, naturalistic observation and abstraction. I couldn’t tell you what the series was about (and after reading the second volume, still can’t), but Matsumoto’s precise yet energetic line work and wild, imaginative landscapes filled with me the same giddy excitement I felt when I first discovered the art of Rumiko Takahashi, CLAMP, and Goseki Kojima.

In a rush of enthusiasm to see what else was out there, I began trawling eBay for forgotten treasures, using Jason Thompson’s Manga: The Complete Guide as my map. What I found were an eclectic assortment of titles released in a variety of formats: Katsuhiro Otomo’s Memories, Leiji Matsumoto’s Galaxy Express 999, Jiro Taniguchi’s Hotel Harbor View, Keiko Nishi’s Love Song. Some proved exciting, others abysmal, but all were interesting as artifacts of English-language manga’s pre-history, of the days before Fruits Basket and Naruto were ubiquitous in chain stores and malls. As I’ve been assembling a collection of older titles, I’ve found myself wondering why some of these books were originally licensed and whether there’s a place for them in the current market. To explore these questions, I decided to dedicate more space at my website to examining out-of-print titles, from the undiscovered gems to the unmitigated disasters.

PINEAPPLE ARMY

For my inaugural Manga Artifacts column, I chose one of my happiest discoveries: Pineapple Army (VIZ), a collaboration between writer Kazuya Kudo (Mai the Psychic Girl) and artist Naoki Urasawa. Reading Pineapple Army is like opening a time capsule from the mid-1980s, when wars were Cold, American cities were crime-ridden, and Central America was as important a theater of operations as the Middle East. Jed Goshi, the reluctant hero of Pineapple Army, is an ex-Marine who hasn’t quite managed to re-integrate himself into civilian life after two tours of duty in ‘Nam. Goshi now works for a mysterious agency that helps people who can’t or won’t turn to the proper authorities for help. Though Goshi doggedly insists he’s an instructor, not a bodyguard — “I turn people into combat-ready soldiers in a short amount of time,” he informs one client — he always becomes embroiled in the action, rescuing an inexperienced fighter after a costly bungle or coaching a client out of a tight corner.

Pineapple Army is positively steeped in Reagan-era politics and paranoia. In “The Selva Game,” for example, Goshi runs afoul of the Sandinistas — remember that foreign policy fiasco? — while on a mission along the Honduran/Nicaraguan border, while “The Man From the Past” chronicles his experiences in Zaire, where he tried to teach US-backed troops to resist Communist guerillas. Other stories portray New York City as a kind of urban selva, filled with unscrupulous law enforcement officials, gangsters, and vigilantes; anyone who’s read Banana Fish will immediately recognize the milieu. These stories have the same ripped-from-the-headlines quality of the very earliest Law & Order episodes, borrowing elements of well-known criminal cases and putting a fictional spin on them: “The False Hero,” for example, pits a young female detective against a Curtis Sliwa-esque figure who treats the IRT as his own fiefdom, while “Goshi: The Preceptor” culminates in a showdown between a corrupt cop’s family and the gangster he swindled.

The artwork, like the stories, dates Pineapple Army to the decade of big hair and hair metal. Naoki Urasawa’s style was heavily influenced by Katsuhiro Otomo’s; the characters have the kind of well-fed look — stubby bodies, round faces, sturdy limbs — that Otomo popularized in the 1980s with AKIRA and Domu: A Child’s Dream. A few villains’ faces hint at the distinctive character designs that Urasawa would cultivate in later hits Master Keaton and Monster, but an unpracticed eye might reasonably attribute Pineapple Army to any number of competent artists. Urasawa’s trademark attention to detail, however, is evident throughout the series; he meticulously establishes the setting for each story, whether it’s an overgrown Mayan ruin, a Honduran hacienda, the grubby subway platforms of the IRT, or The Limelight, a church-cum-nightclub that was a Sixth Avenue fixture throughout the 1980s and 1990s.

The original series, which ran in Shogakukan’s Big Comic Original from 1986-88, was collected in several different tankubon editions in Japan, each comprised of about 1,000 pages of material. For the US edition, VIZ cherry-picked ten stories, releasing them first as 32-page floppies, then as a single trade paperback. Though each story works reasonably well as a self-contained adventure, Pineapple Army suffers from some of the same continuity problems as Oishinbo, another longer series that was pared down and repackaged for Western readers. Two of the stories, for example, feature another agent named Janet, who spends most of her time trying to buttonhole Goshi for a date. We never learn much about her or how she knows Goshi, though it’s obvious the pair have some kind of history, perhaps related to their line of work. There’s also a reporter who trails Goshi from Africa to the US, hell-bent on exposing Goshi as a murderer; from their pulpy, melodramatic exchanges, one might infer they have a Jean Valjean-Inspector Javert relationship, but the VIZ edition doesn’t even bother to give the reporter a name. (No, really: Goshi and Janet both refer to him as “Mr. Reporter.”) Such small narrative hiccups are irritating but hardly fatal; the stories and crackling dialogue are strong enough to carry the reader past such interruptions.

Would VIZ ever re-issue Pineapple Army, perhaps in its entirety? I’m tempted to say no, as the artwork would strike most manga fans as passe. Urasawa’s tracings and screentone application sometimes look crude by contemporary standards, and his unfortunate tendency to draw black characters with thick, light-colored lips might necessitate revisions for a new American edition. (In Urasawa’s defense, the characters are not drawn in the grossly exaggerated style that Osamu Tezuka or Shotaro Ishinomori used in Swallowing the Earth or Cyborg 009, respectively, but for many American readers, a long history of nasty racial caricatures makes it difficult to excuse the practice.) Then, too, the stories have the same rhythm and sensibility of a 1980s TV show; one could be forgiven for comparing Pineapple Army with such period gems as The Equalizer, both for Pineapple Army‘s dogged adherence to formula and its deep suspicion of authority.

Yet it’s easy to overlook Pineapple Army‘s flaws, thanks to the strong script and dynamic layouts. Kudo and Urasawa create tough, memorable female characters; dream up creative ways to integrate current events into the storylines; and stage the kind of action scenes that were de rigeur on The A-Team and MacGuyver, complete with car chases, gun battles, and jerry-rigged explosive devices. The stories may be as predictable as taxes, but they’re still entertaining, especially for those of us with vivid memories of “Frankie Says Relax!” t-shirts and Bernhard Goetz’s subway vigilantism.

NOTE TO THE INTREPID BUYER

The comics are much easier to find than the trade paperback, and generally cheaper to boot; I picked up all ten issues for about $9 on eBay. Scanning the web, I’ve found almost no copies of the TPB available, although a few Amazon sellers appear to be offering it for non-usurious prices. French and Spanish speakers, see below for more information about European editions of Pineapple Army. (Hat tip to reader Althalus for information about both series’ availability.)

PINEAPPLE ARMY • STORY BY KAZUYA KUDO, ART BY NAOKI URASAWA • VIZ COMMMUNICATIONS

Manga Artifacts: Pineapple Army

June 30, 2010 by Katherine Dacey

PINEAPPLE ARMY

NOTE TO THE INTREPID BUYER

PINEAPPLE ARMY • STORY BY KAZUYA KUDO, ART BY NAOKI URASAWA • VIZ COMMMUNICATIONS

My 10 Favorite CMX Titles

June 14, 2010 by Katherine Dacey

CMX may not have had the biggest titles or the biggest sales, but its catalog had a pleasing eclecticism: who else would license series as utterly different as Moon Child, Madara, and Go West? I didn’t always love what they published, but I appreciated their efforts to bring important artists and off-beat series to American audiences’ attention. I also appreciated the care and consistency with which they edited books; it’s a sad irony that many fans will remember them for the Tenjo Tenghe fiasco and not for the fine job they did with Emma and Shirley. Below are the ten CMX titles I plan to keep in my permanent collection. (Click here for a kid-friendly list of CMX manga.)

astral1 10. Astral Project
By Marginal and Suyuji Takeda • 4 volumes (complete)
Astral Project might have been an indigestible stew of pseudo-science and Deep Thoughts About Jazz, as it focuses on a young man discovers a connection between his sister’s disappearance and an Albert Ayler recording that helps facilitate out-of-body experiences. Marginal spins a ripping yarn, however, grounding the story’s more fantastic elements in the gritty realism of Tokyo’s red light district. He immerses us in the story to such a degree, in fact, that we learn things as Masahiko does; we’re never one step ahead of our protagonist, a common problem in thrillers. Syuji Takeya’s artwork won’t appeal to everyone, as it sometimes has a rough, sketchy quality that doesn’t mesh well with the dark, Photoshopped backgrounds, but Takeya creates a memorable assortment of faces and bodies that suggest the seediness of Masahiko’s world more readily than dialog could. Quite possibly Ornette Coleman’s favorite manga. (Originally reviewed at PopCultureShock on 10/27/08. )

chikyu1 9. Chikyu Misaki
By Yuji Iwahara • 3 volumes (complete)
This fast-paced adventure plays like best live-action film Disney never made, mixing comedy, family drama, and fantasy elements to tell the story of fourteen-year-old Misaki, who discovers that the local lake is inhabited by a pint-sized Loch Ness Monster. The twist? Little Neo transforms into a cute little boy on land — a nifty trick when a band of kidnappers-cum-poachers get wind of his existence. Chikyu Misaki has a kind of fierce kid logic to it: who but a ten-year-old would dream up a story in which a dinosaur, a downed airplane, a lost suitcase filled with gold, and a potential stepmother all get a turn in the spotlight? Yuji Iwahara’s artwork is also a big plus: his character designs do a fine job of delineating each cast member’s personality and role in the drama, while his action scenes are crisp and fluid. Only a few odd, squicky moments of sexual humor prevent this from being a slam-dunk recommendation for the under-twelve crowd.

nameflower2 8. The Name of the Flower
By Ken Seito • 4 volumes (complete)
Did Ken Saito have Charlotte Brontë on the brain when she dreamed up the plot for The Name of the Flower? I ask because Flower‘s storyline seems like pure Masterpiece Theater fodder: Chouko, a young orphan left mute and despondent by her parents’ death, is sent to live with a male guardian who endured a similarly tragic past. Over time, the two form a deep attachment that neither dares admit, an attachment tested by Chouko’s decision to enroll in college and Kei’s general reclusiveness. If the set-up is ripe for melodrama, Saito manages to craft a story that’s rooted in everyday experience; her characters’ journey to self-awareness and romance is complicated by real-life obstacles, not mad wives in the attic. Lovely art cements the bittersweet mood of this borderline josei title. One of my nominees for Best New Manga of 2009.

Shirley_Cover 7. Shirley
By Kaoru Mori • 1 volume (complete)
At first glance, Shirley looks like a practice run for Emma, a collection of pleasant, straightforward maid stories featuring prototype versions of Emma‘s main characters. A closer examination, however, reveals that Shirley is, in fact, a series of detailed character sketches exploring the relationships between three maids and their respective employers. While some of these sketches aren’t entirely successful — Kaoru Mori cheerfully describes one as “an extremely cheap story about a boy and an animal” and attributes the inspiration for another to The A-Team — the five chapters focusing on thirteen-year-old Shirley Madison and her independent, headstrong employer are as good as any passage in Emma. (Reviewed at The Manga Critic on 3/9/10.)

kiichi2 6. Kiichi and the Magic Books
By Taka Amano • 5 volumes (complete)
This poignant coming-of-age story focuses on Kiichi, a young oni whose lonely existence is transformed by a chance encounter with a traveling librarian. Inspired by the information in one of Mototaro’s books, Kiichi decides to leave his village in search of others like himself. Kiichi’s journey brings him into contact with a variety of people, many of whom seek to harm him or profit from his unique abilities, or who simply fear his appearance. Though Taka Amano never shies away from the darker implications of her story, showing us just how unscrupulous, ignorant, and venal people of all ages can be, Kiichi and the Magic Books is never mawkish or didactic; the fantasy elements add considerable interest and charm, while Kiichi proves emotionally resilient in the face of prejudice and mistrust. Readers more accustomed to the look and feel of Naruto may not initially respond to Amano’s starkly beautiful pen-and-ink drawings. Encourage them to try Kiichi anyway, as this series offers the same degree of complexity, imagination, and emotional authenticity as an Ursula LeGuin or Phillip Pullman novel. CMX’s best title for readers under the age of twelve. (Originally reviewed at Good Comics for Kids on 1/23/09.)

presents1 5. Presents
By Kanako Inuki • 3 volumes (complete)
Any series that prompted John Jakala to coin a phrase as useful and catchy as “comeuppance theater” deserves a place on a top ten list of some kind; the fact that Kanako Inuki’s horror-comedy is fiendishly entertaining earns it a spot on this particular countdown. Presents reads a lot like Tales of the Crypt, with each story adhering to the same formula: creepy child-woman Karumi offers an enticing present to an unsuspecting person, a present that quickly reveals itself to be an instrument of punishment for the recipient’s bad behavior or poor character. (Hence Jakala’s term “comeuppance theater.”) Though she loves drawing bugs and hideously deformed faces, Inuki is less interested in scaring us than making us laugh and squirm with recognition at our own folly; Inuki’s creepiest stories are also her funniest, satirizing commercial culture and female vanity with aplomb. A must for fans of Kazuo Umezu and Hideshi Hino.

gon4 4. Gon
By Masashi Tanaka • 7 volumes (complete)
Billed as “the pint-sized terror from the Jurassic era,” Gon is a small orange dinosaur who runs amok in present-day forests, oceans, and arctic tundras, terrorizing predators, defending small animals, and doing whatever else suits his mood. Masashi Tanaka’s artwork is old school in the best sense, employing cross-hatching and delicate lines in lieu of screentone to create volume and depth. His panels are astonishingly detailed yet never fussy or poorly composed — if anything, Tanaka’s technique yields sharper images than the contemporary practice of mixing computer-generated fill with hand-drawn lines. Though Tanaka endows his creatures with unusually expressive faces, he resists the urge to fully anthropomorphize them; their behavior seems species-appropriate even if their expressions occasional verge on human. (Read: the elephants don’t wear spats or drive automobiles, the dogs don’t pretend to be World War I flying aces.) His restraint inoculates Gon against a terminal case of the cutes, resulting in a sometimes funny, sometimes violent, sometimes heartbreaking look at the natural world. (Originally reviewed at PopCultureShock on 2/20/08.)

eroica15 3. From Eroica with Love
By Yasuko Aoike • 15 volumes (incomplete)
What begins as an unsatisfying story about a trio of telepathic teens quickly takes a turn for the awesome with the introduction of Dorian Red, an openly gay British earl who dresses like a rock star and crisscrosses the globe to steal priceless works of art. Eroica eventually settles into an entertaining cat-and-mouse game between Dorian and uptight NATO intelligence officer Klaus Heinz von dem Eberbach, a stoic homophobe who detests the winking, flirtatious Dorian. Though they travel separately, their paths frequently converge in hilarious and explosive ways: hijackings, kidnappings, car chases. The frosting on the cake is Yasuko Aoike’s vintage seventies character designs: Dorian is the spitting image of Robert Plant, right down to the ridiculously tight pants and flowing scarves, while Klaus wears a ‘do as severe and straight as he is. The result is a delirious, over-the-top action-adventure that brings rock-n-roll swagger to a James Bond premise.

swan3 2. Swan
By Kyoko Ariyoshi • 15 volumes (incomplete)
Swan captures a particular moment in ballet history when the best Russian troupes commanded large, enthusiastic audiences on both sides of the Iron Curtain; when every developed nation had a ballet company of its own (even if the form was imported from elsewhere); and when dancers like Nuryev and Fonteyn were bonafide international celebrities. Into this glamorous world comes sixteen-year-old Masumi, a Japanese girl from the sticks who has passion and raw talent, but lacks refinement. She wins a spot at a national academy for dance, and begins clawing her way up the ranks, learning the repertoire (cue the Tchaikovsky!), making friends and enemies, and eventually finding her way to New York for immersion in new styles and techniques. As compelling as the drama may be, the real star of Swan is the art: the dance choreography is beautifully rendered, capturing both the heroine’s graceful intensity and the music’s lyricism. A few aspects of Swan haven’t aged well — the heroine falls victim to bouts of hysterical deafness, for example — but the strong visuals, historically accurate details, and sports manga vibe keep this marvelous series buoyant throughout.

emma4 1. Emma
By Kaoru Mori • 10 volume (complete)
If Emma‘s rich-boy-loves-poor-maid storyline suggests a lost volume of The Forsyte Saga, the expert way in which William and Emma’s courtship is told more than compensates for a few moments of narrative cliche. Kaoru Mori immerses us in the very different worlds of her lead characters, from the elaborate dinner parties and country outings of William’s circle to the scut work and boozy revelry of Emma’s fellow servants. Mori occasionally fumbles small details (pssst… Tosca didn’t debut until 1900!), but most of the time she convincingly recreates the period through her exquisite pen-and-ink drawings of intricate costumes, ornate furnishings, and fussy architecture. That keen sense of observation extends to her cast as well: Emma bursts at the seams with memorable supporting players, from Kelly Stowner, William’s crusty but kind-hearted former governess, to Hakim Atawari, an Eton-educated raj and friend of the Jones family. The main story concludes with volume seven; volumes eight, nine, and ten feature stories about some of the secondary characters, as well as a resolution for Emma and William’s long and tortured romance. (Originally reviewed at PopCultureShock on 9/19/07.)

* * * * *

Here’s a friendly challenge to everyone who’s still mourning the loss of a favorite CMX title: if I didn’t include your favorite on this list, add your suggestion(s) to the comments thread. I’ll compile everyone’s recommendations into a poll and let you choose one for me to review next month.

My 10 Favorite CMX Titles

June 14, 2010 by Katherine Dacey 20 Comments

10. ASTRAL PROJECT

MARGINAL AND SUYUJI TAKEDA • 4 VOLUMES (complete)

Astral Project might have been an indigestible stew of pseudo-science and Deep Thoughts About Jazz, thanks to its far-out premise: a young man discovers a connection between his sister’s disappearance and an Albert Ayler recording that helps facilitate out-of-body experiences. Marginal spins a ripping yarn, however, grounding the story’s more fantastic elements in the gritty realism of Tokyo’s red light district. He immerses us in the story to such a degree, in fact, that we learn things as Masahiko does; we’re never one step ahead of our protagonist, a common problem in thrillers. Syuji Takeya’s artwork won’t appeal to everyone, as it sometimes has a rough, sketchy quality that doesn’t mesh well with the dark, Photoshopped backgrounds, but Takeya creates a memorable assortment of faces and bodies that suggest the seediness of Masahiko’s world more readily than dialog could. Quite possibly Ornette Coleman’s favorite manga. (Originally reviewed at PopCultureShock on 10/27/08. )

9. CHIKYU MISAKI

YUJI IWAHARA • 3 VOLUMES (complete)

This fast-paced adventure plays like best live-action film Disney never made, mixing comedy, family drama, and fantasy elements to tell the story of fourteen-year-old Misaki, who discovers that the local lake is inhabited by a pint-sized Loch Ness Monster. The twist? Little Neo transforms into a cute little boy on land — a nifty trick when a band of kidnappers-cum-poachers get wind of his existence. Chikyu Misaki has a kind of fierce kid logic to it: who but a ten-year-old would dream up a story in which a dinosaur, a downed airplane, a lost suitcase filled with gold, and a potential stepmother all get a turn in the spotlight? Yuji Iwahara’s artwork is also a big plus: his character designs do a fine job of delineating each cast member’s personality and role in the drama, while his action scenes are crisp and fluid. Only a few odd, squicky moments of sexual humor prevent this from being a slam-dunk recommendation for the under-twelve crowd.

8. THE NAME OF THE FLOWER

KEN SAITO • 4 VOLUMES (complete)

Did Ken Saito have Charlotte Brontë on the brain when she dreamed up the plot for The Name of the Flower? I ask because Flower‘s storyline seems like pure Masterpiece Theater fodder: Chouko, a young orphan left mute and despondent by her parents’ death, is sent to live with a male guardian who endured a similarly tragic past. Over time, the two form a deep attachment that neither dares admit, an attachment tested by Chouko’s decision to enroll in college and Kei’s general reclusiveness. If the set-up is ripe for melodrama, Saito manages to craft a story that’s rooted in everyday experience; her characters’ journey to self-awareness and romance is complicated by real-life obstacles, not mad wives in the attic. Lovely art cements the bittersweet mood of this borderline josei title. One of my nominees for Best New Manga of 2009.

7. SHIRLEY

KAORU MORI • 1 VOLUME (complete)

At first glance, Shirley looks like a practice run for Emma, a collection of pleasant, straightforward maid stories featuring prototype versions of Emma‘s main characters. A closer examination, however, reveals that Shirley is, in fact, a series of detailed character sketches exploring the relationships between three maids and their respective employers. While some of these sketches aren’t entirely successful — Kaoru Mori cheerfully describes one as “an extremely cheap story about a boy and an animal” and attributes the inspiration for another to The A-Team (no, really) — the five chapters focusing on thirteen-year-old Shirley Madison and her independent, headstrong employer are as good as any passage in Emma. (Reviewed at The Manga Critic on 3/9/10.)

6. KIICHI AND THE MAGIC BOOKS

TAKA AMANO • 5 VOLUMES (complete)

This poignant coming-of-age story focuses on Kiichi, a young oni whose lonely existence is transformed by a chance encounter with a traveling librarian. Inspired by the information in one of Mototaro’s books, Kiichi decides to leave his village in search of others like himself. Kiichi’s journey brings him into contact with a variety of people, many of whom seek to harm or profit from his unique abilities, or who simply fear his appearance. Though Taka Amano never shies away from the darker implications of her story, showing us just how unscrupulous, ignorant, and venal people of all ages can be, Kiichi and the Magic Books is never mawkish or didactic; the fantasy elements add considerable interest and charm, while Kiichi proves emotionally resilient in the face of prejudice and mistrust. Readers more accustomed to the look and feel of Naruto may not initially respond to Amano’s starkly beautiful pen-and-ink drawings. Encourage them to try Kiichi anyway, as this series offers the same degree of complexity, imagination, and emotional authenticity as an Ursula LeGuin or Phillip Pullman novel. CMX’s best title for readers under the age of twelve. (Originally reviewed at Good Comics for Kids on 1/23/09.)

5. PRESENTS

KANAKO INUKI • 3 VOLUMES (complete)

Any series that prompted John Jakala to coin a phrase as useful and catchy as “comeuppance theater” deserves a place on a top ten list of some kind; the fact that Kanako Inuki’s horror-comedy is fiendishly entertaining earns it a spot on this particular countdown. Presents reads a lot like Tales of the Crypt, with each story adhering to the same formula: creepy child-woman Karumi offers an enticing present to an unsuspecting person, a present that quickly reveals itself to be an instrument of punishment for the recipient’s bad behavior or poor character. (Hence Jakala’s term “comeuppance theater.”) Though she loves drawing bugs and hideously deformed faces, Inuki is less interested in scaring us than making us laugh and squirm with recognition at our own folly; Inuki’s creepiest stories are also her funniest, satirizing commercial culture and female vanity with aplomb. A must for fans of Kazuo Umezu and Hideshi Hino.

4. GON

MASASHI TANAKA • 7 VOLUMES (complete)

Billed as “the pint-sized terror from the Jurassic era,” Gon is a small orange dinosaur who runs amok in present-day forests, oceans, and arctic tundras, terrorizing predators, defending small animals, and doing whatever else suits his mood. Masashi Tanaka’s artwork is old school in the best sense, employing cross-hatching and delicate lines in lieu of screentone to create volume and depth. His panels are astonishingly detailed yet never fussy or poorly composed — if anything, Tanaka’s technique yields sharper images than the contemporary practice of mixing computer-generated fill with hand-drawn lines. Though Tanaka endows his creatures with unusually expressive faces, he resists the urge to fully anthropomorphize them; their behavior seems species-appropriate even if their expressions occasional verge on human. (Read: the elephants don’t wear spats or drive automobiles, the dogs don’t pretend to be World War I flying aces.) His restraint inoculates Gon against a terminal case of the cutes, resulting in a sometimes funny, sometimes violent, sometimes heartbreaking look at the natural world. (Originally reviewed at PopCultureShock on 2/20/08.)

3. FROM EROICA WITH LOVE

YASUKO AOIKE • 15 VOLUMES (incomplete)

What begins as an unsatisfying story about a trio of telepathic teens quickly takes a turn for the awesome with the introduction of Dorian Red, an openly gay British earl who dresses like a rock star and crisscrosses the globe to steal priceless works of art. Eroica eventually settles into an entertaining cat-and-mouse game between Dorian and uptight NATO intelligence officer Klaus Heinz von dem Eberbach, a stoic homophobe who detests the winking, flirtatious Dorian. Though they travel separately, their paths frequently converge in hilarious and explosive ways: hijackings, kidnappings, car chases. The frosting on the cake is Yasuko Aoike’s vintage seventies character designs: Dorian is the spitting image of Robert Plant, right down to the ridiculously tight pants and flowing scarves, while Klaus wears a ‘do as severe and straight as he is. The result is a delirious, over-the-top action-adventure that brings rock-n-roll swagger to a James Bond premise.

2. SWAN

KYOKO ARIYOSHI • 15 VOLUMES (incomplete)

Swan captures a particular moment in ballet history when the best Russian troupes commanded large, enthusiastic audiences on both sides of the Iron Curtain; when every developed nation had a ballet company of its own (even if the form was imported from elsewhere); and when dancers like Nuryev and Fonteyn were bonafide international celebrities. Into this glamorous world comes sixteen-year-old Masumi, a Japanese girl from the sticks who has passion and raw talent, but lacks refinement. She wins a spot at a national academy for dance, and begins clawing her way up the ranks, learning the repertoire (cue the Tchaikovsky!), making friends and enemies, and eventually finding her way to New York for immersion in new styles and techniques. As compelling as the drama may be, the real star of Swan is the art: the dance choreography is beautifully rendered, capturing both the heroine’s graceful intensity and the music’s lyricism. A few aspects of Swan haven’t aged well — the heroine falls victim to bouts of hysterical deafness, for example — but the strong visuals, historically accurate details, and sports manga vibe keep this marvelous series buoyant throughout.

1. EMMA

KAORU MORI • 10 VOLUMES (complete)

If Emma‘s rich-boy-loves-poor-maid storyline suggests a lost volume of The Forsyte Saga, the expert way in which William and Emma’s courtship is told more than compensates for a few moments of narrative cliche. Kaoru Mori immerses us in the very different worlds of her lead characters, from the elaborate dinner parties and country outings of William’s circle to the scut work and boozy revelry of Emma’s fellow servants. Mori occasionally fumbles small details (pssst… Tosca didn’t debut until 1900!), but most of the time she convincingly recreates the period through her exquisite pen-and-ink drawings of intricate costumes, ornate furnishings, and fussy architecture. That keen sense of observation extends to her cast as well: Emma bursts at the seams with memorable supporting players, from Kelly Stowner, William’s crusty but kind-hearted former governess, to Hakim Atawari, an Eton-educated raj and friend of the Jones family. The main story concludes with volume seven; volumes eight, nine, and ten feature stories about some of the secondary characters, as well as a resolution for Emma and William’s long and tortured romance. (Originally reviewed at PopCultureShock on 9/19/07.)

* * * * *

Silent Möbius, Vol. 1

June 10, 2010 by Katherine Dacey

I like science fiction, I really do, but I have limited tolerance for certain tropes: futures in which all the women dress like strippers — or worse, fascist strippers — futures in which giant bugs menace Earth, and futures in which magic and technology freely commingle. Small wonder, then, that Kia Asamiya’s Silent Möbius has never been on my short list of must-read manga — it’s a festival of cheesecake, gooey monsters, and pistol-packing soldiers who, in a pinch, must decide whether to cast a spell or fire a rocket launcher at the enemy. Imagine my surprise when I discovered just how entertaining Silent Möbius turned out to be, gratuitous panty shots, bugs, and all.

When shorn of its mystical mumbo-jumbo and elaborate character histories, Silent Möbius is, at heart, a classic “They came from outer space!” tale. The story begins in 2026, when the Earth is under siege from interdimensional beings known as Lucifer Hawks, fierce, shape-shifting beasties that can assume a variety of forms: dragons, humans, oversize millipedes. Only a small team of elite agents — the so-called Attacked Mystification Police Force (AMP) — are capable of killing the Hawks with a mixture of up-to-the-minute technology and good old-fashioned sorcery. Where the Hawks are coming from and why remains mysterious — at least in the very early stages of the story — though we learn that one agent’s father may be responsible for opening the floodgate between Earth and the Hawks’ home world.

If the plot is pedestrian, Asamiya’s towering cityscapes and appealing character designs aren’t. To be sure, there are plenty of other sci-fi manga from the 1980s and 1990s peddling similar visions of a dysfunctional future paved in concrete and lit by neon, but Asamiya and his helpers pull off even the busiest compositions, bringing the urban scenes to energetic life; I dare you not to compare Silent Möbius with Blade Runner. (Someone else must have thought so, too, as Asamiya was tapped to do the manga adaptation of Star Wars: The Phantom Menace, yet another work that pilfered visuals from Scott’s ground-breaking film.) Then there are the character designs: each member of the AMP seems to be taking her grooming cues from the golden age of MTV, when video vixens came in two flavors: those with enormous feathered hair, and those with short, heavily lacquered locks. Better still, their uniforms consist of jackets with epaulets, neckties, and stirrup leggings. Who knew that 2026 would look suspiciously like 1986?

The other thing that won me over was the characters. I wouldn’t construe Asamiya’s decision to make the AMP a strictly female force as a nod to feminism; there are enough costume failures and half-clad characters to suggest Asamiya was as interested in satisfying the male gaze as he was in promoting the idea that women can kick ass just as well as men. At the same time, however, the ladies of AMP are tough and decisive, and don’t take guff from their male peers; in one of the series’ few nods to realism, the largely male police force resents the AMP for their ability to assume control of any investigation, grumbling about jurisdiction and occasionally baiting the women into fights.

Not that Silent Möbius doesn’t have moments of eyeball-rolling stupidity. Asamiya saddled his characters with borderline stripper names, for example: who but an adult entertainer would choose a name like “Rally Cheyenne” or “Katsumi Liqueur”? (Worse still: Katsumi’s father was Gilgelf Liqueuer, a name best suited for a drunken Hobbit.) Then, too, the series’ rather complicated mythology isn’t well explained; it’s the kind of universe where some characters kill aliens by drawing pentagrams on the ground while others use bazookas. And the cheesecake… sigh. I often had the sinking feeling that Asamiya was secretly auditioning to do a Pirelli Tire calendar with his frequent images of semi-naked women in provocative poses.

Costume failures and panty shots aside, I enjoyed the first volume of Silent Möbius well enough to continue with the series. It’s a fun, escapist romp that occasionally takes itself a little too seriously, but never bogs down in its own ridiculous mythology.

SILENT MÖBIUS: COMPLETE EDITION, VOL. 1 • BY KIA ASAMIYA • UDON ENTERTAINMENT • 200 pp. • RATING: OLDER TEEN (16+)

Silent Möbius, Vol. 1

June 10, 2010 by Katherine Dacey

SILENT MÖBIUS: COMPLETE EDITION, VOL. 1 • BY KIA ASAMIYA • UDON ENTERTAINMENT • 200 pp. • RATING: OLDER TEEN (16+)

A, A’ and They Were Eleven

May 31, 2010 by Katherine Dacey

Though Vertical has published two series by Keiko Takemiya, the Magnificent 49ers’ work remains largely unavailable in English, with a few exceptions: Yasuko Aoike’s From Eroica With Love (which debuted in 1976 in Akita Shoten), and Moto Hagio’s short stories “A, A’ [A, A Prime],” “4/4 [Quatre/Quarts],” “X+Y,” and “They Were Eleven.”* These four stories comprise a mere 330 pages of material, but they offer readers a window into a key stage in shojo manga’s development, when women artists began pushing the medium in new directions, visually and thematically. Hagio’s work, like Takemiya’s, is unabashedly Romantic, filled with yearning characters who are struggling to uncover their true selves, even when that quest puts them at odds with societal norms. Though there is an intense, adolescent sensibility to some of her stories, that — for me, at least — is part of their beauty; Hagio clearly remembers what it feels like to be sixteen or eighteen, yet the way she frames those emotions is so exquisite and refined that the reader can appreciate her craft, even if the drama seems a little overripe from an adult perspective.

If you’ve been curious about what Takemiya’s peers were doing while she was writing To Terra and Song of the Wind and the Trees, or are wondering what to expect if you purchase Hagio’s A Drunken Dream this fall, read on.

A, A’ [A, A Prime]

This sometimes lyrical, sometimes bizarre anthology contains three interrelated stories. In the first, “A, A’, [A, A Prime],” a group of researchers struggle to accept Addy, a new team member who is, in fact, the clone of a colleague who perished several years earlier; in the second, “4/4 [Quatre/Quarts],” Mori, a telepath, becomes obsessed with Trill, a strange young woman who’s virtually mute; and in the third, “X+Y,” a now-older Mori falls in love with Tacto, an androgynous young man who resembles Trill. Addy, Trill, and Tacto are Unicorns, a humanoid species bred for deep-space travel. Though Unicorns share common physical characteristics — most notably a shock of red hair running down the center of their heads — and high IQs — their original purpose was to serve as computer technicians on long space missions — they have a hard time negotiating the human world: emotions baffle them, and the act of forming deep attachments to other people can destabilize their personalities.

Though Hagio rehearses some time-honored sci-fi tropes — especially the danger of genetic tampering — one of her most striking themes is the relationship between memory and identity. Addy, for example, is born with all of her predecessor’s memories of childhood, but none of her predecessor’s memories of Proxima, the remote ice world where the original Addy worked for three years before dying in an accident. That gap in Addy’s memory proves especially difficult for her co-worker Regg, who had been romantically involved with Addy’s predecessor. Addy has no idea who he is, and is bewildered that Regg knows about events from her “childhood” — events that Addy hasn’t discussed with anyone. More troubling still, these “memories” are deeply upsetting, even though Addy knows she isn’t reliving her own history.

Tacto, on the other hand, teeters on the verge of a breakdown because his memory is incomplete. As a young child, he stumbled across a gruesome sight, one which his father attempted to erase from Tacto’s memory. That seemingly humane gesture backfired, however, leaving Tacto with only an emotional echo of the traumatic event and no concrete information about what he’d actually seen; only by recovering those painful memories does Tacto escape his emotional paralysis and embrace Mori’s love for him.

Hagio’s artwork supports the intensely Romantic quality of all three stories, as she represents her characters’ memories with symbolically rich imagery. In “4/4,” for example, Trill is haunted by a recurring vision of corpses, each fastened to the floor with a lepidopterist’s pin — Trill’s memory of numerous, unsuccessful attempts to clone her. (Dr. Sazzan, her caretaker, is obsessed with breeding more Unicorns.) Tacto’s unformed memory of his childhood resembles the nightmare paintings of John Fuselli; Tacto sees a disembodied, demonic face emerge from the rocky surface of an asteroid, a swirling black cloud with eyes and a terrible mouth.

That dream-like quality extends to the settings as well, which mirror the characters’ turbulent emotional states. Trill and Mori, for example, visit a spectacular aviary aboard a space station; it’s a lush, erotically charged setting evocative of a Rousseau painting, and one that suggests the intensity of Mori’s desire for Trill. Hagio performs a similar trick in this sequence, transforming an interstellar reconnaissance mission into an intimate windsailing expedition through the stars:

aprime

Lest A, A’ sound like The Unbearable Lightness of Being in Space, let me assure you that Hagio demonstrates a unique ability to mix the sublime with the ridiculous. Her characters’ names, for example, are just about as goofy as they come: Dr. Wright Moonsault. Regg Bone. Marble. Professor Sazzan. Their costumes, too, have the same overripe quality as the names, with men sporting headbands, half capes, tall boots, and Renn Fair hats, and women clad in off-the-shoulder jumpsuits. The subplots take the cake, however, for their sheer moonbattiness: in “X+Y,” for example, Tacto’s father invents a temporary sex change drug that enables a male colleague to become pregnant, a subplot that actually holds the key to unlocking Tacto’s past.

Now out of print, VIZ originally released A, A’ in 1997. Expect to pay about $25.00 for a decent used copy if you choose to buy it online through ALibris or Amazon’s network of retailers. You might also try the library or your local comic shop’s bargain bin.

THEY WERE ELEVEN

Ten cadets at an interstellar space academy are dispatched to a decommissioned ship. Their task: remain on board for 53 days without pressing the panic button; if they persevere, all ten will pass their final exam. Once aboard the ship, however, the cadets realize something is amiss. Not only do they have an extra crew member, but a series of mechanical failures and explosions threaten to send the ship hurtling into the surface of a neighboring star.

Though the premise could be spun out in the manner of, say, Event Horizon, Hagio favors a Gene Rodenberry approach, emphasizing character development and social commentary over gunplay, robots, or totally icky alien life forms. (You know the kind: they embed themselves in your chest cavity, hunt you down like a rabbit, or just spray toxic venom in your face.) Like the good astronauts of the starship Enterprise, They Were Eleven‘s cast are humanoids of various shapes and sizes. A few seem empathic; one has remarkable healing powers; another is tall and scaly; yet another looks like a distant relative of The Thing; and one pretty character has yet to decide whether it will develop into a man or woman. The dilemmas the cadets face — technical, social, and medical — also place us firmly in Star Trek territory, inspiring the characters to ruminate on issues as varied as gender roles and the ethics of sacrificing an individual for the good of the collective.

In fact, the exploration of gender is one of They Were Eleven‘s most interesting subplots; Frol, the sexually indeterminate member of the crew, is furious that her shipmates construe her as female. “I hate women!” she shouts. “Women are nothing but a waste of space!” Midway through the story, Hagio reveals the source of Frol’s misogyny: her parents want her to become the ninth wife of a prominent nobleman. If Frol passes the Galactic Academy exam, however, she will earn the right to become a man, a privilege usually reserved for a family’s eldest child. (Frol’s people are born hermaphrodites, becoming male or female only in adulthood.) Hagio’s critique of gender roles is both obvious and sly — obvious, in that Frol’s objection to being a woman stems from the division of labor on her home world (men rule the roost; women do all the work and bear lots of children) and sly, in that Hagio uses primogeniture as a metaphor for the broader sense of entitlement that comes with being born male.

If Hagio’s aliens are strictly by the Star Trek book, all funny foreheads and funky hides, her layouts are stunning, punctuated by several arresting, full-page images: an enormous hall of cadets taking their exams (each in a groovy, womb-like isolation pod to prevent cheating), a picture of the dying star around which the test ship is orbiting, a character’s profile dissolving into a trail of stars. Hagio juxtaposes these expansive images with long, almost claustrophobically tight scenes of shipmates bickering and coping with the latest mechanical failures. It’s a neat trick, giving us a sense of how tight quarters really are aboard the White, and suggesting how that small space exacerbates tensions among the crew. And oh, those interiors! Like Takemiya, Hagio loves to draw detailed banks of computers and rows of tubes and wires and pipes, bringing the ship to vivid life. (Or, perhaps more accurately in the case of They Were Eleven, showing the ship in all its decrepitude.)

theywere11_page

Much as I would like to recommend They Were Eleven, the story is out of print in English. In the mid-1990s, VIZ issued it in two forms: as a four-issue comic (1995), and in the anthology Four Shojo Stories (1996). Used book dealers have gotten wise to the scarcity of this title; copies of Four Shojo Stories generally retail for $60 and up. Though I didn’t have too much difficulty scaring up the old VIZ Flower floppies on eBay (and I rather enjoyed the American-style presentation), it would be great to see this chestnut re-issued for a generation of readers who think that Black Bird is the first and last word in girls’ comics.

* Hagio’s story “Hanshin” was reprinted in The Comics Journal‘s shojo manga issue from 2005 (no. 269). For the purposes of this essay, I’m focusing on Hagio’s commercially available work. And speaking of work by pioneering shojo artists, Swan, which ran in Margaret from 1976 to 1981, is also available in English (CMX), and is the work of artist Kyoko Ariyoshi, who was born in 1950.

This an expanded version of a review that originally appeared at PopCultureShock on 1/20/07.

Manga Artifacts: A, A’ and They Were Eleven

May 31, 2010 by Katherine Dacey

A, A’ [A, A Prime]

aprime

THEY WERE ELEVEN

theywere11_page

This an expanded version of a review that originally appeared at PopCultureShock on 1/20/07.

Andromeda Stories, Vols. 1-3

May 26, 2010 by Katherine Dacey

Ah, Keiko Takemiya, how I love your sci-fi extravaganzas! The psychic twins. The giant spiderbots. The evil, omniscient computers. The sand dragons. The fantastic hairdos. Just think how much more entertaining The Matrix might have been if you’d been at the helm instead of the dour, self-indulgent Wachowski Brothers! But wait… you did create your very own version of The Matrix — Andromeda Stories. Your version may not be as slickly presented as the Wachowski Brothers’, but you and collaborator Ryu Mitsuse engage the mind and heart with your tragic tale of doomed love, lost siblings, and machines so insidious that they’ll remake anything in their image—including the fish.

But I’m getting ahead of myself.

Mitsuse and Takemiya invert the normal order of events in a classical drama and begin Andromeda Stories with a wedding — a royal wedding, to be exact, forging an alliance between Cosmoralia and Ayoyoda, two kingdoms on the planet Astria. On the eve of the ceremony, newlyweds Prince Ithaca and Princess Lilia spot a mysterious blue star pulsating in the night sky. Shortly after the star’s appearance, a meteorite crashes through Astria’s atmosphere with a deadly cargo: an army of nanobots seeking human hosts. Only Il, a fierce female warrior, and Prince Milan, Lilia’s devoted brother, realize that these cyber-critters are rapidly transforming Cosmoralia’s population into a Borg-like race of automatons. Il and Milan set out to liberate Cosmoralia from the grips of this cyber-invasion force before the contagion of violence and fear spreads to Ayoyoda.

As Il soon discovers, there’s a small resistance movement led by the Murat, an alien race who lost their homeworld to the same invading force eight generations earlier. The survivors settled on Astria and married into Ayoyoda’s royal family with the goal of preventing the Astrians from becoming technologically sophisticated enough to attract the nanobots’ attention — and if that effort failed, doing whatever they could to defeat the machines. The Murat’s secret weapon against the nanobots are Jimsa and Affle, twins born to Princess Lilia and kept apart for over twelve years to escape detection by the new regime. Jimsa and Affle both possess the power to kill with a thought, a power amplified when the two fight side by side. Of course, there’s a drawback to so much empathetic energy: if one is injured, the other feels his pain, just like the Corsican Brothers. Then, too, there’s that pesky issue of trust: will Jimsa and Affle ever see themselves as sibilings, or have their separate upbringings driven a permanent wedge between them, thus thwarting the Murats’ hope?

In other words, it’s Star Trek by way of Anne McCaffrey, with a dash of Wagner and a little Arthur C. Clarke for good measure.

One of the things I love most about Takemiya’s work is the way she freely commingles sci-fi and fantasy elements in an effort to suggest the setting: a long time ago, in a galaxy far away. Her characters carry swords and wear togas, and live in castles with turrets, yet employ the kind of gadgetry—mind-reading computers, laser guns—that wouldn’t be out of place on the Death Star. Art-wise, the spirit of Osamu Tezuka lingers over many pages in Andromeda Stories, especially in its busier scenes. The Cosmoralian marketplace, for example, comes alive thanks to Takemiya’s vivid caricatures of merchants, wrestlers, farmers, dancing girls, snakes, and sloe-eyed dinosaurs, while many of the full-page cityscapes suggest the future worlds of Phoenix and Apollo’s Song, with their abundant towers and tubular skywalks. Though Takemiya’s principal characters clearly belong to the world of 1970s shojo with their flowing manes, gypsy outfits, and sparkling eyes, some of her supporting characters — especially Balga, a Bluto-esque bodyguard — look like refugees from Buddha or Dororo. (In a sly nod to the kind of anachronistic humor that Tezuka loved, Takemiya depicts Balga playing with a Rubix’s cube while standing watch outside Princess Lilia’s chambers. 1980, you are so busted!)

Takemiya also demonstrates a Tezukian flair for staging short, effective action sequences that make creative use of panel shapes to convey movement, speed, and distance. Midway through volume one, for example, Il leaps through the canopy of a forest in an effort to investigate a mysterious crater not far outside the Cosmoralian walls:

andromeda_page

In just four panels, we can gauge how far she’s traveled and how high off the ground she is — a point underscored by the tapered edge of the top row’s middle panel. The diagonal border amplifies the effect of the vertical speedlines, drawing the eye downwards in an rapid fashion that mimics Il’s motion. As Derik Badman observes in a concise analysis of this same page, Takemiya uses a number of tricks — drawing two iterations of the same character in one panel, using panel shape to direct the reader’s eye through the sequence, allowing sound effects to bleed outside the panels — to help us trace Il’s path through the tree tops, showing us, in compressed form, how many jumps it takes for her to reach a secure perch. It’s a technique that Tezuka perfected in works like MW, Ode to Kirihito, and Swallowing the Earth, where he gooses very basic components of the layout — especially panel shapes — to evoke the speed and energy of, say, a sword fight or a car chase.

At times, the richness of Takemiya’s visual imagination camouflages the more pedestrian aspects of the story, such as its one-dimensional principals. Lilia, in particular, is the kind of beautiful, virtuous, and long-suffering creature that seems to exist only in old-school Disney movies, while Il is a classic lone wolf, answering to no one, even when it might benefit her cause; the only real novelty here is that Mitsuse and Takemiya assign a stereotypically male role to a female character. The plot is simpler and more transparently allegorical than To Terra‘s, touching on a variety of standard science fiction themes, from the dangers of relegating too much responsibility to machines to the evils of totalitarianism. None of these themes are developed with the same level of sophistication as they are in To Terra, as the characters are generally too busy dodging death rays and mechanized piranha to wax poetic about their inner lives.

If Andromeda Stories never reaches the grand, operatic heights of To Terra, it nonetheless proves entertaining, building steady momentum over its 600+ page run, pausing occasionally to meditate on the nature of free will, creation, and individual responsibility. And c’mon… what’s not to like about a manga that looks like a 1979 cover of Heavy Metal magazine?!

This review is a synthesis of two shorter reviews that originally appeared at PopCultureShock on 10/3/07 and 1/31/08, respectively.

Andromeda Stories, Vols. 1-3

May 26, 2010 by Katherine Dacey

Ah, Keiko Takemiya, how I love your sci-fi extravaganzas! The psychic twins. The giant spiderbots. The evil, omniscient computers. The sand dragons. The fantastic hairdos. Just think how much more entertaining The Matrix might have been if you’d been at the helm instead of the dour, self-indulgent Wachowski Brothers! But wait… you did create your very own version of The Matrix: Andromeda Stories. Your version may not be as slickly presented as the Wachowski Brothers’, but you and collaborator Ryu Mitsuse engage the mind and heart with your tragic tale of doomed love, lost siblings, and machines so insidious that they’ll remake anything in their image—including the fish.

But I’m getting ahead of myself.

Mitsuse and Takemiya invert the normal order of events in a classical drama and begin Andromeda Stories with a wedding. A royal wedding, to be exact, forging an alliance between Cosmoralia and Ayoyoda, two kingdoms on the planet Astria. On the eve of the ceremony, newlyweds Prince Ithaca and Princess Lilia spot a mysterious blue star pulsating in the night sky. Shortly after the star’s appearance, a meteorite crashes through Astria’s atmosphere with a deadly cargo: an army of nanobots seeking human hosts. Only Il, a fierce female warrior, and Prince Milan, Lilia’s devoted brother, realize that these cyber-critters are rapidly transforming Cosmoralia’s population into a Borg-like race of automatons. Il and Milan set out to liberate Cosmoralia from the grips of this cyber-invasion force before the contagion of violence and fear spreads to Ayoyoda.

…