Manga Bookshelf

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Fantasy

YashaHime: Princess Half-Demon, Vols. 1-2

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YashaHime: Princess Half-Demon epitomizes what I dislike most about IP-driven entertainment. It’s a manga adaptation of an anime sequel to a popular series, made with little involvement from the original author. Though the scriptwriters have created new characters and plot lines for the sequel, YashaHime feels more like the product of a focus group than an organic continuation of the story.

Like InuYasha, YashaHime begins in present-day Tokyo, where one of Sesshomaru’s twin daughters is living with the Higurashi clan. There are a few hints that Towa is troubled—she’s bounced from school to school, never really fitting in with her peers—but she valiantly tries to be a normal teenager. The sudden appearance of a demon at the Higurashi’s shrine sets the plot in motion, whisking Towa back to the feudal era and reuniting her with Setsuna, her fraternal twin, and Moroha, her cousin. Once back in her own time period, Towa joins Setsuna and Moroha on a quest to locate a set of “mystical pearls” and solve the mystery of what happened to their families.

There’s real potential in building a sequel around Sesshomaru and InuYasha’s daughters, but the authors skimp on meaningful character development. Setsuna, for example, is stoic and surly like Sesshomaru, while Moroha is boastful and loud like InuYasha; only Towa feels like a fully realized character. Towa is depicted as a shojo prince, decked out in a white pants suit and cropped haircut that lend her an aura of gender-bending cool—a point reinforced in the early chapters of volume one, when Towa is showered with notes from adoring female classmates. Beneath her cool exterior, however, Towa is haunted by the gaps in her memory, as she struggles to fit in with her adoptive family.

The other big drawback to YashaHime is that the authors lack Rumiko Takahashi’s gift for imaginative, economical storytelling. They shamelessly mine the original series for ideas, staging several action sequences that recall the earliest chapters of InuYasha. (Remember the three-eyed crows? Or the centipede demon who kidnapped Kagome? They’re back for another turn in the spotlight.) In between the demon-wrangling and the unfunny sight gags, the authors fall back on long-winded conversations to reveal how the three girls were separated from their parents, over-explaining everything to such a degree that the story groans under the weight of expository dialogue.

About the best I can say for YashaHime is that Takashi Shiina has done an admirable job of capturing the charm of InuYasha‘s character designs while making them look a little more up-to-date. Though Shiina’s linework is more angular than Rumiko Takahashi’s, the characters strongly resemble Takahashi’s original creations. All three leads have features that recall their famous fathers—Setsuna’s fluff is a particularly nice touch—while the human characters from InuYasha have aged in a naturalistic fashion. The demons, too, are drawn with care; Myoga, Jaken, and Kirara are all immediately recognizable.

I wish I enjoyed this series more, as I’ve been an InuYasha fan for almost twenty years. Part of the reason I loved the original series was that it felt like a real work of imagination, with odd flourishes of horror and genuine moments of pathos. YashaHime, by contrast, is so beholden to Takahashi’s original text that it never takes the kind of creative risks that would elevate it beyond the level of corporate doujinshi. There’s nothing as deeply unsettling as the sight of Naraku’s flesh bubbling in a cauldron, or as poignant as Kikyo and InuYasha’s final conversation; everything has a warmed-over quality, even when Shiina and Katsuyuki Sumisawa’s script explores new ground. Not recommended.

YASHAHIME: PRINCESS HALF-DEMON, VOLS. 1-2 • STORY AND ART BY TAKASHI SHIINA, MAIN CHARACTER DESIGN BY RUMIKO TAKAHASHI, SCRIPT COOPERATION BY KATSUYUKI SUMISAWA • TRANSLATED BY JUNKO GODA • ADAPTED BY SHAENON K. GARRITY • LETTERING BY JAMES GAUBATZ • VIZ MEDIA • 200 pp. • RATED TEEN (Fantasy violence, horror)

The Girl from the Other Side: Siúil, a Rún, Vol. 4

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The Girl from the Other Side: Siúil, a Rún was one of 2017’s surprise hits, an emotionally wrenching fantasy manga about a demon who rescues an orphan girl from a plague-ridden world. Nagabe’s art — with its graceful linework and unique character designs — was enough to distinguish Girl from the Other Side from virtually any other series licensed by a major American publisher. But it was the characters and the poignancy of their relationship that truly captivated readers, as the bond between Teacher (the demon) and Shiva (the girl) was tested by Shiva’s ties to the human world, particularly her attachment to the aunt who raised her — and then abandoned her in the woods. Four volumes in, Girl from the Other Side is still casting a powerful spell, even as the story takes another grim turn.

As the volume opens, Teacher, Shiva, and Auntie have formed an uneasy family unit, with Shiva desperate to broker the peace between her adoptive parents. Nagabe does a fine job of dramatizing the conflict between Teacher and Auntie without spoiling the quiet mood of the story, using small gestures to convey how desperately each wants to protect Shiva from the human world. Nagabe also includes a handful of scenes that chart the progress of Auntie’s disease, showing us how quickly the curse erases a victim’s memory and personality — a development that raises the interesting question of who Teacher was before he assumed his demonic form.

Perhaps the most striking aspect of volume four is how much of the characters’ interior lives are revealed through the artwork. In the first chapter, for example, Teacher and Auntie slip into the woods for a nighttime conference about Shiva. Each carries a lantern as they walk and talk — two pinpoints of light against a scrim of trees — their conversation ending when Auntie’s lantern flickers out, leaving her and Teacher side by side in darkness. What makes this sequence so effective is the deliberate placement of the characters on the page and the meticulous attention to lighting; Nagabe has found an elegant — and wordless — way to demonstrate the characters’ shared resolve to protect Shiva, even though they remain suspicious of one another. Such carefully observed moments are a potent reminder that The Girl from the Other Side is an all-too-rare example of a manga whose story engages the heart and mind by suggesting, rather than saying, what the characters are feeling. Recommended.

The Girl From the Other Side: Siúil, a Rún, Vol. 4
Art and Story by Nagabe
Translated by Adrienne Beck
Seven Seas, 180 pp.

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

Children of the Whales, Vols. 1-2

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Children of the Whales suffers from the same problem as many prestige television shows: it boasts a thought-provoking premise, compelling lead characters, and sophisticated visuals, but is such a relentlessly downbeat experience that you’d be forgiven for abandoning ship after a few chapters.

The story unfolds aboard the Mud Whale, a sentient vessel. Its 513 inhabitants have been exiled from their homeland for over 90 years, drifting across a vast ocean of sand punctuated only by the occasional island or abandoned boat. Fourteen-year-old Chakuro is the community’s archivist, tasked with recording births and deaths, strange encounters, and changes in the Mud Whale’s leadership, events he catalogs with almost fanatical devotion. Making his job more bittersweet is the discrepancy between the “marked” residents, whose ability to wield magic (or “thymia,” in the series’ parlance) dooms them to a short lifespan, and the unmarked residents, whose normal lifespans have forced them into the role of caretakers and governors.

To stave off despair, the Mud Whale’s residents eschew emotional display — a point reinforced in the earliest pages of volume one, when Chakuro sheds a tear at a 29-year-old woman’s funeral. Immediately, his peers enjoin him not to weep, lest “the souls at the bottom of the sea cry out for you.” It’s a simple but effective scene, one that reminds us that the Mud Whale’s inhabitants are caught between the real prospect of extinction and the uncertain possibility of survival; only their fierce commitment to living in the present moment preserves their tenuous existence.

While scavenging for supplies on a seemingly deserted island, Chakuro stumbles across a blank-faced girl about his own age. She attacks him with swords and sorcery, only to collapse, unconscious, from the effort of casting a spell. Chakuro is frightened but intrigued, and brings Lykos back to the Mud Whale where he learns her true identity: she’s an apatheia, an emotionless soldier. “Emotions will destroy the world,” she informs Chakuro. “The outside world you want to know so badly about is ruled by people deficient in feeling, using apatheias who have no heart to fight a war without end.”

The next major plot development — a surprise attack — delivers the series’ first truly grim moments, as the Mud Whale’s inhabitants are beaten, impaled, and gunned down by unknown assailants. Though Chakuro and Lykos have been fleshed out enough to earn the reader’s pity, the sheer size of the cast and the suddenness of the ambush blunt the impact of the carnage; we can see that Chakuro is devastated by the loss of his childhood friend Sami, but Sami is such a stock character — innocent, impetuous, infatuated with Chakuro — that her gruesome death registers as a manipulative attempt to illustrate the truth of Lykos’ earlier comments about the outside world. That same kind of heavy-handed editorializing extends to the villains’ physical appearance as well. They look like Juggalos in chain mail, sporting maniacal grins that scream, “Sadists ahoy!”, a point underscored in the gleeful way in which they violate corpses and taunt sobbing victims.

The most frustrating thing about these frenetic chapters is that they seem fundamentally at odds with the deliberate pacing and meticulous world-building in volume one. In these introductory pages, Umeda maps every nook and cranny of the Mud Whale, creating an environment as imposing and intimate as Hayao Miyazaki’s Laputa. She approaches her character designs with same patience and care, bestowing a semblance of individuality on each resident while establishing their collective identity as a people. Even Chakuro’s frequent voice-overs — presumably read from the Mud Whale’s archives — play an important role in helping us experience time the way the Mud Whale’s residents do; there’s a lyrical quality to Chakuro’s narration that captures the rhythms of their day-to-day existence.

Yet for all Umeda’s world-building skills, Children of the Whales‘ dour tone puts the reader at arm’s length from the characters. Minus the flashes of joy, humor, and warmth that temper Miyazaki’s most downbeat films, Children of the Whales feels more like an episode of The Leftovers or Rectify than Castle in the Sky; it’s so utterly mirthless that it casts a pall over the reader instead of prompting deep thoughts or empathy for the characters. Take my manga, please!

CHILDREN OF THE WHALES, VOLS. 1-2 • BY ABI UMEDA • VIZ • RATED T+ (FOR OLDER TEENS)

Drifting Dragons, Vols. 1-2

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The nineteenth century whaler was a tough character. He’d board a ship in Nantucket or New Bedford, sail around the tip of South America and then into the Pacific hunting grounds in quest of sperm whales. Every aspect of his job was dangerous and unpleasant; as author Eric Jay Dolin notes in Leviathan: The History of Whaling in America, crewmen endured “backbreaking work, tempestuous seas, floggings, pirates, putrid food, and unimaginable cold” during their long stints at sea. At the end of a two- or three-year tour, a whaler might still be in debt from all the equipment he’d purchased at the outset of his journey, especially if the ship’s yield was low. Yet the gruesome work he performed was vital to the Victorian economy: whales’ bodies yielded the fat, bones, and oils that illuminated homes, corseted ladies, and gave shine and staying power to paint (Dolin 12).

The characters in Taku Kuwabara’s Drifting Dragons are engaged in a similar enterprise: they trawl the skies in a flying ship looking for dragons. The opening pages of the story make the connection between whaling and “draking” explicit, as we join the crew of the Quin Zaza on an aerial Nantucket sleigh ride. We glimpse a dragon through a parting in the clouds: first its back, then its tail, and finally the entire animal, as enormous and majestic as a blue whale. As the wounded dragon begins to tire, a crew member rappels down the tow line to plunge a harpoon into the animal’s back, delivering the final blow:

This image is a perfect introduction to draking, simultaneously conveying the peril and thrill of hunting such a powerful, swift animal at high altitude. Kuwabata’s thin, graceful lines and sparing use of screen tone capture the speed of the wind, the texture of the dragon’s skin, and the delicate feathering on the dragon’s ears, but also the vast emptiness of the sky. These details allow us to imagine for ourselves what it would be like to stand astride the dragon’s back, gazing at a mountain peak that’s poking above the clouds, or looking back at the ship and realizing the impossibility of rescue if something goes wrong.

As exciting as the dragon hunting sequences are, Drifting Dragons is as much an exercise in careful world-building as action-oriented storytelling. Kuwabara devotes page after page to the crew’s routines, capturing the heat, smell, and physical labor of stripping meat from bones and rendering fat. He also renders the physical environment of the Quin Zaza in precise detail, from the main deck and crow’s nest to the sleeping quarters and the hold, where most of the butchering, smoking, and boiling takes place. Last but not least, Kuwabara shows us how each member of the crew contributes to the functioning of the ship, and explains what first drew them to the skies.

Though the crew is drawn in broader strokes than the ship itself, the characters are distinctive enough to register as people with feelings, desires, motivations, and frustrations. Kuwabara is generous with his supporting cast, giving each a scene or subplot that reveals an unexpected facet of their personalities. Kuwabara lavishes the most attention, however, on the Mutt-and-Jeff duo of Mika and Takita: he’s a bold risk-taker with little regard for his own safety, while she’s a cautious newbie, eager to learn the ropes and prove her worth.

In trying to make Mika a more fully rounded character, however, Kuwabara depicts him as a swaggering gourmet, an Anthony Bourdain of the air. Mika is always dreaming up new strategies for preparing dragon meat, regaling his shipmates with lengthy monologues about a new technique he tried or goading the Quin Zaza’s cook into making his favorite dishes. This culinary concept carries over to the end of each chapter, which concludes with detailed recipes for Dragon Tail Meat Sandwich, Dragonet alla Diavola, and Pressed Dragon Liver Confit. These interludes aren’t very funny or appetizing; if anything, they feel more like a naked attempt to jump on the weird-cooking-manga bandwagon than an organic part of the story Kuwabara’s trying to tell.

If Drifting Dragons’ efforts at comedy fall flat, the manga is nonetheless engrossing. Kurabawa clearly knows the history of whaling, and has found a clever way to integrate those details into his fantasy world. At the same time, however, the vividness of the world he’s created has its own integrity; one could read Drifting Dragons in blissful ignorance of Moby Dick or The Wreck of the Whaleship Essex and still be swept up in the activity of the Quin Zaza’s crew and the thrill of flying alongside dragons in the clouds. Highly recommended.

WORKS CITED

Dolin, Eric Jay. Leviathan: The History of American Whaling. W.W. Norton & Co., 2007.

Kuwabata, Taku. Drifting Dragons, vols. 1-2. Translated by Adam Hirsch. Kodansha Advanced Media, LLC, 2018.

A First Look at The Promised Neverland

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Crack pacing, crisp artwork, and a shocking plot twist in chapter one — those are just three reasons to pick up The Promised Neverland when it arrives in comic shops on December 5th. The first volume is a masterful exercise in world-building, introducing the principal characters and the main conflict in a few economic strokes, avoiding the trap that ensnares so many fantasy authors: the info-dump introduction. Instead, the writer-artist team of Kaiu Shirai and Posuka Demizu allow the reader to figure out what’s happening by revealing important plot details as the characters uncover them, and letting the artwork establish the setting. That makes the very earliest pages of the story flow more like a rollercoaster than a Star Wars screen crawl, making every page turn feel like an urgent necessity.

The story begins at Grace Field House, an orphanage plucked from a Victorian novel: the main building is a homey Tudor villa that’s surrounded by open meadows and lush forest, perfect for a game of tag. Our first hint that something is amiss comes just six pages into the story, as Emma, the narrator, makes a mental note of all the things she’s grateful for: “a warm bed, delicious food” and “an all-white uniform.” Before we can ponder the significance of the uniform, however, Demizu inserts a panel revealing that every resident of Grace Field House has a number tattooed on her neck, a sure sign that the orphans are more prisoners than temporary wards:

A smattering of other clues — including a series of daily IQ tests and a fence encircling the property — reinforce our perception that Emma and her friends Roy and Norman are in grave danger. And while the earliest chapters occasionally bow to Shonen Jump convention with on-the-nose narration, it’s the artwork, not Emma’s voice-over, that makes each new revelation feel so sinister. Consider the panel that introduces the testing ritual:

In the first ten pages of the story, Demizu uses little to no shading to create volume or contrast, instead depicting the setting and characters through clean, graceful linework. The image above, which appears on pages 12-13, is the first time that we see such a dramatic use of tone; the students at the back of the frame look like they’re being swallowed by a black hole, while the students at the front sit under a klieg light’s glare. Demizu’s subsequent drawings are more restrained than this particular sequence, but her artwork becomes more detailed and complex than what we saw in the story’s first pages — it’s as if the setting is coming into focus for the first time, complicating our initial impressions of Grace Field House as a place of refuge.

I’m reluctant to say more about the plot, since the first chapter’s spell loses some of its potency if you know the Big Terrible Secret beforehand. (If you absolutely, positively must know what happens, Wikipedia has a decent, one-paragraph summary of the premise.) By the time Emma, Roy, and Norman realize the real purpose of their incarceration, however, the basic “rules” of the Promised Neverland universe have been firmly established, and the characters fleshed out enough for us to care whether they succeed in escaping. More importantly, the lead trio are smart and capable without seeming like miniature adults, making their likelihood of success seem uncertain, rather than preordained. That element of suspense may be difficult to sustain for 10 or 20 volumes, but hot damn — volume one is a nail-biter. Count me in for more!

Volume one debuts on December 5th in print and ebook form. Chapters 1-3 are available for free on the VIZ website; the story is currently being serialized in the English edition of Weekly Shonen Jump.

That Time I Got Reincarnated As a Slime, Vol. 1

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I’m a sucker for a great title, a tendency that’s yielded a bumper crop of disappointments through the years; I still haven’t purged the memory of a Screaming Broccoli album I purchased in 1988, or the 90 minutes I spent watching So I Married an Axe Murderer. I’m pleased to report That Time I Got Reincarnated As a Slime proved a better gamble than punk-rock vegetables, offering enough solid jokes and weird plot developments to sustain this reader’s interest. What surprised me the most about Reincarnated, however, wasn’t the premise — that’s clearly advertised in the title — nor the hero’s appearance — again, see title — but the story’s fundamentally optimistic message: there are always second chances in life.

The first chapter introduces us to Mikami, a 37-year-old virgin trapped in a lousy job. On a fateful afternoon, he impulsively saves a junior colleague from a knife-wielding attacker, an act of heroism that costs Mikami his life — as a human being, at least — and leads to his reincarnation in a fantasy realm that looks remarkably like World of Warcraft, Game of Thrones, and a hundred MMORPGs. Guided by an unseen dungeon master, Mikami reinvents himself as Rimuru, a slime monster who absorbs his enemies’ powers by eating them — a trick that quickly enables Rimuru to do remarkable things from healing the wounded to spinning thread.

What’s more remarkable about Rimuru is that he immediately puts his powers to work — for other people. (Well, monsters, really.) In chapter two, for example, he teaches a community of goblins how to defend themselves against a numerically superior opponent, helping them build sophisticated fortifications that repel a snarling pack of direwolves. (Paging George R.R. Martin!) Rimuru also bestows names on each member of the tribe, an act that transforms the once small and homely goblins into strapping specimens. That would be a good joke in and of itself, but it lands with greater impact because Rimuru’s act of generosity is consistent with what we saw of his human self, both in the prologue and in a brief flashback to his interactions with colleagues.

And speaking of jokes, Stephen Paul’s crisp translation plays an instrumental role in bridging the gap between the original novels and their manga adaptation by creating a distinctive, sardonic voice for Rimuru that situates him somewhere between audience surrogate and hero. The tone of Rimuru’s monologues captures the mixture of enthusiasm, wonder, and bewilderment with which he approaches new situations, great and small. After bestowing the names Gobta, Gobchi, Gobstu, Gobte, and Gobto on a family of goblins, for example, Rimuru heads off criticism from the reader by declaring, “I didn’t claim I was some kind of naming virtuoso!”, while a fortune teller’s romantic predictions prompt him to ask the same questions we’re thinking: “Do slimes even have genders? How do they multiply? Cell division?”

What Paul’s translation can’t do is goose the pacing. Manga-kaTaiki Kawakami makes a game effort to handle the first volume’s exposition as efficiently as possible, which results in many static panels of Rimuru learning the rules of play from the unseen dungeon master. Though the dialogue is punchy, the story unfolds in fits and starts, seesawing between short, intense bursts of action and leisurely scenes of Rimuru chatting with other characters, pondering one of his new-found abilities, or describing something that happened off camera. These info-dump passages are all the more tedious because Rimuru lacks the limbs, eyes, or mouth to adequately register surprise or awe at what he learns; what features he has — two pencil-line eyebrows — are frozen in a perma-scowl.

The other disappointing element of the manga adaptation is the paucity of female characters in volume one, a problem that series creator Fuse cheerfully acknowledges. “It’s quite possible not to have a heroine in a traditional sense,” he opines in the manga’s epilogue, “but not having any female characters whatsoever is a problem. There’s no beauty in the manga.” Kawakami’s strategy for addressing this issue is not to introduce an important character a little sooner than she appeared in the novels, or expand one of the minor female characters into a more essential figure, but to pile on the fan service by turning any gathering of female characters into a harem scene; I’m still scrubbing my eyeballs after reading a chapter in which an attractive elfling uses Rimuru as a boob shelf. (Worse still: someone cracks wise about E.I.L.F.s, a quip that wouldn’t have been funny in 2003, let alone 2017.)

For all its flaws, however, Reincarnated has its heart in the right place, using Rimuru’s adventures to demonstrate that it’s possible to make the most of any situation, no matter how improbable or unpromising it may seem at the outset. Better still, Reincarnated imparts its moral with tongue firmly in cheek, never lapsing into sappy earnestness about doing one’s best, or sacrificing yourself for the greater good. Of course, we haven’t seen what will happen if and when Rimuru stumbles into a second chance at romance, though volume one offers a few tantalizing clues about a future love interest. Here’s hoping that Rimuru begins his second — and potentially more terrifying — journey of romantic self-discovery without losing his wit or his wits.

THAT TIME I GOT REINCARNATED AS A SLIME, VOL. 1 • CREATED BY FUSE • MANGA BY TAIKI KAWAKAMI • CHARACTER DESIGNS BY MITZ VAH • TRANSLATED BY STEPHEN PAUL • KODANSHA COMICS • RATED: TEEN (13+) • 240 pp.

Ravina the Witch?

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Cute characters behaving badly — that’s been Junko Mizuno’s MO since her professional debut twenty years ago. Her latest work, Ravina the Witch?, is more picture book than manga, eschewing panels and word balloons for glossy, full-color illustrations, but the story it tells is pure Mizuno: a young woman meets a witch, inherits her wand, and then wanders the countryside meeting depraved men whose hobbies run the gamut from S&M to binge-drinking.

There’s a little more to the story, of course, since Mizuno loves to embroider a simple narrative with odd details. Ravina, we learn, was raised by crows in a junkyard, impervious to human custom and language. Once exiled from her home — by eminent domain, no less! — Ravina uses her new-found powers to cure disease, embarrass a cruel tyrant, and make mushrooms dance. She also finds time to work as a dominatrix and do crossword puzzles with an enormous owl. Oh, and she’s almost burned at the stake for being a witch.

As the plot suggests, Ravina sits somewhere between fractured fairytale and feminist rumination. Mizuno clearly recognizes the way in which female healers are viewed as both powerful and subversive; why else flirt with the idea that Ravina might be a witch, the quintessential symbol of dangerous femininity? Yet Mizuno’s obsession with food complicates any understanding of Ravina as a feminist text. In almost all of her works, from Pure Trance to Ravina the Witch?, Mizuno’s female characters binge, purge, and pop diet pills with ferocious abandon. Mizuno plays these scenes for uncomfortable laughs, blurring the line between criticism of the characters’ self-destructive behavior and critique of the cultural attitudes that fuel it. Ravina, for example, doesn’t just eat a meal; she gorges herself on animals, pies, and bottles of wine, with Cabernet-stained drool seeping down her chin. It’s not clear if Mizuno is showing us how the other characters see Ravina — as a repulsive, unstoppable force of nature — or if Mizuno is celebrating Ravina’s obvious pleasure in eating, defying social expectations that she be restrained, demure, or self-abnegating — in short, refusing to be lady-like in the presence of food.

The ambiguity of these binge-eating scenes stems, in part, from Mizuno’s trademark Gothic kawaii style, which subverts the true horror of what’s she depicting; even the most ruthless characters have soft, round faces that belie their rotten natures. (Heck, her maggots are cute.) Her illustrations are framed by a pleasing assortment of pastel doodles, with flowers, ravens, curlicues, and smiley-faced cabbages filling the nooks and crannies of every page. Although Mizuno is no stranger to full-color comics — all three of her VIZ titles are printed in color — Ravina is printed on glossy paper stock that enables Mizuno to exploit the natural shine and texture of metallic paints to striking effect, mitigating the flatness of her character designs and backgrounds with tactile accents.

Though Ravina the Witch? feels like a step forward for Mizuno’s artistry, story-wise it reads more like a remix of Cinderalla and Princess Mermaid. There’s nothing wrong with mining the same vein of inspiration to produce new works, but when your storytelling approach is this mannered, there are only so many times you can rehearse the same schtick before it feels tired. I’m not sure where Mizuno goes from here, but a gonzo sci-fi adventure, a crime procedural, or even a high-school comedy might give her fresh opportunities to stretch herself without rehashing the same Grimm plotline.

RAVINA THE WITCH? • BY JUNKO MIZUNO • TITAN COMICS • NO RATING (MATURE THEMES) • 48 pp.

Altair: A Record of Battles, Vol. 1

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Altair: A Record of Battles seems tailor-made for fanfic: it’s got a cast of achingly pretty men, a labyrinthine plot, and an exotic setting that freely mixes elements of Turkish, Austrian, and Bedouin cultures. Like other series that inspire such fan-ish activity — Hetalia: Axis Powers comes to mind — Altair is more interesting to talk about than to read, thanks to an exposition-heavy script and an abundance of second- and third-string characters; you’ll need a flowchart to keep track of who’s who.

The first volume begins promisingly enough. While visiting the Türkiye capitol, a diplomat from the neighboring Balt-Rhein Empire is assassinated in the streets, an arrow lodged in his back. Though the murder weapon suggests that someone in the Balt-Rhein military engineered the hit, Emperor Goldbalt’s mustache-twirling subordinate Louis Virgilio points the finger at Türkiye, insisting they produce the killer or face the ultimate consequence: war. Mahmut, the youngest member of the Türkiye generals’ council, impulsively decides to visit Goldblat’s court in an effort to prevent bloodshed and reveal the true culprit in Minister Franz’s death.

No matter how intensely the characters ball their fists or glower at each other, however, their drawn-out arguments over troop mobilization, international diplomacy, and rules of order are only moderately more entertaining than an afternoon of watching C-SPAN. Author Kotono Kato further burdens the script with text boxes indicating characters’ rank and title, and diagrams showing the distribution of power under the Türkiye “stratocracy,” details that add little to the reader’s understanding of why Balt-Rhein and Türkiye are teetering on the brink of war. Only a nighttime ambush stands out for its dynamic execution; it’s one of the few scenes in which Kato allows the pictures to speak for themselves, effectively conveying the ruthlessness of Mahmut’s enemies without the intrusion of voice-overs or pointed dialogue.

The characters are just as flat as the storytelling. Kato’s flair for costume design is symptomatic of this problem: she’s confused surface detail — sumptuous fabrics, towering hats, sparkling jewels — with character development. With the exception of Mahmut, whose passionate intensity and youthful arrogance are evident from the very first scene, the other characters are walking, talking plot devices whose personalities can be summed up in a word or two: “brash,” “devious,” “enthusiastic,” “mean.” (Also “hot” and “well dressed,” for anyone who’s keeping score.) The shallowness of the characterizations robs the Türkiye/Balt-Rhein conflict of urgency, a problem compounded by Kato’s tendency to wrap things up with epilogues that are as baldly worded as a textbook study guide. At least you’ll be prepared for the quiz.

The bottom line: History buffs will enjoy drawing parallels between the Türkiye and Balt-Rhein Empires and their real-life inspirations, but most readers will find Altair too labored to be compelling — unless, of course, they’re looking for fresh opportunities to ‘ship some handsome characters.

ALTAIR: A RECORD OF BATTLES, VOL. 1 • BY KOTONO KATO • KODANSHA COMICS • RATED T, FOR TEENS • DIGITAL ONLY

The Girl From the Other Side: Siúil, a Rún, Vol. 1

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On the surface, The Girl From the Other Side: Siúil, a Rún looks like a fairy tale. It unfolds in a long-ago, far-away place governed by one simple rule: humans and Outsiders must never cross paths. The principal characters are Shiva, a young girl, and Teacher, an Outsider who adopted Shiva after finding her alone in the woods. At first glimpse, their situation seems idyllic, two opposites living harmoniously in a charming little cottage — that is, until the human and demon worlds take interest in Shiva, testing Teacher’s commitment to protecting her.

Probe a little deeper, however, and it becomes clear that the manga’s nuanced characterizations elevate Shiva and Teacher from fairy tale archetypes to fully realized characters. Shiva, for example, talks and acts like a real six-year-old, toggling between moments of impetuousness and thoughtfulness. Though she is obviously fond of Teacher, she fantasizes about a reunion with her aunt, fervent in her desire to rejoin the human world. Shiva has an inkling that Teacher might be “sad” if she left, but she cannot fully appreciate his anguish over their possible separation. (Translator Adrienne Beck and adaptor Ysabet Reinhardt MacFarlane deserve special mention for voicing Shiva’s dialogue with naturalism; Shiva never sounds older or wiser than her years.)

The sophisticated artwork, too, plays an important role in transporting the reader to a specific place and time, rather than simply “long ago.” Nagabe’s elegant pen and ink drawings demonstrate a superb command of light; using washes and cross-hatching, she evokes a world lit by fire, where the glow of a candle casts a small spell against the darkness, and monsters lurk in the shadows. Her figure drawings are likewise strong, neatly conveying the characters’ personalities in a few well-chosen details. Teacher, for example, is a clever amalgamation of animal and demon parts. His most menacing features — his mouthless face and piercing eyes — are tempered by the way he carries himself; he’s fastidious in his movements and dress, gliding through the woods with the graceful, upright posture of a dancer.

Lest The Girl From the Other Side sound mawkish or precious, the brisk pacing and crisp dialogue prevent the story from sagging under the poignancy of the characters’ dilemma. It’s perhaps a little early to nominate it for a “Best of 2017” award, but this promising first volume demonstrates a level of craft, imagination, and restraint that’s sorely lacking in many fantasy manga. Highly recommended.

THE GIRL FROM THE OTHER SIDE: SIUIL, A RUN, VOL. 1 • BY NAGABE • SEVEN SEAS • RATING: ALL AGES

Drifters, Vol. 1

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Back in the 1980s — the heyday of Dolph Lundgren, Arnold Schwarzenegger, and Sylvester Stallone — Hollywood cranked out a stream of mediocre but massively entertaining B-movies in which a man with a freakishly muscular physique and a granite jaw battled the Forces of Evil, dispatching villains with a catch-phrase and a lethal weapon. I don’t know if Kohta Hirano ever watched Predator or Red Scorpion, but Drifters reads like the first draft of a truly awesome eighties movie, complete with a trademark phrase — “Say farewell to your head!” — and a simple but effective premise that promises lots of silly, over-the-top fight scenes.

The Dolph Lundgren character — if I might be allowed to call him that — is Shimazu Toyohisa, a Satsuma warrior facing long odds at the Battle of Sekigahara (1600). Just as Shimazu’s death seems imminent, he finds himself transported to an alternate dimension, one in which mankind’s greatest warriors — Hannibal, Nobunaga Oda, Joan of Arc — have been assembled for an elaborate game. The purpose and rules of the game remain elusive, but the primary objective seems to be mass destruction: the game’s organizer unleashes hordes of ghouls and dragons on Shimazu and his allies, in the process laying waste to cities, forts, and crops.

Like all good Schwarzenegger or Stallone vehicles, Drifters makes a few token gestures towards subplot and world-building. Shimazu helps a group of elves resist their oppressors, for example, teaching them the manly art of standing up for themselves. Hirano provides so little explanation for the elves’ marginalized status, however, that the entire episode registers as a stalling tactic for the climatic battle at volume one’s end, a half-hearted effort to show us that however unhinged or deadly Shimazu may be, he knows injustice when he sees it.

Drifters’ other shortcoming is the artwork. Hirano’s clumsy character designs make the entire cast look like Picasso’s Les Demoiselles d’Avignon, with huge, sunken eyes, large, triangular noses, and blocky torsos. Though one might reasonably argue that Picasso’s bodily distortions were a deliberate aesthetic choice, it’s harder to make the same case for Hirano’s work; his characters’ mitt-like hands and poorly executed profiles suggest a poor command of perspective, rather than an artistic challenge to it.

Hirano’s action scenes suffer from an entirely different problem: they’re riotously busy, bursting at the seams with too many figures, monsters, and weapons, overwhelming the eye with visual information. One could be forgiven for thinking that Hirano was trying to out-do Peter Jackson; not since Sauron flattened the forces of Middle Earth have so many warriors and monsters been assembled in one scene to less effect. Looking at the opening chapter, however, it’s clear than Hirano can stage a credible battle scene when he wants to: he depicts the Battle of Sekigahara as a churning mass of horses, samurai, and swords, effectively capturing the confusion and claustrophobia of medieval combat. Once dragons and orcs enter the picture, however, the action scenes begin to lose their urgency and coherence, substituting the terrible immediacy of hand-to-hand fighting for larger, noisier air battles where the stakes are less clearly defined.

It’s a pity that Drifters is so relentless, as the story certainly has the potential to be a guilty pleasure; what’s not to like about a manga in which Japan’s greatest feudal warriors fight alongside Hannibal, Joan of Arc, and elves? What Hirano needs is a little restraint: when the story is cranked up to eleven from the very beginning, the cumulative effective is deafening, making it difficult for the reader to hear the endearingly cheesy dialogue above the clank of swords and explosions. And if there’s anything I learned from watching old chestnuts like Commando, it’s that even the most testosterone-fueled script needs to pause long enough for the hero to utter his catch phrase.

DRIFTERS, VOL. 1 • BY KOHTA HIRANO • DARK HORSE • 208 pp.  RATING: OLDER TEEN

Drifters, Vol. 1

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Back in the 1980s — the heyday of Dolph Lundgren, Arnold Schwarzenegger, and Sylvester Stallone — Hollywood cranked out a stream of mediocre but massively entertaining B-movies in which a man with a freakishly muscular physique and a granite jaw battled the Forces of Evil, dispatching villains with a catch-phrase and a lethal weapon. I don’t know if Kohta Hirano ever watched Predator or Red Scorpion, but Drifters reads like the first draft of a truly awesome eighties movie, complete with a trademark phrase — “Say farewell to your head!” — and a simple but effective premise that promises lots of silly, over-the-top fight scenes.

The Dolph Lundgren character — if I might be allowed to call him that — is Shimazu Toyohisa, a Satsuma warrior facing long odds at the Battle of Sekigahara (1600). Just as Shimazu’s death seems imminent, he finds himself transported to an alternate dimension, one in which mankind’s greatest warriors — Hannibal, Nobunaga Oda, Joan of Arc — have been assembled for an elaborate game. The purpose and rules of the game remain elusive, but the primary objective seems to be mass destruction: the game’s organizer unleashes hordes of ghouls and dragons on Shimazu and his allies, in the process laying waste to cities, forts, and crops.

Like all good Schwarzenegger or Stallone vehicles, Drifters makes a few token gestures towards subplot and world-building. Shimazu helps a group of elves resist their oppressors, for example, teaching them the manly art of standing up for themselves. Hirano provides so little explanation for the elves’ marginalized status, however, that the entire episode registers as a stalling tactic for the climatic battle at volume one’s end, a half-hearted effort to show us that however unhinged or deadly Shimazu may be, he knows injustice when he sees it.

Drifters’ other shortcoming is the artwork. Hirano’s clumsy character designs make the entire cast look like Picasso’s Les Demoiselles d’Avignon, with huge, sunken eyes, large, triangular noses, and blocky torsos. Though one might reasonably argue that Picasso’s bodily distortions were a deliberate aesthetic choice, it’s harder to make the same case for Hirano’s work; his characters’ mitt-like hands and poorly executed profiles suggest a poor command of perspective, rather than an artistic challenge to it.

Hirano’s action scenes suffer from an entirely different problem: they’re riotously busy, bursting at the seams with too many figures, monsters, and weapons, overwhelming the eye with visual information. One could be forgiven for thinking that Hirano was trying to out-do Peter Jackson; not since Sauron flattened the forces of Middle Earth have so many warriors and monsters been assembled in one scene to less effect. Looking at the opening chapter, however, it’s clear than Hirano can stage a credible battle scene when he wants to: he depicts the Battle of Sekigahara as a churning mass of horses, samurai, and swords, effectively capturing the confusion and claustrophobia of medieval combat. Once dragons and orcs enter the picture, however, the action scenes begin to lose their urgency and coherence, substituting the terrible immediacy of hand-to-hand fighting for larger, noisier air battles where the stakes are less clearly defined.

It’s a pity that Drifters is so relentless, as the story certainly has the potential to be a guilty pleasure; what’s not to like about a manga in which Japan’s greatest feudal warriors fight alongside Hannibal, Joan of Arc, and elves? What Hirano needs is a little restraint: when the story is cranked up to eleven from the very beginning, the cumulative effective is deafening, making it difficult for the reader to hear the endearingly cheesy dialogue above the clank of swords and explosions. And if there’s anything I learned from watching old chestnuts like Commando, it’s that even the most testosterone-fueled script needs to pause long enough for the hero to utter his catch phrase.

DRIFTERS, VOL. 1 • BY KOHTA HIRANO • DARK HORSE • 208 pp.  RATING: OLDER TEEN

The Manga Hall of Shame: The Qwaser of Stigmata

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Though I frequently grouse about fanservice , I have a grudging respect for those artists who make costume failures, panty shots, and general shirtlessness play essential roles in advancing their plots. Consider Pretty Face, the story of a teenage jock who undergoes reconstructive surgery after a bus accident, only to end up looking like the girl he has a crush on (at least from the waist up). You don’t need to be a pervert to imagine how Yasuhiro Kano exploits the set-up for maximum T&A potential — even the hero gets groped and ogled, though Rando isn’t above leering at and lusting after girls himself. I loathe Pretty Face, yet I have to admit that Kano obviates the need for gusts of wind and breast-level collisions by making gender confusion such a fundamental part of his story; the fanservice may be gross and stupid, but it isn’t gratuitous.

Then there’s The Qwaser of Stigmata.

Qwaser raises the panty-shot-as-plot-element stakes, then kicks Pretty Face down the stairs, taunts it, and takes its lunch money with a gimmick so offensive I’m almost embarrassed to type the words: the characters rely on breast milk for their superpowers. Those characters have chosen St. Mihailov Academy as ground zero for an epic showdown involving religious icons, nubile maidens, and weapons derived from the periodic table of the elements. (No doubt Dmitri Mendeleev is tossing in his grave right now.) From the standpoint of an artist writing for a shonen magazine like Monthly Champion Red, the parochial school setting provides the perfect vehicle for celebrating fetishes under the guise of world-building. No stone goes unturned, from busty nuns and busty schoolgirls to moe-bait characters in spectacles and knee socks; there’s even a bit of fan service for the ladies that takes the form of a smoldering priest in an eyepatch and a sullen, silver-haired Russian named Alexander “Sasha” Nikolaevich Hell. (Or “Her,” in the Tokyopop translation.)

As with most manga featuring combatants of the cloth, the religious iconography seems more a pretext for cool outfits than an integral part of the story. The characters occasionally pause to contemplate the Theotokos of Tsarytsin, a religious icon depicting the Virgin Mary nursing the baby Jesus, but why they want the icon remains mysterious; only by consulting the Wikipedia entry on Qwaser did I learn that this particular image is “fabled to alter the homeostasis of the world.” For a manga exploring a religion that’s sure to be a mystery to most of its readers, in- and outside Japan, it’s curious that no one ever discusses what Russian Orthodox Christians believe, how they practice their faith, or what caused doctrinal crises within the Russian Church — a pity, because as this Slavophile will tell you, there is a boffo manga to be written about the Old Believers’ showdown with Peter the Great. (Don’t believe me? Rent a DVD of the Mariinski Theater’s production of Khovanshchina, an opera so badass that several characters immolate themselves rather than submit to Peter’s will.) The few other references to religion are more window-dressing than anything else; Qwasers, those holy warriors of the periodic table, fight alongside “Maria Magdalens,” described by Wikipedia’s anonymous authors as “the alter-ego combat partner of a Qwaser whose primary function is to provide soma [breast milk] not unlike how one may refuel a car or even a warplane while in flight.” (After reading that sentence, I’m not sure which is more egregious: the Wikipedia authors’ attempt to write about Qwaser in a pseudo-scientific voice, or the manga-ka’s decision to call these women “Maria Magdalens.”)

If the fanservice and faux-religious elements weren’t quite enough to land Qwaser a spot in The Manga Hall of Shame, the dreadful artwork and ADD plotting put it over the top. The fight scenes are utterly incomprehensible, a blur of speedlines, explosions, and whirling dervishes punctuated by the occasional pin-up drawing of a character brandishing a weapon or enduring some unpleasant, sexually tinged violence. The plotting isn’t much better, as the story skips between cliche scenes of classroom bullying and tortured, confusing conversations between the series’ two principal female characters. The dialogue takes the cake for sheer awfulness, however; it’s the kind of series in which villains state the atomic weight of the elements they’re manipulating, exclaim nonsense like “My heart that burns will slice through you!”, and utter things so vile that that the publisher substitutes the word “bleep” for references to female genitalia and sexual congress.

The bottom line: The Qwaser of Stigmata is a shonen manga that aspires to the subversiveness of porn, but doesn’t have the imagination or the weirdness to rise to the level of genuine kink.

THE QWASER OF STIGMATA, VOL. 1: HOLY WARS IGNITE • ART BY KENETSU SATO, STORY BY HIROYUKI YOSHINO • TOKYOPOP • 200 pp. • RATING: MATURE (18+)

Kobato, Vol. 1

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Kobato Hanato has a job to do: if she can fill a magic bottle with the pain and suffering of people whose lives she’s improved, she’ll have her dearest wish come true. There’s just one problem: Kobato is completely mystified by urban life, and has no idea how to identify folks in need of her help. Lucky for her, Ioryogi, a blue dog with a foul mouth and fierce temper, has been appointed her sensei and guardian angel, tasked with helping Kobato develop the the street smarts necessary for completing her mission.

It’s perfectly possible to read Kobato as a story about a sweet, clueless girl who teams up with a gruff but lovable animal to collect wounded hearts. That book is beautifully drawn, but isn’t terribly interesting; most of the stories follow the same template so, well, doggedly, that even the most committed fan of cute would find Kobato too repetitive to be much fun. A more productive way to understand Kobato is as a moe parody, a gleeful skewering of an entire genre in which the cute, underage heroine’s primary role is to endear herself to readers with her mixture of enthusiasm, naivete, and sensitivity.

Exhibit A in the case for moe parody: CLAMP has provided Kobato with a name and a mission, but no history that would explain her bizarre behavior. (Is she an amnesiac? An alien? A simpleton?) Nor does CLAMP reveal Kobato’s deeper motivation for collecting wounded souls. “There’s a place I want to go!” she cheerfully tells Ioryogi without elaborating on the why and where. Exhibit B: Kobato’s behavior seldom endears her to anyone. When Ioryogi instructs her to “do the things that are appropriate for Christmas,” for example, Kobato casually asks a stranger to spend the night with her in a hotel, to the consternation of his girlfriend, while an old man interprets her request to “heal his heart” as a solicitation for sex. Exhibit C: Ioryogi has a sadistic streak that far outstrips the basic demands of the plot. Though his comments are shockingly abrasive at first, it doesn’t take long for the reader to realize that Ioryogi’s assessment of Kobato is spot-on; in effect, he gives the audience permission to dislike Kobato, despite her sweet face and Holly Hobbie outfit.

CLAMP has performed this sleight of hand before with Chobits, another series that can be read as a straightforward genre exercise or a parody. In the case of Chobits, CLAMP starts from the basic nebbishy-guy-meets-magical-girl premise, adding some perverse ruffles and flourishes that call attention to the genre’s more unsavory aspects. (Chi, the magical girl/robot/love interest, behaves like a horny frat guy’s idea of the perfect girlfriend, eschewing underwear, hanging on her owner’s every word, and buying him porn magazines as a gift.) The complexity of the story and the size of the cast eventually overwhelm the satire, however, making it hard for the reader to know how, exactly, she’s supposed to react to Chi and Hideki’s relationship. In Kobato, on the other hand, CLAMP strips things down to the bare essentials, putting the focus squarely on the darkly comic hijinks.

Lest I make Kobato sound unbearably mean-spirited, the manga equivalent of kicking a puppy, let me assure you that it’s actually good fun. Ioryogi, the unquestionable star of the series, is a hoot; CLAMP wrings considerable laughs from the cognitive dissonance between his cute, doll-like appearance and his destructive rages, martial arts moves, and unsavory habits. (Like Mokona Modoki, Ioryogi is always jonesing after beer or sake.) Long-time CLAMP fans will enjoy the cameos sprinkled throughout the book, as characters from Chobits, Suki, and xxxHolic cross paths with Kobato in subtle, unexpected ways — think Where’s Waldo for the Card Captor Sakura crowd. (Bonus points if you can identify the characters without consulting the translation notes.) As one might expect, the artwork is clean and elegant, filled with beautiful costumes, lovely title pages, and crisply executed action sequences in the manner of Tsubasa: Reservoir Chronicles.

A quick glance at the Wikipedia entry suggests that future volumes of Kobato may cant more towards romance than satire. So long as Ioryogi is along for the ride, however, I’m confident that Kobato will remain edgy enough for readers, like me, who have a limited tolerance for insipid heroines. Recommended.

Review copy provided by Yen Press. Volumes one and two of Kobato will be released simultaneously on May 18, 2010.

KOBATO, VOL. 1  • CLAMP • YEN PRESS • 160 pp. • RATING: TEEN (13+)