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Cooking and Food

Emma Dreams of Stars: Inside the Gourmet Guide

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Before Yelp! and Open Table made it easy to find a good restaurant, you had two options: consult your local newspaper’s Arts & Leisure section, or buy a guidebook that ranked and sorted joints by price, cuisine, decor, and service. Zagat’s, for example, offered pithy, sometimes withering, assessments of restaurants that were capped by a starred rating, while The Fearless Critic used a ten-point scale that resembled the scoring system for a gymnastics meet. The most trusted—in the US, at least—was the Forbes Travel Guide, which employed an army of undercover critics to evaluate hotels and restaurants, and rank them on a scale from “average” to “one of the best in the country”. Though different in tone and format, all three owed a debt to a much older publication: The Michelin Guide, which was introduced in 1900.

The Guide was the brainchild of Édouard and André Michelin, founders of the Michelin Tire Company. At the time their booklet debuted, France was just beginning to embrace the automobile; the brothers hoped that distributing free copies might encourage people to buy their first car, as the Guide contained a wealth of information for the would-be motorist, including maps, auto repair tips, and lists of hotels, garages, restaurants, and attractions. In the 1920s, the Guide introduced its first rating system, eventually settling on a scale of one to three stars. The Guide also began hiring anonymous male inspectors to visit restaurants and hotels around Europe, reasoning that the nature of the job—travelling solo for weeks at a time—made it impossible for a woman to perform.

Enter Emmanuelle Masionneuve, who joined the Guide almost 100 years after Michelin introduced its star system. Masionneuve had an unusual path to becoming an inspector, training first as a lawyer and journalist before pivoting into the culinary industry. After working for three France’s most esteemed chefs—Michael Bras, Alain Ducasse, Alain Passard—she decided to put her food expertise to the ultimate test by auditioning for the Michelin Guide. Emma Dreams of Stars: Inside the Gourmet Guide, co-written with Julia Pavlowitch and illustrated by Kan Takahama, tells Masionneuve’s story.

In the early chapters, Emma functions both as a character and a reader surrogate. We follow Emma through every stage of her training, from her initial interview to her first solo trip, along the way gleaning interesting tidbits about how inspectors maintain their anonymity, interact with chefs and hoteliers, and avoid heartburn. (Eating rich meals all day isn’t all it’s cracked up to be.) Emma Dreams of Stars also explores Maisonneuve’s efforts to navigate the stuffy male culture of the Michelin Guide, where she’s reminded on a daily basis that she’s the only woman inspector. Though most of her male peers are collegial, she feels the weight of being a trailblazer, worrying that even the smallest mistake will jeopardize her future with the Guide.

Of course, Emma Dreams of Stars is also a story about French cuisine, and that front, the authors deliver exceptionally well. Throughout the book, there are lengthy discussions about the merits of various cheeses and wines, as well as numerous soliloquies extolling the virtue of simply prepared dishes, locally sourced ingredients, and regional specialties. Artist Kan Takahama does an expert job of rendering the food, using a soft palette that captures the texture and presentation of each meal in life-like detail. The same is true of her backgrounds; every setting demonstrates similar attention to light, pattern, and color, making it easy for the reader to feel the atmosphere of every restaurant and hotel that Emma visits, from a chic Parisian cafe to a dim but cozy rural pub.

Whenever the shop talk threatens to stop the story in its tracks, Takahama breaks up the stream of chatter by breaking the flow of her tight, orderly grids. Characters burst out of the frame, allowing us to more fully appreciate their enthusiasm and resolve. As these panels demonstrate, Takahama has a great talent for faces, working in a naturalistic style that’s reminiscent of Naoki Urasawa; Takahama imbues each one of her characters with an individuality that speaks volumes about their age and experiences, as well their taste in food and wine.

Though Takahama’s artwork is stellar throughout the book, there are a few passages where the authors didn’t fully trust the images to tell Emma’s story, most notably when depicting her strained relationship with Thomas, her long-term boyfriend. The two never meet in person, but exchange increasingly tense voice mails and text messages that reveal just how much Thomas resents Emma’s growing independence. Takahama’s artwork does a great job of showing us how conflicted Emma feels, but the authors saddle these moments with heavy-handed voice overs that spell out what the reader can readily grasp from Emma’s facial expressions and body language: she’s determined to have a meaningful career on her own terms, even if that means leaving Thomas behind.

If these moments feel a little forced, Emma’s interactions with other female foodies do not. In one particularly delightful chapter, for example, the Guide dispatches Emma to the Côte Vermeille, where a chance encounter with Natalie, a local vinegar maker, leads Emma to a lively farm-to-table bistro on the outskirts of town. As Natalie and Emma chat about the terroir–the secret ingredient in Natalie’s concoctions–we can see how their expertise and enthusiasm helps them form an immediate bond; by the time they arrive at the restaurant, they’re chatting like old friends.

The same spirit of mutual respect animates Emma’s interactions with another culinary expert: Kanami, a travel guide who leads Emma through a whirlwind tour of Tokyo. Kanami explains the origins of particular dishes, challenges the Michelin rating for a famous restaurant, and takes Emma to the Tsukiji Market to see how local fishmongers transform enormous tuna into delicate morsels. Emma is humbled by the depth and breadth of Kanami’s knowledge, and vows to return to Japan so that she can “keep learning and growing.” By the time I finished Emma Dreams of Stars, that’s how I felt, too. I was reminded of how little most of us know about the food we eat, and pledged to develop a deeper, more thoughtful relationship with the meals I prepare, and the dishes I enjoy. Recommended.

EMMA DREAMS OF STARS: INSIDE THE GOURMET GUIDE • BY EMMANUELLE MAISONNEUVE AND JULIA PAVLOWITCH • ART BY KAN TAKAHAMA • TRANSLATED BY EAMON FOGARTY • KODANSHA COMICS • NO RATING • 192 pp. 

 

Crazy Food Truck, Vol. 1

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Crazy Food Truck isn’t the worst manga I’ve read this year, but it’s one of the most disappointing, marred by lazy writing, paper-thin characterizations, and excessive fan service.

The most basic problem is that Crazy Food Truck reads more like a rough outline than a fully realized story. The premise is–if you’ll pardon the expression–half-baked: a gruff ex-soldier ekes out a living by operating a food truck in a post-apocalyptic wasteland. In scene after scene, Gordon laments the lack of paying customers, a joke that doesn’t square with the fact that he’s mounted a cannon on his truck to ward off the rogue military officers and exploitative creeps who inhabit this desert. Gordon’s cooking exploits aren’t particularly interesting or educational, either; the scenes of him drying squid meat or waxing poetic about mustard are executed in such a perfunctory way that they could have been lifted from almost any food manga.

Another issue is that Gordon is less a person than an archetype, a man with a secret military past who reluctantly helps people in need, always getting the upper hand in situations where he’s outmanned and outgunned. Early in chapter one, for example, he stumbles across a teenager in a sleeping bag. Arisa initially seems helpless and kind of dim, but turns out to be just as lethal as Gordon, with considerable martial arts skills and weapons expertise. Her bubble-headed observations and refusal to wear clothing grate on Gordon’s nerves, yet Gordon tolerates her child-like behavior, allowing her to tag along with him even after she eats all his food. (Surely that would be a bridge too far for a cook, no?) We never learn why Arisa is on the run from authorities, or why she acts like a six-year-old; she’s just a pin-up who pigs out with gusto. Fair enough, I guess, since this series ran in Monthly Comic @Bunch, but the infantilization of her character makes her exchanges with Gordon more icky than amusing, and gives us little insight into either character’s motivations.

Perhaps the most serious problem with Crazy Food Truck is Rokurou Ogaki’s lack of vision. A story this outlandish needs bold, individual artwork that matches the intensity and silliness of its central conceit, but Ogaki opts for a blandly synthetic approach that borrows liberally from better series. Each character seems to have been created by a different person: some are grotesquely cartoonish—the better to emphasize their villainy—while others look like they’ve escaped from Food Wars or Golden Kamuy. The backgrounds, too, lack panache, even when Ogaki teases the idea that the world was once a more lush place teeming with animals and people. In the absence of a distinctive, unifying style, the characters and objects look like they’ve been clipped out of different magazines and pasted into the panels.

It’s a shame that Crazy Food Truck is so indifferently executed, as I thought its Mad Max-meets-Food-Network premise sounded like fun. Alas, it’s the manga equivalent of a failed Iron Chef experiment, a mish-mash of ingredients don’t quite add up to a tasty dish. Not recommended.

CRAZY FOOD TRUCK, VOL. 1 • BY ROKUROU OGAKI • TRANSLATED BY AMANDA HALEY • ADAPTED BY JENNIFER LEBLANC • LETTERING BY E.K. WEAVER, JEANNIE LEE, SARA LINSLEY, AND JAMES GAUBATZ • VIZ MEDIA • RATED MATURE (NUDITY AND VIOLENCE) • 198 pp.

Ms. Kozumi Loves Ramen Noodles, Vol. 1

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Ms. Kozumi Loves Ramen Noodles is pretty much what you’d expect from the title: a manga about a high school student whose interest in noodles crosses the line from simple enthusiasm into full-blown mania. While Kozumi’s peers go to the mall or the malt shop, she visits out-of-the-way restaurants to sample every conceivable type of ramen, from spicy to sour to sweet. Her passion is so extreme, in fact, that she ditches school for a 200-mile trip to Iwaki just to taste a local specialty: no-bake natto ramen. Though Kozumi is uninterested in socializing with her classmates, three girls—Yu, Misa, and Jun—find Kozumi’s reticence an irresistible challenge, and repeatedly seek her company outside of school. Yu, in particular, is one of those only-in-manga characters whose cheerfully inappropriate behavior would be considered creepy in almost any other context, as she follows Kozumi to ramen joints around Tokyo, copying Kozumi’s behavior and—more egregiously—her orders. When Yu’s pals befriend Kozumi before she does, she flies into a jealous tizzy, and doubles down on her efforts to show Kozumi that she, too, appreciates ramen.

These scenes are clearly intended to be funny, but the social dynamic among the four principal characters is too strained to elicit laughter, as it relies almost entirely on the characters behaving idiotically for effect. The artwork, too, leaves something to be desired, juxtaposing hyper-realistic drawings of food and condiments with ultra-cutesy character designs that seem ready-made for key chains and body pillows. The cuteness would be less off-putting if the characters weren’t frequently drawn in rapturous close-up, sucking down noodles while suggestive trickles of broth dangled from their lips—a potent reminder that Ms. Kozumi runs in a seinen magazine and not, say, Bessatsu Friend.

The shop talk, by contrast, is genuinely enlightening. If your primary experience with ramen has been limited to steaming bowls of noodles, scallions, and chicken broth, the sheer range of dishes will come as a revelation; in one sequence, for example, Kozumi describes a form of ice cream ramen, while in another, Jun discovers the savory pleasures of a salted pineapple ramen bowl. A solid translation by Ayumi Kato Blystone helps convey what’s distinctive about each dish, and offers good insight into how dishes are prepared—more so, in fact, than many ostensibly “serious” food manga. So on that front, at least, Ms. Kozumi succeeds in communicating why the title character likes ramen so much; too bad the reader has to soldier past so much resolutely unfunny slapstick to enjoy the tastiest bits. Your mileage may vary.

MS. KOZUMI LOVES RAMEN NOODLES, VOL. 1 • ART AND STORY BY NARU NARUMI • TRANSLATED BY AYUMI KATO BLYSTONE • DARK HORSE COMICS • 136 pp. • NO RATING

Giant Spider & Me, Vol. 1

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Giant Spider & Me is a gentle fantasy that’s tinged with whimsy and rue. The story focuses on Nagi, a perky tween who lives by herself in a well-appointed cottage, awaiting the return of her father from a mysterious trip. In his absence, she’s proved remarkably self-sufficient, growing and foraging for her own food and preparing delicious meals for herself. Our first hint that something is amiss occurs early in chapter one, when she stumbles across a mastiff-sized spider in the woods. Their initial encounter doesn’t go well — Nagi is understandably terrified — but her apprehension soon gives way to a unique interspecies friendship when she discovers Asa (her name for the spider) shares her passion for pumpkin dumplings and leisurely picnics.

What inoculates Giant Spider & Me from a terminal case of the cutes is the specificity of Kikori Morino’s vision. On a superficial level, Giant Spider & Me is a culinary manga that walks the reader through the process of making turnip soup and miso ratatouille while conveying the joy of sharing food with others. (And yes, recipes appear at the end of each chapter.) On a deeper level, however, Giant Spider & Me is a thoughtful reflection on what it means to share your home with an intelligent creature, recognizing the pleasures of such an arrangement while acknowledging the communication gap between species. Asa proves a lively and willful guest in Nagi’s house, scaling walls and punching a hole in the roof in its quest for greater freedom — a detail that frustrated cat owners will appreciate.

The other secret to Morino’s success is her artwork, which strikes an elegant balance between clarity and detail. She never explains what caused the apocalypse of the title, but hints at its devastation with small but important clues: a partially submerged city, a vigilante in a gas mask and military-issue poncho. Morino applies that same mixture of restraint and exactitude to her character designs; Asa is both menacing and cute, an eight-eyed, eight-legged creature whose terrible mandibles are balanced by a feather-soft abdomen and a puppy-like demeanor. By emphasizing Asa’s duality as pet and monster, Morino helps us see Asa as Nagi does while also helping us understand why other survivors take a dimmer view of Asa. Something tells me I might need a tissue or two before the series finishes its run. Recommended.

Giant Spider & Me: A Post-Apocalyptic Tale, Vol. 1
Story & Art by Kikori Morino
Translation by Adrienne Beck; Adaptation by Ysabet Reinhardt MacFarlane
Seven Seas, 180 pp.
Rating: Teen

Delicious in Dungeon, Vol. 1

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Food manga comes in two flavors: the tournament series, in which a brash young baker or chef enters cook-offs that stretch his culinary skills to the limit, and the food-is-life series, in which family, friends, or colleagues prepare food together, resolving their differences over tasty dishes. Delicious in Dungeon straddles the fence between these two types by combining elements of a role-playing game, cooking show, and workplace comedy. Expressed as a recipe, the formula for volume one might look something like this:

2 cups Dungeons & Dragons
1 cup Iron Wok Jan
1/2 cup Toriko
1/2 cup Oishinbo
1/2 cup What Did You Eat Yesterday?
2 tbsp. Food Wars: Shokugeki no Soma
2 tbsp. Not Love But Delicious Foods Makes Me Happy!
Dash of Sweetness & Lightning

Though that recipe sounds unappetizing — the manga equivalent of a herring-and-banana smoothie — Delicious in Dungeon is surprisingly good.

Volume one plunges us into the action, pitting a team of warriors and spell-casters against an enormous dragon. Though all six fighters are experienced, they’re so compromised by hunger that they make silly mistakes that result in one member getting eaten. When the team regroups, two members defect to another guild, leaving just Laois, a knight, Chilchuck, a “pick-lock,” and Marcille, an elf magician. The three resolve to rescue Laois’ sister from the Red Dragon’s belly, but their chronic lack of funds forces them to adopt a novel cost-saving strategy: foraging for food inside the dungeon instead buying supplies for the mission.

The trio soon learns that catching and cooking monsters is harder than it looks. Despite the astonishing variety of creatures and man-eating plants that inhabit the dungeon, almost none appear to be edible: some have stingers or hard shells, while others are so disgusting that no one can imagine how to prepare them. When Senshi, a dwarf, volunteers his culinary services, the group is pleasantly surprised by his ability to transform the most unpromising specimen into a delicious array of soups, tempuras, and jerkies. Even more impressive is Senshi’s ability to improvise the tools he needs to make gourmet dishes; he’s the D&D answer to Angus MacGyver.

Subsequent chapters follow a similar template: the group enters a new area of the dungeon, encounters new monsters, and devises new ways to cook them. What prevents this basic plotline from growing stale is Ryoko Kui’s imaginative artwork. Every chapter is studded with charts and diagrams illustrating the dietary habits of dungeon crawlers and the unusual anatomy of dungeon dwellers, from slime molds to basilisks. These meticulous drawings provide a natural jumping-off point for Senshi to wax poetic about the flavor of dried slime, or describe the safest method of harvesting mandrakes.

By contrast, the backgrounds resemble the kind of generic settings of early computer RPGs, providing just enough detail — cobblestone hallways, winding staircases — to establish each location. That allows Kui to lavish attention on the monsters and people — a wise decision, I think, since the artwork plays such a vital role in establishing each character’s personality and powers. Marcille, for example, is a worrywart, her semi-permanent frown mirrored by the angle and shape of her ears. Though her peevish monologues suggest that she’s food-phobic, her slumping posture and clumsy attempts at spell-casting tell a different story: Marcille feels superfluous, and longs for an opportunity to demonstrate her usefulness to the group. Chilchuck, by contrast, is small and nimble; his child-like size belies his maturity and skill as a locksmith and minesweeper, while his cat-like movements remind us that he’s not fully human. (The other characters refer to him as a “halfling.”)

If the series’ rhythm is predictable and the jokes sometimes obvious — one character declares that basilisk “tastes like chicken” — the specificity of Kui’s vision keeps Delicious in Dungeon afloat. Every chapter yields a funky new monster and an even funkier recipe from Senshi — all rendered in precise detail — while the script has the rhythm of a great workplace sitcom; it’s a bit like watching The Office or WKRP in Cincinnati, but with jokes about the merits of giant scorpion meat instead of arguments about the annual Christmas party. I don’t know if I’d want to read 10 or 20 volumes of Delicious in Dungeon, but I’m eager to see where the next installment goes.

DELICIOUS IN DUNGEON, VOL. 1 • BY RYOKO KUI • RATING: T, FOR TEEN (13+) • YEN PRESS

Komomo Confiserie, Vol. 1

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Flip through The Big Book of Shojo Plotlines, and there – between “I’m Having an Affair with My Homeroom Teacher” and “I’m a Spazz Who’s Inexplicably Irresistible” – you’ll find another time-honored trope: “I Was Mean to My Childhood Friend, and Now He’s Hot!” Komomo Confiserie embodies this plot to a tee: its wealthy heroine, Komomo, was spoiled rotten as a child, with an army of servants at her disposal. It was her special delight to order fellow six-year-old Natsu to make her sweets–he was the pastry’s chef son, after all–and terrorize him when he didn’t comply. When Komomo turns fifteen, however, her family loses everything, forcing her to get a job and attend public school. Natsu–now a successful baker in his own right–makes a seemingly chivalrous offer of employment to Komomo, who’s too guileless to realize that she’s walking into a trap.

You can guess the rest: Natsu revels in his new-found position of power, directing Komomo to perform menial tasks and scolding her for lacking the common sense to sweep floors or boil water. The fact that he’s cute only adds salt to the wound; Komomo vacillates between plotting her escape and speculating that Natsu bullies her out of love.

Whatever pleasure might come from witnessing Komomo’s comeuppance is undermined by the author’s frequent capitulations to shojo formula. Though Natsu declares that bullying Komomo is his privilege – and his alone – he routinely helps her out of jams, bakes her sweets, and behaves a lot like someone who’s harboring a crush on her. Komomo, for her part, behaves like such a twit that it’s hard to root for her; even when she has an epiphany about friendship or hard work, her insights are as shallow as the proverbial cake pan.

The series’ redeeming strength is the artwork. Though Maki Minami frequently resorts to pre-fab backgrounds and Photoshopped elements, she does a fine job of representing the emotional rush that a sugary treat can elicit in even the most jaded adult. Komomo’s food reveries are a swirl of flowers, tears, and lacy doilies that neatly suggest the mixture of joy and sadness she experiences whenever a macaroon or a petit-four stirs up childhood memories. Too bad the rest of the story isn’t as sharply observed.

The verdict: Saccharine plotting and unsympathetic leads spoil this confection.

Komomo Confiserie, Vol. 1
By Maki Minami
Rated T, for teens
VIZ Manga, $6.99 (digital)

This review originally appeared at MangaBlog on September 18, 2015.

Short Takes: Food Wars, Manga Dogs, and Yukarism

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Did you receive an Amazon or RightStuf gift certificate this holiday? If so, this post is for you! Below, I’ve reviewed the first volumes of three series that debuted in 2014, offering a quick-and-dirty assessment of each. Already read Food Wars? Fear not—I’ve also tackled Manga Dogs, a comedy about a teen manga artist, and Yukarism, a time-traveling, gender-bendering manga from Chika Shiomi (Canon, Yurara).

thumb-10857-FDW_01_webFood Wars, Vol. 1
Story by Yuto Tsukada, Art by Shun Saeki
Rated T+, for Older Teens
VIZ Manga, $9.99

Food Wars begins with an only-in-manga scenario: Soma Yukihira’s dad shutters the family’s greasy spoon restaurant and lights out for America, leaving his son behind. With no place to go, Soma enrolls at Totsuki Culinary Academy, a hoity-toity cooking school that prides itself on its wealthy alumnae, rigorous curriculum, and high attrition rate. Soma’s working-class background is a major handicap in this environment, but his can-do attitude and culinary instincts allow him to triumph in difficult situations, whether he’s salvaging an over-salted pot roast or wowing an unscrupulous developer with a simple potato dish.

In theory, I ought to hate Food Wars for its cartoonish characters and abundant cheesecake, two qualities I generally despise in a manga. But here’s the thing: it’s fun. Soma repeatedly shows up bullies and snobs with his ability to transform everyday dishes into haute cuisine, proving that good food doesn’t need to be fancy. Though Soma’s foes are stock types—the Busty Bitch, the Rich Mean Boy, the Teacher With Impossibly High Standards—Shun Sakei’s crisp caricatures make them seem like fresh creations. I wish I could say the same for Sakei’s abundant fanservice, which quickly wears out its welcome with porny images of women enjoying Soma’s cooking. These pin-up moments are supposed to be funny, I guess, but the heavy emphasis on heaving cleavage and bare skin seems more like a concession to teenage male taste than an organic part of the story.

The verdict: I can’t decide if Food Wars is a guilty pleasure or a hate read, but I’ve just purchased volumes 2-4.

Manga Dogs 1Manga Dogs, Vol. 1
By Ema Toyama
Rated T, for Teens
Kodansha Comics, $10.99

Manga Dogs has a terrific premise: a teenage artist decides to enroll in her school’s manga program, only to discover that her teacher is inept, and her classmates are pretty-boy otakus with no skill or work ethic. When Kanna’s classmates discover that she’s actually a published artist, Fumio, Fujio, and Shota glom onto her in hopes of breaking into the business—even though her debut series is on the verge of being cancelled.

With such a ripe set-up, it’s a pity that Manga Dogs is DOA. Part of the problem is that the script panders to the reader at every turn, whether it’s poking fun at reverse-harem tropes or saddling the characters with pun-tastic names inspired by famous manga creators. The author spends too much time patting the reader on the back for “getting” the jokes and not enough time writing genuinely funny scenarios or imbuing her characters with more than one personality trait each. The other issue is pacing: the story and artwork are both frenetic, with characters screaming, jumping, and flapping their arms on almost every page. By the end of the third chapter, I felt as if someone had beaten me up for my lunch money while asking me, “Do you think I’m funny? No? Now do you think I’m funny?”

The verdict: Just say no.

1421575906Yukarism, Vol. 1
By Chika Shiomi
Rated T, for Teen
VIZ Media, $9.99

Yukarism combines the supernatural elements of Rasetsu with the historical drama of Sakuran, then adds a dash of gender-bending weirdness for good measure. The story revolves around Yukari, a best-selling author whose novels explore the history of Edo’s red-light district. Though fans attribute the abundant details in his writing to research, Yukari has an even better strategy for learning about the past: he visits it! When he returns to the 1800s, however, Yukari becomes Yumurasaki, a top-earning oiran (or courtesan) enmeshed in a web of political intrigue, lust, and violence.

Given the complexity of the plot, it’s not surprising that the first volume of Yukarism is a bumpy ride. The tone see-saws between broad physical comedy and brooding melodrama, making it difficult to know if Yukari’s plight is being played for laughs or sniffles. The script, on the other hand, is too pointed; manga-ka Chika Shiomi is so intent on telling us what Yukari is thinking and seeing that she forgets the old dictum about showing, not telling. The same kind of editorial interventions result in at least one character waxing profusely about how handsome and cool Yukari is, just in case we haven’t realized that he’s supposed to be handsome and cool. Now that the basic parameters of the story have been established, however, Shiomi can dispense with the heavy-handed dialogue and do what she does best: write sudsy supernatural romances with beautiful characters in beautiful costumes.

The verdict: Volume two should be a pure guilty pleasure.

These reviews originally appeared at MangaBlog on January 2, 2015.

7 Mouth-Watering Food Manga

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When Khursten Santos announced that this month’s Manga Movable Feast would be… well, a feast, that provided me with a swell excuse to highlight my favorite food manga. I attribute my interest in the genre to my brief but intense infatuation with Iron Chef in the mid-2000s. I had always found cooking shows uninteresting: why watch someone make a cake or a roast when I already knew how to do that? Iron Chef, however, reimagined the cooking show as a tournament manga with an identifiable cast of characters who faced new and increasingly difficult challenges each week. Presiding over the competition was a flamboyant “villain” — the one and only Chairman Kaga — who was capricious and extravagant, demanding his contestants turn asparagus and ayu into ice cream and amuse-bouche. I can’t say I learned how to prepare any dishes from watching Iron Chef, but I came to appreciate the Iron Chefs’ creativity and combat-readiness.

When I discovered that there were manga that looked and sounded like an episode of Iron Chef, I was ecstatic. I read Iron Wok Jan and Yakitate!! Japan before discovering more sedate forms of food manga: Antique Bakery, Kitchen Princess, Mixed Vegetables. I gradually lost interest in the melodramatic pageantry of Iron Chef, but not in Japanese cuisine. I’ve been expanding my culinary horizons through manga instead, tackling anything with a food theme. Which ones reign supreme in Manga Critic Stadium? Read on for the list!

7. EKIBEN HITORITABI

KAN SAKURAI AND JUN HAYASE • JMANGA • 2 VOLUMES (ONGOING)

If you need definitive proof that there’s a manga for every conceivable niche audience, look no further than Ekiben Hitoritabi, a charming series about a train bento enthusiast. Yes, you read that right: Ekiben Hitoritabi follows the exploits of Daisuke Nakahara, a thirty-five-year-old man whose greatest ambition is to sample the boxed lunches served at train stations around Japan. The story is as relaxed and meandering as Daisuke’s journey, as he transfers from one line to the next in search of the country’s best — and most exotic — ekiben. Slight as the story may be, the authors’ meticulous attention to detail and obvious fondness for train travel carry the day, making this manga both fun and educational. Now if only Amtrak would investigate ekiben… I’d take a fish cake over microwave pizza any day.

6. NEKO RAMEN

KENJI SONISHI • TOKYOPOP • 4 VOLUMES (INCOMPLETE)

If you’ve ever lived with a cat or dog, you know that no meal is complete without a pet hair garnish. Now imagine that your beloved companion actually prepared your meals instead of watching you eat them: what sort of unimaginable horrors might you encounter beyond the stray hair? That’s the starting point for Neko Ramen, a 4-koma manga about a cat whose big dream is to run a noodle shop, but author Kenji Sonishi quickly moves past hair balls and litter box jokes to mine a richer vein of humor, poking fun at his cat cook’s delusions of entrepreneurial grandeur. Taisho is the Don Quixote of ramen vendors, dreaming up ludicrous giveaways and unappetizing dishes in an effort to promote his business, never realizing that he is the store’s real selling point. The loose, sketchy artwork gives the series an improvisational feel, while the script has the pleasant, absurdist zing of an Abbott and Costello routine. (Reviewed at The Manga Critic on 6/2/10.)

5. YAKITATE!! JAPAN

TAKAHASHI HASHIGUCHI • VIZ MEDIA • 26 VOLUMES (COMPLETE)

Kazuma Azuma is a boy with a dream: to create a bread so beloved by the Japanese people that it becomes synonymous with the country itself. Though he lacks formal training, he’s a prodigy in the kitchen, blessed with “hands of the sun” (a.k.a. hands warm enough to jump-start the dough’s rising) and a jazz musician’s knack for improvisation. These skills land him at the modest South Tokyo branch of Pantasia, a popular chain of bakeries. There, alongside the loud-mouthed apprentice Kyosuke Kawachi, the cute but steely manager Tsukino Asuzagawa, and the bread master Ken Matsushiro, he hones his craft, develops new Ja-pan prototypes, and enters countless bake-offs. (In other words, Yakitate!! Japan is One Piece with pastry.) The series does, at times, sag under the weight of repetition — how many death-defying baking competitions can one boy win? — but its mouth-watering concoctions, colorful cast, and impromptu science lessons ensure that every volume has a least one or two outstanding chapters. (Reviewed at PopCultureShock on 3/7/07)

4. KODOKO NO GOURMET

MASAYUKI QUSUMI AND JIRO TANIGUCHI • JMANGA • 1 VOLUME (COMPLETE)

If you’re a fan of Kingyo Used Books, you may remember the chapter in which Japanese backpackers shared a dog-eared copy of Kodoku no Gourmet (a.k.a. The Lonely Gourmet) in order to feel more connected to home. Small wonder they adored Gourmet: its hero, Goro Inoshigara, is a traveler who devotes considerable time and energy to seeking out his favorite foods wherever he goes. While the manga is episodic  — Goro visits a new restaurant in every chapter — Jiro Taniguchi does a wonderful job of conveying the social aspect of eating, creating brief but vivid portraits of each establishment: its clientele, its proprietors, and, of course, its signature dishes. Best of all, Taniguchi and writer Masayuki Qusumi have the good sense to limit the story to a single volume, allowing the reader to savor Goro’s culinary adventures, rather than ponder its very slight premise.

3. GOKUDOU MESHI

SHIGERU TSUCHIYAMA • JMANGA • 2 VOLUMES (ONGOING)

Gokudou Meshi revolves around a contest: once a year, the residents of Naniwa South Prison describe the best food they’ve ever eaten. The prisoner with the most mouth-watering story wins an item from each of his fellow inmates’ osechi, a special New Year’s Eve box filled with fish, rice cakes, omelettes, and other holiday treats. As one might expect from such a conversation-driven series, Gokudou Meshi is told primarily through flashbacks, with each prisoner recounting a memorable meal or favorite noodle shop. Such an improbable premise lends itself to sitcom exaggeration, but author Shigeru Tsuchiyama plays it straight, respecting the sincerity of his thugs’ culinary convictions. The results read like cross between a Damon Runyon story and a Food Network Show; one could almost imagine Nicely-Nicely Johnson waxing poetic with the Naniwa gang about the hot dogs at Saratoga.

2. NOT LOVE BUT DELICIOUS FOODS MAKE ME SO HAPPY!

FUMI YOSHINAGA • YEN PRESS • 1 VOLUME (COMPLETE)

My Dinner With Fumi: that’s what I would have called the English-language edition of Not Love But Delicious Foods Make Me So Happy! The fifteen stories contained within this slim volume celebrate good food and good conversation, documenting Yoshinaga’s interactions with friends, assistants, and fellow artists at real restaurants around Tokyo. No culinary stone goes unturned, as Yoshinaga — or, as her fictional alter ego is called, Y-naga — visits a Korean restaurant, a French bistro, an Italian trattoria, a sushi joint, an all-you-can-eat dim sum buffet, and a bakery famous for its bagels. As the characters chatter enthusiastically about what they’re eating, we realize that Yoshinaga’s real objective is showing us the important role that food plays in fostering friendships. One contentious conversation even prompts the omniscient narrator to praise good food for its diplomatic value: “But through the power of skirt steak, their hearts resumed beating as one,” the narrator observes. In Yoshinaga’s world, detente is just a dish away.  (Reviewed at The Manga Critic on 12/12/10.)

1. OISHINBO A LA CARTE

TETSU KARIYA AND AKIRA HANASAKI • VIZ MEDIA • 8 VOLUMES (COMPLETE)

Equal parts Iron Wok Jan, Mostly Martha, and The Manga Cookbook, this educational, entertaining series explores Japanese cuisine at its most refined — sake, seabream sashimi — and its most basic — rice, pub food. The stories fall into two categories: stories celebrating the important role of food in creating community, and stories celebrating the culinary expertise of its principal characters, newspaperman Yamaoka Shiro and his curmudgeonly father Kaibara Yuzan. (Fun fact: Yuzan is such a food snob that he drove Yamaoka’s mother to an early grave, causing an irreparable break between father and son.) Though the competition between Yamaoka and Yuzan yields some elegant, mouth-watering dishes, Oishinbo is at its best when it focuses on everyday food in everyday settings, shedding light on how the Japanese prepare everything from bean sprouts to ramen. Warning: never read on an empty stomach!

* * * * *

So, hungry readers, which food manga are your favorites? Are there food manga you’d like to see translated into English (e.g. Cooking Papa)? Dish away!

7 Mouth-Watering Food Manga

by 18 Comments

When Khursten Santos announced that this month’s Manga Movable Feast would be… well, a feast, that provided me with a swell excuse to highlight my favorite food manga. I attribute my interest in the genre to my brief but intense infatuation with Iron Chef in the mid-2000s. I had always found cooking shows uninteresting: why watch someone make a cake or a roast when I already knew how to do that? Iron Chef, however, reimagined the cooking show as a tournament manga with an identifiable cast of characters who faced new and increasingly difficult challenges each week. Presiding over the competition was a flamboyant “villain” — the one and only Chairman Kaga — who was capricious and extravagant, demanding his contestants turn asparagus and ayu into ice cream and amuse-bouche. I can’t say I learned how to prepare any dishes from watching Iron Chef, but I came to appreciate the Iron Chefs’ creativity and combat-readiness.

When I discovered that there were manga that looked and sounded like an episode of Iron Chef, I was ecstatic. I read Iron Wok Jan and Yakitate!! Japan before discovering more sedate forms of food manga: Antique Bakery, Kitchen Princess, Mixed Vegetables. I gradually lost interest in the melodramatic pageantry of Iron Chef, but not in Japanese cuisine. I’ve been expanding my culinary horizons through manga instead, tackling anything with a food theme. Which ones reign supreme in Manga Critic Stadium? Read on for the list!

7. EKIBEN HITORITABI

KAN SAKURAI AND JUN HAYASE • JMANGA • 2 VOLUMES (ONGOING)

If you need definitive proof that there’s a manga for every conceivable niche audience, look no further than Ekiben Hitoritabi, a charming series about a train bento enthusiast. Yes, you read that right: Ekiben Hitoritabi follows the exploits of Daisuke Nakahara, a thirty-five-year-old man whose greatest ambition is to sample the boxed lunches served at train stations around Japan. The story is as relaxed and meandering as Daisuke’s journey, as he transfers from one line to the next in search of the country’s best — and most exotic — ekiben. Slight as the story may be, the authors’ meticulous attention to detail and obvious fondness for train travel carry the day, making this manga both fun and educational. Now if only Amtrak would investigate ekiben… I’d take a fish cake over microwave pizza any day.

6. NEKO RAMEN

KENJI SONISHI • TOKYOPOP • 4 VOLUMES (INCOMPLETE)

If you’ve ever lived with a cat or dog, you know that no meal is complete without a pet hair garnish. Now imagine that your beloved companion actually prepared your meals instead of watching you eat them: what sort of unimaginable horrors might you encounter beyond the stray hair? That’s the starting point for Neko Ramen, a 4-koma manga about a cat whose big dream is to run a noodle shop, but author Kenji Sonishi quickly moves past hair balls and litter box jokes to mine a richer vein of humor, poking fun at his cat cook’s delusions of entrepreneurial grandeur. Taisho is the Don Quixote of ramen vendors, dreaming up ludicrous giveaways and unappetizing dishes in an effort to promote his business, never realizing that he is the store’s real selling point. The loose, sketchy artwork gives the series an improvisational feel, while the script has the pleasant, absurdist zing of an Abbott and Costello routine. (Reviewed at The Manga Critic on 6/2/10.)

5. YAKITATE!! JAPAN

TAKAHASHI HASHIGUCHI • VIZ MEDIA • 26 VOLUMES (COMPLETE)

Kazuma Azuma is a boy with a dream: to create a bread so beloved by the Japanese people that it becomes synonymous with the country itself. Though he lacks formal training, he’s a prodigy in the kitchen, blessed with “hands of the sun” (a.k.a. hands warm enough to jump-start the dough’s rising) and a jazz musician’s knack for improvisation. These skills land him at the modest South Tokyo branch of Pantasia, a popular chain of bakeries. There, alongside the loud-mouthed apprentice Kyosuke Kawachi, the cute but steely manager Tsukino Asuzagawa, and the bread master Ken Matsushiro, he hones his craft, develops new Ja-pan prototypes, and enters countless bake-offs. (In other words, Yakitate!! Japan is One Piece with pastry.) The series does, at times, sag under the weight of repetition — how many death-defying baking competitions can one boy win? — but its mouth-watering concoctions, colorful cast, and impromptu science lessons ensure that every volume has a least one or two outstanding chapters. (Reviewed at PopCultureShock on 3/7/07)

4. KODOKO NO GOURMET

MASAYUKI QUSUMI AND JIRO TANIGUCHI • JMANGA • 1 VOLUME (COMPLETE)

If you’re a fan of Kingyo Used Books, you may remember the chapter in which Japanese backpackers shared a dog-eared copy of Kodoku no Gourmet (a.k.a. The Lonely Gourmet) in order to feel more connected to home. Small wonder they adored Gourmet: its hero, Goro Inoshigara, is a traveler who devotes considerable time and energy to seeking out his favorite foods wherever he goes. While the manga is episodic  — Goro visits a new restaurant in every chapter — Jiro Taniguchi does a wonderful job of conveying the social aspect of eating, creating brief but vivid portraits of each establishment: its clientele, its proprietors, and, of course, its signature dishes. Best of all, Taniguchi and writer Masayuki Qusumi have the good sense to limit the story to a single volume, allowing the reader to savor Goro’s culinary adventures, rather than ponder its very slight premise.

3. GOKUDOU MESHI

SHIGERU TSUCHIYAMA • JMANGA • 2 VOLUMES (ONGOING)

Gokudou Meshi revolves around a contest: once a year, the residents of Naniwa South Prison describe the best food they’ve ever eaten. The prisoner with the most mouth-watering story wins an item from each of his fellow inmates’ osechi, a special New Year’s Eve box filled with fish, rice cakes, omelettes, and other holiday treats. As one might expect from such a conversation-driven series, Gokudou Meshi is told primarily through flashbacks, with each prisoner recounting a memorable meal or favorite noodle shop. Such an improbable premise lends itself to sitcom exaggeration, but author Shigeru Tsuchiyama plays it straight, respecting the sincerity of his thugs’ culinary convictions. The results read like cross between a Damon Runyon story and a Food Network Show; one could almost imagine Nicely-Nicely Johnson waxing poetic with the Naniwa gang about the hot dogs at Saratoga.

2. NOT LOVE BUT DELICIOUS FOODS MAKE ME SO HAPPY!

FUMI YOSHINAGA • YEN PRESS • 1 VOLUME (COMPLETE)

My Dinner With Fumi: that’s what I would have called the English-language edition of Not Love But Delicious Foods Make Me So Happy! The fifteen stories contained within this slim volume celebrate good food and good conversation, documenting Yoshinaga’s interactions with friends, assistants, and fellow artists at real restaurants around Tokyo. No culinary stone goes unturned, as Yoshinaga — or, as her fictional alter ego is called, Y-naga — visits a Korean restaurant, a French bistro, an Italian trattoria, a sushi joint, an all-you-can-eat dim sum buffet, and a bakery famous for its bagels. As the characters chatter enthusiastically about what they’re eating, we realize that Yoshinaga’s real objective is showing us the important role that food plays in fostering friendships. One contentious conversation even prompts the omniscient narrator to praise good food for its diplomatic value: “But through the power of skirt steak, their hearts resumed beating as one,” the narrator observes. In Yoshinaga’s world, detente is just a dish away.  (Reviewed at The Manga Critic on 12/12/10.)

1. OISHINBO A LA CARTE

TETSU KARIYA AND AKIRA HANASAKI • VIZ MEDIA • 8 VOLUMES (COMPLETE)

Equal parts Iron Wok Jan, Mostly Martha, and The Manga Cookbook, this educational, entertaining series explores Japanese cuisine at its most refined — sake, seabream sashimi — and its most basic — rice, pub food. The stories fall into two categories: stories celebrating the important role of food in creating community, and stories celebrating the culinary expertise of its principal characters, newspaperman Yamaoka Shiro and his curmudgeonly father Kaibara Yuzan. (Fun fact: Yuzan is such a food snob that he drove Yamaoka’s mother to an early grave, causing an irreparable break between father and son.) Though the competition between Yamaoka and Yuzan yields some elegant, mouth-watering dishes, Oishinbo is at its best when it focuses on everyday food in everyday settings, shedding light on how the Japanese prepare everything from bean sprouts to ramen. Warning: never read on an empty stomach!

* * * * *

So, hungry readers, which food manga are your favorites? Are there food manga you’d like to see translated into English (e.g. Cooking Papa)? Dish away!

7 Essential VIZ Signature Manga

by

Are you an adult reader new to manga? Or a librarian who’s looking to add more graphic novels to your adult collection? Then this list is for you! The VIZ Signature imprint is one of the best resources for adults who read — or are curious about — manga. All of the Signature titles originally appeared in Japanese magazines that cater to grown-up tastes. As a result, the Signature line has broader appeal than many of VIZ’s other imprints, offering something for manga lovers who have “aged out” of Naruto as well as general interest readers who are more likely to discover a graphic novel through The New York Times than The Comics Journal.

Below, I’ve compiled a list of seven titles that best represent the VIZ Signature catalog. In choosing manga for this list, I was less concerned about identifying the “best” titles and more concerned with steering readers towards stories that resonate with their taste in movies, television, and comics. I’ve also focused on more recent series, as some of the line’s older titles — Monster, Sexy Voice and Robo, Phoenix — are out of print. Manga fans are strongly encouraged to add their recommendations in the comments section!

ALL MY DARLING DAUGHTERS

FUMI YOSHINAGA • 1 VOLUME

The five vignettes in All My Darling Daughters depict women negotiating difficult personal relationships: a daughter confronts her mother about mom’s new, much younger husband; a college student seduces her professor, only to dump him when he tries to court her properly; a beautiful young woman contemplates an arranged marriage. Like all of Yoshinaga’s work, the characters in All My Darling Daughters love to talk. That chattiness isn’t always an asset to Yoshinaga’s storytelling, but here the dialogue is perfectly calibrated to reveal just how complex and ambivalent these relationships really are. Yoshinaga’s artwork is understated but effective, as she uses small details — how a character stands or carries her shoulders — to offer a more complete and nuanced portrait of each woman. (One of my picks for Best New Manga of 2010.)

Recommended for: Readers who liked Drinking at the Movies, Dykes to Watch Out For, Make Me a Woman, and other graphic novels exploring the everyday lives of women; readers who are reluctant to commit to a multi-volume series.

BIOMEGA

TSUTOMU NIHEI • 6 VOLUMES

In this sci-fi/horror hybrid, an outbreak of a mysterious virus turns all but one resident of an island colony into zombies. Zoichi Kanoe, a corporate bounty hunter, is sent to retrieve that survivor, only to discover that she’s being guarded by a talking, gun-toting bear. Tsutomu Nihei has the artistic chops to pull off some outlandish stuff, including a rooftop chase scene that borrows a few pages from Bullitt and a spooky Martian prologue that would do John Carpenter proud. Nihei also has the good sense to exercise restraint — if one can describe an apocalyptic zombie scenario with pistol-packing grizzlies as “restrained” — revealing key bits of information only as the characters learn them. The result is a lean, fast-paced shoot-em-up that has just enough thought behind it to make it plausible but not so much that it seems ham-fistedly allegorical. (Reviewed at The Manga Critic on 2/14/10.)

Recommended for: Readers who like science fiction with elements of horror (e.g. Alien, John Carpenter’s The Thing); readers who like zombie fiction, comics, and movies.

DETROIT METAL CITY

KIMINORI WAKASUHI • 10 VOLUMES

Satirizing death metal is a bit like shooting fish in a barrel: how hard can it be to parody a style associated with bands named Cannibal Corpse or Necrophagia? Poking fun at death metal while respecting the sincerity of its followers, however, is a much more difficult trick to pull off, yet Kiminori Wakasugi does just that in Detroit Metal City, ridiculing the music — the violent lyrics, the crudely sexual theatrics — while recognizing the depth of DMC fans’ commitment to the metal lifestyle. Though the musical parodies are hilarious, the series’ funniest moments arise from classic fish-out-of-water situations: Negishi driving a tractor on his parent’s farm while dressed as alter ego Lord Krauser (complete with makeup, fright wig, and platform boots), Negishi bringing a fruit basket to a hospitalized DMC fan while dressed as Krauser… you get the idea. The series begins to run out of gas around volume six, but has the decency not to overstay its welcome. (Reviewed at The Manga Critic on 5/28/09.)

Recommended for: Readers who love musical parodies (e.g. This Is Spinal Tap, South Park, Flight of the Conchords); readers who have fond memories of attending KISS or GWAR concerts back in the day.

HOUSE OF FIVE LEAVES

NATSUME ONO • 7 VOLUMES, ONGOING (8 TOTAL)

Timid ronin Akitsu Masanosuke can’t hold a steady job, despite his formidable swordsmanship. When a businessman approaches him with work, Masanosuke readily accepts, not realizing that his new employer, Yaichi, runs a crime syndicate that specializes in kidnapping. Masanosuke’s unwitting participation in a blackmailing scheme prevents him from severing his ties to Yaichi; Masanosuke must then decide if he will join the House of Five Leaves or bide his time until he can escape. Though Toshiro Mifune and Hiroyuki Sanada have made entire careers out of playing characters like Masanosuke, Natsume Ono makes a persuasive case that you don’t need a flesh-and-blood actor to tell this kind of story with heartbreaking intensity; she can do the slow-burn on the printed page with the same skill as Masaki Kobayashi (Hara Kiri, Samurai Rebellion) and Yoji Yamada (The Twilight Samurai) did on the big screen. (Reviewed at The Manga Critic on 8/20/10.)

Recommended for: Kurosawa junkies; readers who like costume dramas; readers with an interest in Japanese history.

OISHINBO A LA CARTE

STORY BY TETSY KARIYA, ART BY HANASAKI AKIRA • 7 VOLUMES

Equal parts Iron Wok Jan, Mostly Martha, and The Manga Cookbook, this educational, entertaining series explores Japanese cuisine at its most refined — sake, seabream sashimi — and its most basic — rice, pub food. The stories fall into two categories: stories celebrating the important role of food in creating community, and stories celebrating the culinary expertise of its principal characters, newspaperman Yamaoka Shiro and his curmudgeonly father Kaibara Yuzan. (Fun fact: Yuzan is such a food snob that he drove Yamaoka’s mother to an early grave, causing an irreparable break between father and son.) Though the competition between Yamaoka and Yuzan yields some elegant, mouth-watering dishes, Oishinbo is at its best when it focuses on everyday food in everyday settings, shedding light on how the Japanese prepare everything from bean sprouts to ramen. Warning: never read on an empty stomach! (Reviewed at The Manga Critic on 6/24/09.)

Recommended for: Foodies, gourmets, and other people who like to watch the Food Network (or have daydreamed about becoming a restaurant critic); readers who enjoy The Drops of God.

REAL

TAKEHIKO INOUE • 10 VOLUMES, ONGOING

In lesser hands, REAL might have been an Afterschool Special in manga form, an earnest, uplifting story about disabled teens who find a new sense of purpose on the basketball court. Takehiko Inoue, however, steers clear of easy sentiment; his characters are tough, competitive, and profane, occasionally self-pitying, and fiercely determined to create a space for themselves that’s theirs—and theirs alone. Though the court scenes are brief (at least by shonen sports manga standards, where matches can take several volumes to unfold), Inoue captures the speed and energy of his athletes with consummate skill. A funny, honest, and sometimes rueful series that works equally well for teens and adults. (My choice for Best New Manga of 2008 at PopCultureShock; reviewed at The Manga Critic on 5/3/09.)

Recommended for: Basketball enthusiasts; readers who enjoy sports stories with a human interest angle.

20TH CENTURY BOYS

NAOKI URASAWA • 20 VOLUMES, ONGOING (24 TOTAL)

Naoki Urasawa’s 20th Century Boys tells a twisty, layered story about ordinary people saving the world from annihilation. Other auteurs have explore similar turf — Tim Kring’s Heroes comes to mind — but Urasawa manages to sustain the reader’s interest without succumbing to cliche or unduly testing our patience. The key to Urasawa’s success is strong script with vivid characters and a clear sense of purpose, reassuring the reader that all the plot strands are just that: strands, not loose threads. Crisp, detailed artwork helps sell the more ludicrous aspects of the story, and distinguish the sprawling cast from one another. (Reviewed at The Manga Critic on 1/9/10.)

Recommended for: Conspiracy theory buffs; readers who enjoy television programs that blend elements of science fiction, suspense, and paranoia (e.g. Alcatraz, Heroes, Lost).

7 Essential VIZ Signature Manga

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Are you an adult reader new to manga? Or a librarian who’s looking to add more graphic novels to your adult collection? Then this list is for you! The VIZ Signature imprint is one of the best resources for adults who read — or are curious about — manga. All of the Signature titles originally appeared in Japanese magazines that cater to grown-up tastes. As a result, the Signature line has broader appeal than many of VIZ’s other imprints, offering something for manga lovers who have “aged out” of Naruto as well as general interest readers who are more likely to discover a graphic novel through The New York Times than The Comics Journal.

Below, I’ve compiled a list of seven titles that best represent the VIZ Signature catalog. In choosing manga for this list, I was less concerned about identifying the “best” titles and more concerned with steering readers towards stories that resonate with their taste in movies, television, and comics. I’ve also focused on more recent series, as some of the line’s older titles — Monster, Sexy Voice and Robo, Phoenix — are out of print. Manga fans are strongly encouraged to add their recommendations in the comments section!

ALL MY DARLING DAUGHTERS

FUMI YOSHINAGA • 1 VOLUME

The five vignettes in All My Darling Daughters depict women negotiating difficult personal relationships: a daughter confronts her mother about mom’s new, much younger husband; a college student seduces her professor, only to dump him when he tries to court her properly; a beautiful young woman contemplates an arranged marriage. Like all of Yoshinaga’s work, the characters in All My Darling Daughters love to talk. That chattiness isn’t always an asset to Yoshinaga’s storytelling, but here the dialogue is perfectly calibrated to reveal just how complex and ambivalent these relationships really are. Yoshinaga’s artwork is understated but effective, as she uses small details — how a character stands or carries her shoulders — to offer a more complete and nuanced portrait of each woman. (One of my picks for Best New Manga of 2010.)

Recommended for: Readers who liked Drinking at the Movies, Dykes to Watch Out For, Make Me a Woman, and other graphic novels exploring the everyday lives of women; readers who are reluctant to commit to a multi-volume series.

BIOMEGA

TSUTOMU NIHEI • 6 VOLUMES

In this sci-fi/horror hybrid, an outbreak of a mysterious virus turns all but one resident of an island colony into zombies. Zoichi Kanoe, a corporate bounty hunter, is sent to retrieve that survivor, only to discover that she’s being guarded by a talking, gun-toting bear. Tsutomu Nihei has the artistic chops to pull off some outlandish stuff, including a rooftop chase scene that borrows a few pages from Bullitt and a spooky Martian prologue that would do John Carpenter proud. Nihei also has the good sense to exercise restraint — if one can describe an apocalyptic zombie scenario with pistol-packing grizzlies as “restrained” — revealing key bits of information only as the characters learn them. The result is a lean, fast-paced shoot-em-up that has just enough thought behind it to make it plausible but not so much that it seems ham-fistedly allegorical. (Reviewed at The Manga Critic on 2/14/10.)

Recommended for: Readers who like science fiction with elements of horror (e.g. Alien, John Carpenter’s The Thing); readers who like zombie fiction, comics, and movies.

DETROIT METAL CITY

KIMINORI WAKASUHI • 10 VOLUMES

Satirizing death metal is a bit like shooting fish in a barrel: how hard can it be to parody a style associated with bands named Cannibal Corpse or Necrophagia? Poking fun at death metal while respecting the sincerity of its followers, however, is a much more difficult trick to pull off, yet Kiminori Wakasugi does just that in Detroit Metal City, ridiculing the music — the violent lyrics, the crudely sexual theatrics — while recognizing the depth of DMC fans’ commitment to the metal lifestyle. Though the musical parodies are hilarious, the series’ funniest moments arise from classic fish-out-of-water situations: Negishi driving a tractor on his parent’s farm while dressed as alter ego Lord Krauser (complete with makeup, fright wig, and platform boots), Negishi bringing a fruit basket to a hospitalized DMC fan while dressed as Krauser… you get the idea. The series begins to run out of gas around volume six, but has the decency not to overstay its welcome. (Reviewed at The Manga Critic on 5/28/09.)

Recommended for: Readers who love musical parodies (e.g. This Is Spinal Tap, South Park, Flight of the Conchords); readers who have fond memories of attending KISS or GWAR concerts back in the day.

HOUSE OF FIVE LEAVES

NATSUME ONO • 7 VOLUMES, ONGOING (8 TOTAL)

Timid ronin Akitsu Masanosuke can’t hold a steady job, despite his formidable swordsmanship. When a businessman approaches him with work, Masanosuke readily accepts, not realizing that his new employer, Yaichi, runs a crime syndicate that specializes in kidnapping. Masanosuke’s unwitting participation in a blackmailing scheme prevents him from severing his ties to Yaichi; Masanosuke must then decide if he will join the House of Five Leaves or bide his time until he can escape. Though Toshiro Mifune and Hiroyuki Sanada have made entire careers out of playing characters like Masanosuke, Natsume Ono makes a persuasive case that you don’t need a flesh-and-blood actor to tell this kind of story with heartbreaking intensity; she can do the slow-burn on the printed page with the same skill as Masaki Kobayashi (Hara Kiri, Samurai Rebellion) and Yoji Yamada (The Twilight Samurai) did on the big screen. (Reviewed at The Manga Critic on 8/20/10.)

Recommended for: Kurosawa junkies; readers who like costume dramas; readers with an interest in Japanese history.

OISHINBO A LA CARTE

STORY BY TETSY KARIYA, ART BY HANASAKI AKIRA • 7 VOLUMES

Equal parts Iron Wok Jan, Mostly Martha, and The Manga Cookbook, this educational, entertaining series explores Japanese cuisine at its most refined — sake, seabream sashimi — and its most basic — rice, pub food. The stories fall into two categories: stories celebrating the important role of food in creating community, and stories celebrating the culinary expertise of its principal characters, newspaperman Yamaoka Shiro and his curmudgeonly father Kaibara Yuzan. (Fun fact: Yuzan is such a food snob that he drove Yamaoka’s mother to an early grave, causing an irreparable break between father and son.) Though the competition between Yamaoka and Yuzan yields some elegant, mouth-watering dishes, Oishinbo is at its best when it focuses on everyday food in everyday settings, shedding light on how the Japanese prepare everything from bean sprouts to ramen. Warning: never read on an empty stomach! (Reviewed at The Manga Critic on 6/24/09.)

Recommended for: Foodies, gourmets, and other people who like to watch the Food Network (or have daydreamed about becoming a restaurant critic); readers who enjoy The Drops of God.

REAL

TAKEHIKO INOUE • 10 VOLUMES, ONGOING

In lesser hands, REAL might have been an Afterschool Special in manga form, an earnest, uplifting story about disabled teens who find a new sense of purpose on the basketball court. Takehiko Inoue, however, steers clear of easy sentiment; his characters are tough, competitive, and profane, occasionally self-pitying, and fiercely determined to create a space for themselves that’s theirs—and theirs alone. Though the court scenes are brief (at least by shonen sports manga standards, where matches can take several volumes to unfold), Inoue captures the speed and energy of his athletes with consummate skill. A funny, honest, and sometimes rueful series that works equally well for teens and adults. (My choice for Best New Manga of 2008 at PopCultureShock; reviewed at The Manga Critic on 5/3/09.)

Recommended for: Basketball enthusiasts; readers who enjoy sports stories with a human interest angle.

20TH CENTURY BOYS

NAOKI URASAWA • 20 VOLUMES, ONGOING (24 TOTAL)

Naoki Urasawa’s 20th Century Boys tells a twisty, layered story about ordinary people saving the world from annihilation. Other auteurs have explore similar turf — Tim Kring’s Heroes comes to mind — but Urasawa manages to sustain the reader’s interest without succumbing to cliche or unduly testing our patience. The key to Urasawa’s success is strong script with vivid characters and a clear sense of purpose, reassuring the reader that all the plot strands are just that: strands, not loose threads. Crisp, detailed artwork helps sell the more ludicrous aspects of the story, and distinguish the sprawling cast from one another. (Reviewed at The Manga Critic on 1/9/10.)

Recommended for: Conspiracy theory buffs; readers who enjoy television programs that blend elements of science fiction, suspense, and paranoia (e.g. Alcatraz, Heroes, Lost).

Not Love But Delicious Foods Make Me So Happy!

by

My Dinner With Fumi: that’s what I would have called the English-language edition of Not Love But Delicious Foods Make Me So Happy! The fifteen stories contained within this slim volume celebrate good food and good conversation, documenting Yoshinaga’s interactions with friends, assistants, and fellow artists at real restaurants around Tokyo. No culinary stone goes unturned, as Yoshinaga — or, as her fictional alter ego is called, Y-naga — visits a Korean restaurant, a French bistro, an Italian trattoria, a sushi joint, an all-you-can-eat dim sum buffet, and a bakery famous for its bagels. (Bagels in Tokyo? Call me a recovering New Yorker, but that sounds horribly wrong, especially since Y-naga views the absence of a hole in a the middle as a sign of quality.)

I can think of few mediums less suited to showcasing food than manga, but Yoshinaga’s drawings of steaming dumplings, seafood stews, and sashimi are convincing, despite the absence of color. She renders the food’s textures and shapes in meticulous detail, in the process suggesting the care with which each item was prepared. Her characters’ obvious enjoyment of the meals also helps sell the conceit; watching them rhapsodize over rare ingredients or extol the virtues of dessert makes the reader feel like another member of the party.

Much as I enjoyed the foodie shop-talk, what really sold me on Not Love But Delicious Foods was Yoshinaga’s willingness to poke fun at herself. Y-naga is a sartorial disaster, wearing a frumpy headband, thick glasses, and a scowl as she toils over her comics; only the prospect of a restaurant meal can persuade her to trade her sweatpants for a dress and to comb her hair. Once transformed, however, Y-naga is just as uncouth as her work attire would suggest, spilling copious amounts of food and wine on herself, talking with her mouth full, and flirting aggressively with a handsome dinner companion after drinking too much wine. Yet Y-naga’s dinner conversations reveal that she isn’t a buffoon; she’s surprisingly self-aware, rejecting one potential boyfriend because he’s indifferent to food (he doesn’t like to talk about it the way she does), farming out an incompetent assistant to other artists so that he can improve his skills, and apologizing profusely to a gay friend for “paying my rent by drawing manga with gay themes,” even though her books contain “no real gay themes.”

And that, I think, is the real strength of Not Love But Delicious Foods: the people remain central to the story, even though the Tokyo restaurant scene is the ostensible subject of the manga. As the characters chatter enthusiastically about what they’re eating, we realize that Yoshinaga’s real objective is showing us the important role that food plays in bringing people together, drawing them out, and cementing friendships. It’s a sentiment that’s expressed throughout the manga, as characters find common ground in their mutual enthusiasm for creme brulee and osso bucco. One contentious conversation even prompts the omniscient narrator to praise good food for its diplomatic value; in Yoshinaga’s world, detente is just a dish away. “But through the power of skirt steak, their hearts resumed beating as one,” the narrator observes. Couldn’t have said it better myself.

Review copy provided by Yen Press. Not Love But Delicious Foods Make Me So Happy! will be released on December 21, 2010.

NOT LOVE BUT DELICIOUS FOODS MAKE ME SO HAPPY! • BY FUMI YOSHINAGA • YEN PRESS • 160 pp. • RATING: OLDER TEEN (16+)

Neko Ramen, Vol. 1: Hey! Order Up!

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If you’ve ever lived with a cat or dog, you know that no meal is complete without a pet hair garnish. Now imagine that your beloved companion actually prepared your meals instead of watching you eat them: what sort of unimaginable horrors might you encounter beyond the stray hair? That’s the starting point for Neko Ramen, a 4-koma manga about a cat whose big dream is to run a noodle shop, but author Kenji Sonishi quickly moves past hair balls and litter box jokes to mine a richer vein of humor, poking fun at his cat cook’s delusions of entrepreneurial grandeur.

Taisho is forever dreaming up ways to expand his business, ideas that seem sound in the abstract, but prove disastrous in the execution: a dessert ramen consisting of noodles and milk, a delivery service that’s thwarted by feline territoriality, a playing card promotion featuring unappetizing pictures of soup. In fact, Taisho is so completely misguided that he doesn’t grasp what’s novel about Neko Ramen; when a competitor in a cat costume opens a shop, hoping to capitalize on Taisho’s appearance on “The World’s Most Amazing Animals,” Taisho thinks he, too, needs an animal costume in order to drum up business. His sole customer, the long-suffering Tanaka-san, tries hard to offer sensible advice, but Tanaka’s counsel falls on deaf ears. (Why Tanaka sticks around for ramen that he freely admits is “awful” is one the series’ great mysteries.)

Sonishi’s artwork is crude and sketchy; each character is rendered with just enough lines to give a general impression of who or what he’s supposed to be. The primitive quality of the art actually works in the series’ favor, conveying the low-rent nature of Taisho’s business. More effective still is Sonishi’s strategy for differentiating Taisho from the other cats who regularly appear in the series: Taisho resembles a maneki neko (beckoning cat statue) in an apron, while other felines are depicted as simple, rounded shapes with ears and tails.

None of this would work if the translation were stiff or colorless, but TOKYOPOP wisely employed the husband-and-wife team of Emily Gordon and Kumail Nanjiani to adapt the script for English-speaking audiences. Both are experienced writers and performers (she wrote for Bust and Jane, he does stand-up comedy), and their ear for language is evident throughout volume one; the dialogue is idiomatic and the punchlines are snappy. The other secret to the script’s success is the care with which the adaptors distinguish Taisho’s voice from Tanaka’s, infusing the characters’ owner-customer banter the feeling of a good manzai routine, with Taisho as the boke and Tanaka as the tsukkomi.

The biggest surprise about Neko Ramen is that Sonishi manages to wring so many laughs out of what could be a one-joke premise. Sonishi’s gags remain fresh throughout the first volume, thanks, in part, to several interludes in which he abandons the 4-koma format to relate stories of Taisho’s past: his ill-fated stint as a cat model, his rivalry with a noodle shop staffed by a dog, a monkey, and a bird. These interludes nicely set the table for volume two, providing Sonishi more avenues for his absurd humor without straying too far from the series’ basic idea. Highly recommended, whether or not you fancy cats.

NEKO RAMEN, VOL. 1: HEY! ORDER UP! • BY KENJI SONISHI • TOKYOPOP • 156 pp. • RATING: TEEN (13+)

Happy Cafe, Vol. 1

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Two Guys, a Girl, and a Pastry Shop might be a better title for this rom-com about a teen who waits tables at the neighborhood bakery, as the characters are so nondescript I had trouble remembering their names. The girl, Uru, is as generic as shojo heroines come: she’s a spunky, klutzy high school student who blushes and stammers around hot guys, bemoans her flat chest, and wins people over with her intense sincerity. The two guys — Shindo, a moody jerk whose boorishness masks a kind nature, and Ichiro, a cheerful slacker — are just as forgettable, despite the manga-ka’s efforts to assign them novel tics and traits. Shindo, for example, turns out to be a genius who finished high school at fifteen, while Ichiro suffers from hunger-induced narcolepsy, keeling over any time his blood sugar drops.

The plot, like the characters, has a similarly generic quality. At the beginning of volume one, Uru walks past Cafe Bonheur, overhearing a conversation between two giggling, satisfied customers. She then resolves to land a gig at the “Happy Cafe,” as she calls it, but is nearly defeated by the job interview: she accidentally breaks the front door, endures rude comments from Shindo about her youthful appearance (she looks ten), and nearly falls over Ichiro, who’s sprawled, unconscious, on the kitchen floor. (Shindo administers first aid in the form of a bun, reviving his co-worker.) Undeterred, Uru pleads with Shindo for a job, eventually persuading him to hire her on a trial basis. Broken dishes and spilled coffee notwithstanding, Uru quickly insinuates herself into Shindo and Ichiro’s lives.

Happy Cafe aims for a mixture of wacky comedy and heartfelt drama, but doesn’t quite succeed on either count. The humor is mild but not very funny; the few good gags — Uru’s super-strength, Ichiro’s ability to nap anywhere, anytime — are repeated with little variation until they cease to register as jokes. The drama, too, is tepid and predictable; every conflict is resolved so neatly and sweetly that a strong whiff of pointlessness hangs over the whole enterprise. Early in the volume, for example, we learn that Uru is living on her own, thanks to her mother’s decision to marry a younger man. Uru misses her mom terribly, but worries that her presence interferes with mom’s new relationship. So far, so good: the idea of a mother allowing her sixteen-year-old to live alone is a little ridiculous, but the set-up could yield some juicy, emotional scenes. Matsuzuki squanders that potential by resolving the conflict in a matter of three pages: mom and stepdad beg Uru to return, Uru asserts her desire to visit but maintain her independence, and her parents shower her with affection. The end.

Matsuzuki’s artwork is serviceable, if not memorable. Her characters are virtually indistinguishable from the cast of Me & My Brothers, right down to their perfectly messy hair, rail-thin frames, and noseless faces. Matsuzuki struggles with more ambitious perspective drawings; some of her attempts to place characters on different levels in the picture plane result in unnaturally foreshortened bodies. Where Matsuzuki’s art shines is in her characters’ nuanced facial expressions. Uru’s round, open visage registers a convincing range of emotions, from embarrassment to loneliness to indignation. On those occasions when Uru smiles — sweetly or with mischievous intent — it’s easy to grasp why the terminally grouchy Shindo keeps her around, as the character radiates joy.

If I were to compare Happy Cafe with baked goods, I’d say it reminds me of a Duncan Hines cake mix: it’s easy to follow, yields predictable results, and, while sweet, is curiously bland. Readers in search of manga comfort food could certainly do worse than this sugary dramedy, though I’d steer more adventurous souls towards The Antique Bakery or Cafe Kichijoji de, both of which are funnier, tastier, and sexier than this by-the-book shojo title.

HAPPY CAFE, VOL. 1 • BY KOU MATSUZUKI • TOKYOPOP • 192 pp. • RATING: TEEN

Oishinbo A la Carte: Vegetables

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I mean no disrespect to Tetsu Kariya or Akira Hanasaki when I say that the Vegetables volume of Oishinbo A la Carte irresistibly reminded me of 1970s television. Back in the day when there were only three networks, hour-long dramas doggedly followed the same formula: they dramatized a problem — say, drinking and driving, or falling in with a bad crowd — then resolved it with a little action and a lot of talking, culminating in a freeze-frame shot of the entire cast laughing at corny situational humor. Oishinbo follows this template to a tee, using hot-button issues such as bullying and pollution to preach the healing power of vegetables. The stories are as hokey and predictable as an episode of CHiPs or Little House on the Prairie, but entertaining in their sincerity.

Take “The Joy of a New Potato,” for example. The story begins with big-shot executive Misaki Hacho treating the Ultimate Menu team to an expensive meal. Shortly afterwards, Yamaoka discovers that Misaki has fallen on hard times, selling his business interests and trading his lavish home for a two-room flat. Kurita and Yamaoka invite Misaki’s family on a country outing, teaching his children how to harvest and cook potatoes. Though the denouement of the story is predictable and a little credulity-straining — Misaki’s son declares the potato outing “a hundred times better” than the extravagant birthday party that dad threw him the previous year — the message is heartfelt: doing things with your children is more important than doing things for them. Other stories in this vein include “The Bean Sprout Kid,” in which Yamaoka defends a quiet, frail boy from his classmates; “Good Eggplant, Bad Eggplant,” in which Tomio’s son overcomes his lifelong hatred of aubergines; “The Story of Vegetables, Now and Then,” in which a wealthy industrialist learns an important lesson about pesticides; “The Breath of Spring,” in which a cook woos her estranged lover with an asparagus dish; and “The Taste of Chicken, The Taste of Carrots,” in which a grandmother’s homemade chicken soup inspires a picky eater to add veggies to her diet.

No volume of Oishinbo would be complete with at least one epic food battle, and Vegetables opens with a doozy: a three-part contest revolving around cabbage and turnips. For most of the showdown, Yuzan appears to have the upper hand, preparing simple dishes that emphasize the unique flavors of the star ingredients. Yamaoka’s fortunes change, however, when Arakawa’s mother comes to the city for a visit, bringing wild grape juice and walnuts with her. The bold flavors of the grapes and walnuts inspire Yamaoka to take a page from his father’s book, trading elaborate preparations for straightforward ones that enhance the “muddiness” of the turnip.

As I noted in my review of the first volume, the structure of the A la Carte edition of Oishinbo is both its strength and weakness. On the one hand, organizing each volume around a particular kind of food makes for a fun, educational introduction to Japanese cuisine; a better title for the US edition would be Oishinbo: Beyond Pocky and California Rolls, given the sheer diversity of the food described in each volume. On the other hand, the series’ thematic organization robs the series of its continuity; we never have a chance to see Kurita and Yamaoka’s relationship evolve from co-workers to spouses, as we’re constantly seeing them at different stages of their courtship, nor do we have any sense of how the Ultimate Menu vs. Supreme Menu contest is unfolding.

Still, it’s difficult to deny Oishinbo‘s appeal. Imagine Iron Chef crossed with Mostly Martha, and you have some idea of why this sincere, somewhat hokey, series is as addictive as gyoza: it reminds us that food is an essential ingredient in all human relations, the glue that binds friends, families, and lovers in times of joy and crisis alike. The best of the A la Carte series.

Review copy provided by VIZ Media, LLC.

OISHINBO A LA CARTE: VEGETABLES • STORY BY TETSU KARIYA, ART BY AKIRA HANASAKI • VIZ • 266 pp. • RATING: TEEN