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Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

Katsuhiro Otomo

The Manga Review: Looking Backward

January 6, 2023 by Katherine Dacey Leave a Comment

Buckle up, dear reader; this week’s Manga Review is bursting at the seams!

The first order of business? The best (and worst) of 2022. The Comics Journal recently posted its annual list, polling thirty-three critics, artists, editors, and scholars about their favorite titles. While some of the nominations were predictable—there were a lot of folks praising Kate Beaton’s Ducks—there were also a refreshing number of contributors who discussed their manga-reading habits, among them Ritesh Babu, Helen Chazan, Austin English, Charles Hatfield, Chris Mautner, Joe McCulloch, and Katie Skelly. The Beat’s 30 Best Comics of 2022 had fewer manga entries but offered a more balanced list of mainstream and indie comics, as did The Mary Sue, which gave nods to Junji Ito and Yamada Murasaki in its list of the 30 Best Comics and Graphic Novels of 2022, and From Cover to Cover, which named Gengoroh Tagame’s Our Colors among the year’s best titles. Perhaps the most interesting list was Polygon’s 10 Best Comics of 2022, which gave shout-outs to Look Back and Yokohama Kaidashi Kikou as well as Jamilla Rowser and Robyn Smith’s Wash Day Diaries.

Readers in search of manga-only lists will find plenty to choose from, including Okazu’s Best Yuri of 2022, But Why Tho’s Top BL Manga of 2022, and Anime UK News’s favorite Manga, Manhwha, and Light Novels of 2022. Also worth a look: Asian Movie Pulse’s 10 Best Manga Releases of 2022, Beneath the Tangles’ Best Manga of 2022, Bounding Into Comics’ Top 10 New Manga Series of 2022, CBR’s Best New & Ongoing Manga of 2022, Game Rant’s 10 Best Manga of 2022, The Outerhaven’s Top 5 Manga of 2022, and Screen Rant’s 10 Best Manga of 2022. Last but not least, I posted my first Best and Worst Manga list in… (checks notes) seven years, focusing on the titles that most delighted and annoyed me in 2022.

NEWS…

Did you know the New York Times has revived its Graphic Books and Manga Bestseller List? (Me, neither.) By whatever metrics they’re using, Chainsaw Man and Shuna’s Journey are selling briskly but not as well as Dav Pilkey’s perennially popular Cat Kid and Dog Man series. [The New York Times]

To mark the twentieth anniversary of Yuricon, Erica Friedman is moving the event online and reimagining the format “as a series of presentations and panels to be held online throughout the year on Yuri Studio.” Anyone interested in organizing a panel or giving a presentation at Yuricon 2023 is encouraged to fill out an application at Okazu. [Okazu]

Publishers Weekly compiles its “top-15 most-read articles on comics” and, to no one’s surprise, “Manga Is Booming” topped the list. [PW]

Shonen Jump readers take note: the cost for US subscribers is going up a $1.00/month. Krystallina offers more context for the rate increase, and reflects on the state of the digital manga market. [The OASG]

Wondering what new series you can expect to see at your local bookstore this month? Bill Curtis has you covered with a comprehensive list of January’s manga and light novel releases. [Yatta-Tachi]

…AND VIEWS

Fatimah explains why Tenmaku no Jendoogar (A Witch’s Life in Mongol) deserves an English-language release. The title, which won a 2023 Kono Manga ga Sugoi Award, focuses on an Iranian girl “who’s a captive of the Mongol Empire and uses her education to her advantage.” Fatimah provides insight into the time period in which the story takes place, discusses one of the real-life characters who appears in the story, and praises the artwork for its graceful fusion of Japanese and Persian sensibilities. [Saffron Apple Pie Manga Recs]

In a generously illustrated essay, Leo Flemisch argues that “few cartoonists have explored what it means to exit childhood as profoundly as Japanese manga artist Taiyō Matsumoto.” [SOLRAD]

Marcel Green compares Shonen Jump‘s most recent crop of titles with older series and notices that the magazine has shifted away from stories that “center on an individual’s quest for glory or redemption” to stories that “focus on the individual’s connection with their family.” [Screen Rant]

Ana Diaz explains why fans of the Chainsaw Man anime should read the manga, too. [Polygon]

Over at Drop-In to Manga, Tony Yao uses the teacher-student dynamic in Akane-banashi as a jumping-off point for exploring mental myopia. [Drop-In to Manga]

Cy Catwell offers a thoughtful reflection on why I Am a Wall mattered to them in 2022. “Trauma is a vicious thing, and yet I Want to Be a Wall is a reminder that trauma has an opposite: healing,” they write. “This is the crux of I Want to Be a Wall’s narrative, a reminder that there are ways to be happy, ways to survive and even thrive in the world when healing is centered, when you no longer are forced to always feel strange.” [Anime Feminist]

LISTENING IN

Over at Manga Machinations, Seamus, Morgana, Darfox8, and dakazu unveil the winners of their Best Manga of 2022 Awards in categories ranging from Most Enjoyable to There’s Still Hope. [Manga Machinations]

Not to be outdone, David and Jordan hand out “the most prestigious awards in canceled manga – The Shonen Flop Awards aka The Floppies,” naming their favorite—and least favorite—titles of the year. [Shonen Flop]

Also weighing in on the year’s best manga are Ray and Gee, hosts of Read Right to Left. [Read Right to Left]

Justin and Helen close out 2022 with a look at the year’s weirdest anime and manga news. [The OASG Podcast]

For their final podcast of 2022, Elliot and Andy look at two fantasy series: Reincarnated as a Sword and Colorless. [Screentone Club]

Manga Mavericks Colton and Lum weigh in on four new series available on the Shonen Jump website: The Ichinose Family’s Deadly Sins, Cipher Academy, Ichigoki’s Under Control!!, and Fabricant 100. [The Manga Mavericks]

The dynamic duo of Ed Piskor and Jim Rugg take a deep dive into GENGA: Otomo Katsuhiro Original Pictures. First published in 2012, GENGA offers readers insight into Otomo’s approach to character design and layout, as well as rare glimpses of his work as a commercial illustrator. [Cartoonist Kayfabe]

REVIEWS

Johanna Draper Carlson explains why she doesn’t make the recipes in What Did You Eat Yesterday?, while Jaime explains why she found A Tropical Fish Yearns for Snow disappointing. On the capsule review front, the staff at Beneath the Tangles offer pithy assessments of Dandadan, My Gently Raised Beast, and SHY, my Manga Bookshelf colleagues weigh in on Captain Corinth, Skip and Loafer, and Usotoki Rhetoric, and WWAC’s Carrie McClain tackles the latest crop of manga and light novels from Seven Seas.

New and Noteworthy

  • Baby Bear’s Bakery (Megan D., The Manga Test Drive)
  • Blitz, Vol. 1 (Adam Symchuk, Asian Movie Pulse)
  • The Boxer, Vol. 1 (Adam Symchuk, Asian Movie Pulse)
  • The Boxer, Vol. 1 (Kristin, Anime Collective)
  • Captain Corinth: The Galactic Navy Officer Becomes an Adventurer, Vol. 1 (Danica Davidson, Otaku USA)
  • Deadpool: Samurai, Vol. 1 (A Library Girl’s Familiar Diversions)
  • Death Note: Short Stories (A Library Girl’s Familiar Diversions)
  • Dr. Stone, Vol. 1 (A Library Girl’s Familiar Diversions)
  • The Geek Ex-Hitman, Vol. 1 (A Library Girl’s Familiar Diversions)
  • Heavenly Demon Reborn, Vol. 1 (Adam Symchuk, Asian Movie Pulse)
  • I’m a Terminal Cancer Patient But I’m Fine (A Library Girl’s Familiar Diversions)
  • My Gently Raised Beast, Vol. 1 (Brett Michael Orr, Honey’s Anime)
  • The Girl I Like Forgot Her Glasses, Vol. 1 (Darkstorm, Anime UK News)
  • The Girl I Like Forgot Her Glasses, Vol. 1 (Danica Davidson, Otaku USA)
  • Loved Circus (Rebecca Silverman, ANN)
  • Midnight Rain (A Library Girl’s Familiar Diversions)
  • Mission: Yozakura Family, Vol. 1 (Sara Smith, The Graphic Librarian)
  • Mission: Yozakura Family, Vols. 1-2 (King Baby Duck, Boston Bastard Brigade)
  • Oshi no Ko, Vol. 1 (Kristin, Anime Collective)
  • My Stepsister Who Tells Me to Die Every Day Tries to Hypnotize Me So I Would Fall for Her…! (Danica Davidson, Otaku USA)
  • Romantic Killer, Vol. 1 (Ivanir Ignacchitti, Noisy Pixle)
  • The Remarried Empress, Vol. 1 (Adam Symchuk, Asian Movie Pulse)
  • Romantic Killer, Vols. 1-2 (Christopher Farris, ANN)
  • She Loves to Cook and She Loves to Eat, Vol. 1 (Karen Gellender, The Fandom Post)
  • SHY, Vol. 1 (Brett Michael Orr, Honey’s Anime)
  • SHY, Vol. 1 (Adam Symchuk, Asian Movie Pulse)
  • So What’s Wrong with Getting Reborn as a Goblin?, Vol. 1 (Rebecca Silverman, ANN)
  • Thus Spoke Rohan Kishibe, Vol. 1 (Brandon Danial, The Fandom Post)
  • Tomb Raider King, Vol. 1 (Richard Gutierrez, The Fandom Post)
  • Touring After the Apocalypse, Vol. 1 (Harry, Honey’s Anime)
  • Touring After the Apocalypse, Vol. 1 (Antonio Mireles, The Fandom Post)
  • True Beauty, Vol. 1 (A Library Girl’s Familiar Diversions)
  • Tsubaki-Chou Lonely Planet, Vol. 1 (Krystallina, The OASG)
  • Turning the Tables on the Seatmate Killer, Vol. 1 (Justin, The OASG)
  • Unnamed Memory, Vol. 1 (Demelza, Anime UK News)
  • Wistoria: Wand and Sword, Vol. 1 (Demelza, Anime UK News)
  • The Wrong Way to Use Healing Magic, Vol. 1 (Noemi10, Anime UK News)
  • Yokohama Kaidashi Kikou, Vol. 1 (Megan D., The Manga Test Drive)
  • YoRHa: Pearl Harbor Descent Record, Vol. 1 (Krystallina, The OASG)
  • Zombie Makeout Club, Vol. 1 (Adam Symchuk, Asian Movie Pulse)

Complete and Ongoing Series

  • The Abandoned Empress, Vol. 3 (Noemi10, Anime UK News)
  • Beauty and the Feast, Vol. 5 (Krystallina, The OASG)
  • Deadpool: Samurai, Vol. 2 (A Library Girl’s Familiar Diversions)
  • Even Though We’re Adults, Vol. 5 (Jaime, Yuri Stargirl)
  • Fist of the North Star, Vols. 6-7 (King Baby Duck, Boston Bastard Brigade)
  • For the Kid I Saw in My Dreams, Vol. 9 (Josh Piedra, The Outerhaven)
  • Hello, Melancholic!, Vol. 3 (Erica Friedman, Okazu)
  • I Belong to the Baddest Girl at School, Vol. 6 (Josh Piedra, The Outerhaven)
  • I Cannot Reach You, Vol. 5 (Sarah, Anime UK News)
  • In the Land of Leadale, Vol. 2 (Kate O’Neil, The Fandom Post)
  • Kanna’s Daily Life, Vol. 10 (King Baby Duck, Boston Bastard Brigade)
  • Kimi ni Todoke, Vol. 2 (SKJAM! Reviews)
  • Kowloon Generic Romance, Vol. 2 (Sarah, Anime UK News)
  • Love After World Domination, Vol. 5 (Justin, The OASG)
  • Love and Heart, Vol. 6 (Josh Piedra, The Outerhaven)
  • Mint Chocolate, Vol. 6 (Josh Piedra, The Outerhaven)
  • My Happy Marriage, Vol. 3 (Krystallina, The OASG)
  • Orient, Vols. 7-8 (Onosume, Anime UK News)
  • Rooster Fighter, Vol. 2 (King Baby Duck, Boston Bastard Brigade)
  • A School Frozen in Time, Vol. 4 (Sara Smith, The Graphic Library)
  • Shonen Note, Vol. 1 (Megan D., The Manga Test Drive)
  • Soul Eater: The Perfect Edition, Vol. 9 (Krystallina, The OASG)
  • The Story of Lee, Vol. 1 (SKJAM! Reviews)
  • Summertime Rendering, Vol. 6 (Sara Smith, The Graphic Library)
  • Sword Art Online: Realization, Vol. 4 (Karen Gellender, The Fandom Post)
  • Why Raeliana Ended Up at the Duke’s Mansion, Vol. 2 (Noemi10, Anime UK News)

Filed Under: FEATURES Tagged With: Best of 2022, Chainsaw Man, Katsuhiro Otomo, Shonen Jump, Taiyo Matsumoto, Yuricon

My Week in Manga: October 30-November 5, 2017

November 6, 2017 by Ash Brown

My News and Reviews

Last week at Experiments in Manga I announced the winner of the Oresama Teacher giveaway. The post also includes a select list of some of the manga released in English that have notable delinquents (and in some cases ex-delinquents) in them. In licensing news, Dark Horse recently announced that it will be releasing The Flame Dragon Knight, a novel by Makoto Fukami which is based on Kentaro Miura’s manga series Berserk. Also, Yen Press is adding more yuri to its catalog: the manga anthology Eclair and the light novel adaptation of Napping Princess will both be released in English in 2018.

Quick Takes

Yokai Rental Shop, Volume 1Yokai Rental Shop, Volume 1 by Shin Mashiba. I greatly enjoyed Mashiba’s earlier manga series Nightmare Inspector: Yumekui Kenbun and so was very excited when Yokai Rental Shop was licensed. I have been looking forward to giving the manga a try not only because of Mashiba’s involvement but also because yokai play a prominent role. Hiiragi is a public servant who recently learned, on his mother’s deathbed, that he has a half-brother. Initially he’s thrilled, but then he actually meets Karasu, a man who doesn’t hesitate to help his customers realize their darkest desires. So far, Yokai Rental Shop has yet to really distinguish itself from any number of other horror series featuring a supernatural boutique. Additionally, one of the things that made Nightmare Inspector so engaging–the use of a wide variety of illustration styles–is largely missing from Yokai Rental Shop. The major exception to this is how most of the yokai in the spirit district are drawn to be more reminiscent of traditional ink drawings, an artistic touch that I particularly appreciated. While at this point Nightmare Inspector would seem to be the stronger manga of the two, there’s enough about Yokai Rental Shop that interests me that I plan on continuing the short series.

Otomo: A Global Tribute to the Mind Behind AkiraOtomo: A Global Tribute to the Mind Behind Akira edited by Julien Brugeas and Ben Applegate. In 2015, Katsuhiro Otomo won the Angoulême International Comics Festival’s Grand Prix, a prestigious award recognizing comics creators for their lifetime achievements. As part of the celebration, an art exhibition showing work by creators from around the world in a tribute to Otomo was held. A limited-edition catalog of illustrations was also produced at that time, becoming the basis for the Otomo artbook. The English-language edition expands upon the original and includes contributions from more than eighty creatives, resulting in an attractive, oversized, 168-paged hardcover volume. Otomo is probably best known as the creator of Akira, so it isn’t too surprising that most of the artwork in Otomo make reference to either the anime or manga version of that story, but other works like Domu also provide a source of inspiration. There is a fantastic variety and a great range of styles represented in Otomo; some of the individual pieces are truly stunning. Accompanying each illustration is a short biography of the artist. Some also include a section in which the contributors write about their encounters with Otomo and his work. (I wish there were more of these.)

Juni Taisen: Zodiac WarJuni Taisen: Zodiac War written by Nisiosin, illustrated by Hikaru Nakamura. My interest in the Juni Taisen novel largely stemmed from creators associated with it. Nisiosin seems to be something of a cult favorite and has had a fair number of stories translated recently (Juni Taisen is actually the first that I’ve read, however) and Nakamura is the creator of Saint Young Men and Arakawa Under the Bridge (it turns out Nakamura’s contributions to the novel are fairly limited). On top of having notable creators, the physical production and design of Viz Media’s release of Juni Taisen is beautiful. I have also been known to enjoy battle royale-type stories. Sadly, Juni Taisen is rather unsatisfactory as a novel and comes across as superficial, though I suspect the related manga and anime will be more successful. Twelve characters, none of them particularly likeable, are brought together in a battle to the death known as the Zodiac War. The winner will be granted a single wish, although there’s an even greater purpose to the contest. Juni Taisen has potential. The various super powers and abilities of the characters result in tactics and strategies that are interesting and even clever. Unfortunately, the coolness factor is undermined by inconsistent logic, repetitiveness, predictable narrative developments, and a sore lack of worldbuilding and a meaningful context.

Filed Under: FEATURES, My Week in Manga Tagged With: Artbooks, Hikaru Nakamura, Juni Taisen, Katsuhiro Otomo, Light Novels, manga, Nisiosin, Novels, Yokai Rental Shop

Adaptation Adventures: Mushishi

July 14, 2016 by Ash Brown

Mushishi, Volume 1After revisiting and reviewing each volume of Yuki Urushibara’s Mushishi for my horror manga review project, by now it’s probably readily clear that I greatly enjoy the series. I love the influence of traditional Japanese folklore on the stories. I love the manga’s subtle creepinesss. I love the exploration of the relationship between humans and the rest of nature. I love how the series delves into the connections that exist between people. I love the importance placed on the search for knowledge. The storytelling in Mushishi is atmospheric, beautiful, and frequently unsettling as individuals struggle with themselves and with the unknown. There is darkness and tragedy in Mushishi but there is also hope—one of the major themes in the manga is that for better or for worse, life will ultimately persevere.

Mushishi is a largely episodic series following Ginko, a mushishi, who travels the Japanese countryside studying mushi and trying to help people who have fallen under their influence. Mushi are described as creatures which are very close to the original form of life. Their presence is fundamental and necessary to the living world, but depending on the circumstances they may either be beneficial to or negatively impact humans. Mushi are frequently at the heart of unusual natural phenomenon or may cause otherwise unexplainable illnesses. Within the context of the series mushi can be taken literally, but they can also be read as metaphors for many conditions experienced in reality.

MushishiAnime1Urushibara’s ten-volume Mushishi, originally serialized in Japan between 1999 and 2008, was first released in print in English by Del Rey Manga between 2007 and 2010. Soon after, Del Rey’s manga imprint was closed and Mushishi subsequently went out of print. Unsurprisingly, the print edition of Mushishi has become increasingly difficult to find over time, but in 2014 Kodansha Comics released the entire series digitally. In addition to earning multiple awards and honors over the course of its publication, Mushishi was also the basis for multiple anime adaptations and a live-action film (most of which are available digitally if not physically in North America), as well as a variety of other media.

The first Mushishi anime series, directed by Hiroshi Nagahama, aired in Japan in 2005 and 2006. At twenty-six episodes, it only adapted a portion of the original manga. (Granted, the manga hadn’t yet been completed at that point.) Since I love the Mushishi manga, it probably doesn’t come as much of a surprise that I love the anime as well. Although the first Mushishi anime adaptation isn’t necessarily my favorite series, or even the anime that means the most to me personally, it is the series that I’ve seen the most number of times; I return to it frequently. Eventually, nearly a decade after the first Mushishi anime series, an animated television special was released which was followed a few months later by a second anime series. This twenty-episode series, also directed Nagahama, aired in Japan between 2014 and 2015 and adapted most of the remaining stories found in the manga. (A second animated television special was released during this time as well.) Despite the number of years that passed between the first and the second anime series, they are both very similar in tone and style. Nagahama also directed the Mushishi animated film released in 2015 which adapted the manga’s final story arc. Since I loved both the original manga and the first anime series, I was very happy to see so much more Mushishi anime produced.

MushishiAnime2-17The various Mushishi anime are very faithful adaptations of the manga. Frequently the scenes in the anime follow the scenes in the manga frame by frame and panel by panel, though occasionally the order that events appear in the narrative is slightly altered. Where the anime distinguish themselves is in their color and sound, especially in the establishment of the backgrounds and settings. Urushibara’s color artwork is lovely, but except for the covers of the individual manga volumes, very few examples of it officially appeared in North America. (I imported Urushibara’s 2015 Mushishi artbook which is filled with color illustrations and I adore it.) The anime bring the world of Mushishi to life. While the actual animation can at times be fairly simple and limited, the environments are always absolutely gorgeous and beautiful in their detail. The sound design in the anime adaptations is great, too, adding spectacularly to the overall atmosphere. The music by Toshio Masuda (which I’m constantly listening to) makes extensive use of bells, chimes, and other percussion along with unobtrusive synthesized and acoustic instruments, creating a beautiful soundtrack that is in turns ethereal and dramatic. Much like the original, the Mushishi anime creates an experience that can be calming and soothing as well as unsettling and disturbing.

MushishiMovieUrushibara’s manga series was also the inspiration for Katsuhiro Otomo’s award-winning 2006 live-action film Mushishi. For the most part the film was received very well both inside and outside of Japan. Though overall it’s palette tends to be darker and more subdued than the anime adaptations, the visuals can be quite stunning; the special effects hold up surprisingly well even a decade after it was first released. I actually only very recently watched Otomo’s Mushishi for the first time. From the standpoint of someone who is very familiar with the original manga and its anime adaptations, the live-action movie is somewhat disorienting and perhaps even shocking. Though it begins much as one would expect, it ultimately deviates a fair amount from its source material even to the point of changing some of the underpinning mythologies and characterizations of the original. It’s clear that Urushibara’s manga provides the basis for the movie, but many details have been reimagined or remixed in some way. The narrative is still interesting, though. Otomo successfully weaves together several stories from the manga series and makes references to many others before taking the film in an entirely new and different direction. While the original Mushishi tends to be episodic, Otomo’s film is self-contained and provides a single cohesive story. In part this is accomplished placing a significant focus on Ginko’s past and what it means for his present and future, providing a framework for the film as a whole. Instead of simply wandering the countryside helping other people, Ginko has the additional motivation of trying to solve the mystery of who he really is and to reclaim his missing memories.

MushishiLiveActionWhile I would consider the Mushishi manga and anime to be horror, albeit fairly subtle and subdued horror, the film is much more obviously so. Many of the underlying elements are the same, but the film focuses more directly on the aspects of traditional, supernatural horror. However, this does mean some of the more nuanced themes found in the manga and anime are missing. Otomo’s film is a much darker incarnation of Mushishi. The movie, especially towards its end, is incredibly creepy and extraordinarily disconcerting in both imagery and story. It’s so different in tone and narrative that it might actually be better described as a portrayal of an alternate universe of Mushishi rather than being a strict adaptation. It certainly won’t be to everyone’s taste, especially if viewers are expecting something more akin to the gentler (though still disquieting) anime adaptations, but I actually quite liked the movie. For me though, it’s really more of a horror film before it’s a Mushishi film. Still, I feel that the live-action film, the anime adaptations, and the original manga are all well worth checking out and are all fascinating in their own rights. And of course, although unlikely, I’d love to see more Mushishi media and merchandise released in North America.

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Filed Under: FEATURES Tagged With: anime, film, Hiroshi Nagahama, Katsuhiro Otomo, manga, mushishi, Yuki Urushibara

Manga Artifacts: The Legend of Mother Sarah

October 9, 2011 by Katherine Dacey 15 Comments

Most American manga fans know Katsuhiro Otomo as the creator of AKIRA, and perhaps of Domu: A Child’s Dream and Hipira. But did you know that Otomo was also the author of The Legend of Mother Sarah, a criminally under-appreciated sci-fi epic that’s equal parts Mad Max and Terminator II?

Set in the not-too-distant future, Mother Sarah begins in space — or, more accurately, space stations, where the survivors of a nuclear holocaust have sought refuge from the Earth’s extreme climate changes. When riots threaten the peace aboard these floating cities, the military evacuates civilians back to the surface, in the process separating thousands of children from their parents. Sarah, the story’s eponymous heroine, is on a quest to find her own family, all of whom disappeared in the chaos aboard the space stations. Traveling with Tsue, a trader, she wanders a desolate landscape of crumbling cities, slave-labor camps, religious compounds, and hardscrabble farms, putting the hurt on anyone who threatens the honest folk she meets along the way.

Given its classic premise and cool, resourceful heroine, it’s curious that Mother Sarah had such a short shelf life. As tempting as it may be to chalk up fan indifference to sexism, or antipathy towards Otomo’s other (read: not AKIRA) projects, I think the real reason lies with the way Mother Sarah was released.

Dark Horse published the series from 1995-98, but only collected the first eight issues into a trade paperback. . When read in thirty-page installments, The Legend of Mother Sarah: Tunnel Town is engaging but frustrating. Otomo and artist Takumi Nagayasu’s sense of pacing, in particular, is too leisurely for a stand-alone booklet: they establish a new setting with a dozen wordless panels, luxuriate in an explosion, or depict a fist-fight over five or six pages, gobbling up pages that might otherwise be advancing the story.

Contrast an issue of Tunnel Town with that of a long-running American series and the incompatibility of format and story becomes more apparent. In each issue of The Walking Dead, for example, one important event is dramatized: the characters make a critical discovery about their zombie foes or confront a troublemaker within their ranks. Though the issue may end on a cliffhanger, there’s a sense of closure that’s missing from an issue of Mother Sarah, even though both stories are clearly intended to extend beyond the confines of a single pamphlet. Put another way, each issue of Walking Dead has a clear beginning, middle, and end, whereas Sarah simply stops; it’s as if the author pressed “pause,” rather than set the table for the next chapter.

When read in trade paperback form, however, Tunnel Town has a more satisfying rhythm. Those establishing shots and slow-mo fight scenes draw the reader deeper into the story; we feel like we’re actually part of the scene, rather than passive witnesses to the action. The continuity between events is easier to appreciate as well. Sarah’s skirmishes with authority no longer seem like a string of isolated incidents, but a steadily escalating pattern of violence that demands resolution. And what a finale! Coming at the end of two hundred pages, the denouement is less a cool stunt than a thrilling affirmation of Sarah’s courage and smarts, an emphatic punctuation mark at the end of a long but well-reasoned paragraph.

I’m guessing that someone at Dark Horse must have thought Mother Sarah was ill-served by the thirty-page format, as the next two arcs — City of the Children and City of the Angels — were published in forty-eight page installments, a development highlighted on the front covers of each issue:

As a result, the later mini-series are more engaging; we’re treated to a larger, more satisfying chunk of story in each installment, a chunk that I suspect corresponds to the way the manga was serialized in Young Magazine. (I don’t know that for a fact, however, so feel free to politely educate me on this point if I’m off base here.) Alas, neither Children nor Angels were collected in bound form, making it harder for a new generation of manga fans to discover the series for themselves.

For all my grumbling about format and scarcity, however, all three story arcs are worth owning, both for the art and the story. Takumi Nagayasu’s crisp visuals are pleasingly reminiscent of Otomo’s. Nagayasu’s characters are drawn in a naturalistic fashion, with plenty of attention given to hands, facial hair, posture, wrinkles, and muscles; even the most inconsequential soldier or civilian is given a unique face and a thoughtfully constructed costume. Nagayasu also shares Otomo’s love of vehicles and decaying urban landscapes, rendering both in a fine, evocative fashion; one can almost hear the steel structures rusting from neglect.

Otomo’s writing is as strong as Nagayasu’s artwork. Though Sarah is a certifiable bad-ass, capable of kicking and stabbing her way out of a tight situation, she relies on her wits just as frequently as her fists. Her maternal instincts, too, inform much of her decision-making; throughout the series, Sarah is drawn to conflicts involving exploited or abused children, offering her a chance to symbolically “save” the family she lost ten years earlier. In short, Sarah is a woman warrior in the Lt. Ellen Ripley/Sarah Connor mold: fierce, strong, principled, and, above all else, a mama grizzly who sides with the young and the helpless. Oh, and she looks good while dispensing justice, too. Now that’s my kind of escapism, no matter how it’s packaged.

THE LEGEND OF MOTHER SARAH • STORY BY KATSUHIRO OTOMO, ART BY TAKUMI NAGAYASU • DARK HORSE • NO RATING

Filed Under: Manga Critic Tagged With: Dark Horse, Katsuhiro Otomo, Post-Apocalyptic Sci-Fi, Takumi Nagayasu

Manga Artifacts: The Legend of Mother Sarah

October 9, 2011 by Katherine Dacey

Most American manga fans know Katsuhiro Otomo as the creative force behind AKIRA and Domu: A Child’s Dream, but Otomo’s catalog also includes works like The Legend of Mother Sarah, in which Otomo penned the script but relinquished the illustration duties to another manga-ka. And while Mother Sarah isn’t quite as visually dazzling as AKIRA or Domu, this post-apocalyptic adventure is every bit as fun to read, thanks to its vivid characterizations and dynamic action sequences.

Set in the not-too-distant future, Mother Sarah begins in space — or, more accurately, space stations, where the survivors of a nuclear holocaust have sought refuge from the Earth’s extreme climate changes. When riots threaten the peace aboard these floating cities, the military evacuates civilians back to the surface, in the process separating thousands of children from their parents. Sarah, the story’s eponymous heroine, is on a quest to find her own family, all of whom disappeared in the chaos aboard the space stations. Traveling with Tsue, a trader, she wanders a desolate landscape of crumbling cities, slave-labor camps, religious compounds, and hardscrabble farms, karate-chopping anyone who threatens the honest folk she meets along the way.

Given its classic premise and cool, resourceful heroine, it’s curious that Mother Sarah had such a short shelf life here in the United States. As tempting as it may be to chalk up fan indifference to sexism, or antipathy towards Otomo’s other (read: not AKIRA) projects, I think the real reason lies with the way Mother Sarah was released. Dark Horse published the series from 1995-98, but only collected the first eight issues into a trade paperback. When read in thirty-page installments, The Legend of Mother Sarah: Tunnel Town is engaging but frustrating. Otomo and artist Takumi Nagayasu’s sense of pacing, in particular, is too leisurely for a stand-alone booklet: they establish a new setting with a dozen wordless panels, luxuriate in an explosion, or depict a fist-fight over five or six pages, gobbling up real estate that might otherwise be advancing the story. Contrast an issue of Tunnel Town with that of a long-running American series and the incompatibility of format and story becomes more apparent. In each issue of The Walking Dead, for example, one important event is dramatized: the characters make a critical discovery about their zombie foes or confront a troublemaker within their ranks. Though the issue may end on a cliffhanger, there’s a sense of closure that’s missing from an issue of Mother Sarah, even though both stories are clearly intended to extend beyond the confines of a single pamphlet.

When read in trade paperback form, however, Tunnel Town has a more satisfying rhythm. Those establishing shots and slow-mo fight scenes draw the reader deeper into the story; we feel like we’re actually part of the scene, rather than passive witnesses to the action. The continuity between events is easier to appreciate as well. Sarah’s skirmishes with authority no longer seem like a string of isolated incidents, but a steadily escalating pattern of violence that demands resolution. And what a finale! Coming at the end of two hundred pages, the denouement is less a cool stunt than a thrilling affirmation of Sarah’s courage and smarts, an emphatic punctuation mark at the end of a long but well-reasoned paragraph.

I’m guessing that someone at Dark Horse must have thought Mother Sarah was ill-served by the thirty-page format, as the next two arcs — City of the Children and City of the Angels — were published in forty-eight page installments, a development highlighted on the front covers of each issue:

As a result, the later mini-series are more engaging; we’re treated to a larger, more satisfying chunk of story in each installment, a chunk that I suspect corresponds more closely to the way the manga was serialized in Young Magazine. Alas, neither Children nor Angels were collected in bound form, making it harder for a new generation of manga fans to discover the series for themselves.

For all my grumbling about format and scarcity, however, all three story arcs are worth owning, both for the art and the story. Takumi Nagayasu’s crisp visuals are pleasingly reminiscent of Otomo’s. Nagayasu’s characters are drawn in a naturalistic fashion, with plenty of attention given to hands, facial hair, posture, wrinkles, and muscles; even the most inconsequential soldier or civilian is given a unique face and a thoughtfully constructed costume. Nagayasu also shares Otomo’s love of vehicles and decaying urban landscapes, rendering both in a fine, evocative fashion; one can almost hear the steel structures rusting from neglect.

Otomo’s writing is as strong as Nagayasu’s artwork. Though Sarah is a certifiable bad-ass, capable of kicking and stabbing her way out of a tight situation, she relies on her wits just as frequently as her fists. Her maternal instincts, too, inform much of her decision-making; throughout the series, Sarah is drawn to conflicts involving exploited or abused children, offering her a chance to symbolically “save” the family she lost ten years earlier. In short, Sarah is a woman warrior in the Lt. Ellen Ripley/Sarah Connor mold: fierce, strong, principled, and, above all else, a mama grizzly who sides with the young and the helpless. Oh, and she looks good while dispensing justice, too. Now that’s my kind of escapism, no matter how it’s packaged.

THE LEGEND OF MOTHER SARAH • STORY BY KATSUHIRO OTOMO, ART BY TAKUMI NAGAYASU • DARK HORSE • NO RATING

Filed Under: Manga, Manga Critic, REVIEWS Tagged With: Dark Horse, Katsuhiro Otomo, Post-Apocalyptic Sci-Fi, Takumi Nagayasu

Manga Artifacts: Memories

March 18, 2011 by Katherine Dacey 20 Comments

Given the speed with which DC Comics shuttered CMX Manga last year, it’s easy to forget that both DC and Marvel actually wanted to publish manga back in the day. Marvel’s manga output paled in comparison with DC’s, but is notable nonetheless, as Marvel helped introduce American readers to one the most influential manga-ka of the last thirty years: Katsuhiro Otomo.

Like Dark Horse, Eclipse Comics, and other companies who dabbled in manga publishing in the 1980s and 1990s, Marvel licensed work that it believed would appeal to the direct market. Marvel’s first acquisition was Katsuhiro Otomo’s dystopian epic AKIRA. Between 1988 and 1995, Marvel published the story in thirty-eight issues, each colorized and flipped in a calculated bid to woo American sci-fi fans. Though Marvel never finished collecting the original issues into bound editions, AKIRA proved important nonetheless, offering many American readers their first exposure to Japanese comics.

Marvel licensed work from other countries as well — including Airtight Garage and Blueberry, both by French artist Moebius — but never developed a substantial manga catalog; aside from AKIRA, the only manga it published were two short, stand-alone stories from early in Otomo’s career: “Memories” and “Farewell to Weapons.” “Memories” was issued in two forms: the first, in 1992, was a standard, thirty-two-page pamphlet with flipped, colorized artwork. The second, in 1995, was only released in the UK; Mandarin Books re-printed “Memories” and “Farewell to Weapons” as part of a longer anthology of Otomo’s short stories. (That anthology is called Memories and is out-of print; the ISBN is 0749396873.)

Plot-wise, “Memories” is simple but effective: a three-man salvage crew accepts a job clearing the “Sargasso Sea,” a debris field in deep space. They begin receiving a mysterious transmission from a large, rose-shaped ship inside the field, and decide to investigate. Once aboard, the crew makes an astonishing discovery: the interior resembles an English manor house with a formal dining room, an immense library, and a mysterious hallway guarded by robot sentries. As the men begin searching the ship for clues to the owner’s identity, a constellation of forces — including a fierce magnetic storm — threaten to compromise their mission.

It’s a tried-and-true sci-fi plot that’s enlivened by the efficiency of the set-up and the specificity of the art. Otomo wastes few pages establishing the crew members’ personalities and reasons for accepting the assignment. Though he teases the reader with hints about what awaits the men aboard the ghost ship, Otomo doesn’t belabor the introduction, swiftly transferring the action from the salvage vessel to the “magnetic rose.” The contrast between the ships is arresting; the Disposer is cramped, with plain steel walls and banks of computers, while the ghost ship is opulent and cavernous, festooned in elk heads, gilt-framed oil paintings, mirrors, and the kind of expensive bric-a-brac one might expect to find at Thornfield or Chesney Wold.

Normally, I’m a purist about black-and-white imagery, but Steve Oliff’s expert coloring brings clarity and emotion to the work that might otherwise be absent. Many of Otomo’s finer details — the pattern in an elaborate rug, for example, or the grain in a wood panel — pop with the judicious use of color, giving the ghost ship’s interior a more palpable feel. The use of rich reds, purples, and golds colors further reinforces strangeness of the environment; we, too, want to know why this lavish ship is adrift inside a cloud of metal, glass, and machine parts. Most importantly, however, Oliff uses color to underscore the characters’ emotional state, using an intense, disturbing green backdrop in the final pages of the story to suggest their growing state of panic as they discover the ship’s true purpose.

Readers curious about “Memories” won’t have any difficulty scaring up inexpensive copies on eBay; I paid less than a dollar for a bagged and boarded one in great condition. Anime fans may prefer to seek out the big-screen adaptation, which is longer and more detailed than the source material. (More information about the anime can be found here.) In either format, this short story is surprisingly eerie and graceful, proof that even the most familiar plot lines can acquire new power in the hands of an expert storyteller.

Manga Artifacts is a monthly feature exploring older, out-of-print manga published in the 1980s and 1990s. For a fuller description of the series’ purpose, see the inaugural column.

MEMORIES • BY KATSUHIRO OTOMO • EPIC COMICS (MARVEL) • 32 pp. • NO RATING

Filed Under: Manga Critic Tagged With: Classic, Katsuhiro Otomo, Marvel Comics

Manga Artifacts: Memories

March 18, 2011 by Katherine Dacey

Given the speed with which DC Comics shuttered CMX Manga last year, it’s easy to forget that both DC and Marvel actually wanted to publish manga back in the day. Marvel’s manga output paled in comparison with DC’s, but is notable nonetheless, as Marvel helped introduce American readers to one the most influential manga-ka of the last thirty years: Katsuhiro Otomo. Like Dark Horse, Eclipse Comics, and other companies who dabbled in manga publishing in the 1980s and 1990s, Marvel licensed work that it believed would appeal to the direct market. Marvel’s first acquisition was Katsuhiro Otomo’s dystopian epic AKIRA. Between 1988 and 1995, Marvel published the story in thirty-eight issues, each colorized and flipped in a calculated bid to woo American sci-fi fans. Though Marvel never finished collecting the original issues into bound editions, AKIRA proved important nonetheless, offering many American readers their first exposure to Japanese comics.

Marvel licensed work from other countries as well — including Airtight Garage and Blueberry, both by French artist Moebius — but never developed a substantial manga catalog; aside from AKIRA, the only manga it published were two short, stand-alone stories from early in Otomo’s career: “Memories” and “Farewell to Weapons.” “Memories” was issued in two forms: the first, in 1992, was a standard, thirty-two-page pamphlet with flipped, colorized artwork. The second, in 1995, was only released in the UK; Mandarin Books re-printed “Memories” and “Farewell to Weapons” as part of a longer anthology of Otomo’s short stories. (That anthology is called Memories and is out-of print; the ISBN is 0749396873.)

Plot-wise, “Memories” is simple but effective: a three-man salvage crew accepts a job clearing the “Sargasso Sea,” a debris field in deep space. They begin receiving a mysterious transmission from a large, rose-shaped ship inside the field, and decide to investigate. Once aboard, the crew makes an astonishing discovery: the interior resembles an English manor house with a formal dining room, an immense library, and a mysterious hallway guarded by robot sentries. As the men begin searching the ship for clues to the owner’s identity, a constellation of forces — including a fierce magnetic storm — threaten to compromise their mission.

It’s a tried-and-true sci-fi plot that’s enlivened by the efficiency of the set-up and the specificity of the art. Otomo wastes few pages establishing the crew members’ personalities and reasons for accepting the assignment. Though he teases the reader with hints about what awaits the men aboard the ghost ship, Otomo doesn’t belabor the introduction, swiftly transferring the action from the salvage vessel to the “magnetic rose.” The contrast between the ships is arresting; the Disposer is cramped, with plain steel walls and banks of computers, while the ghost ship is opulent and cavernous, festooned in elk heads, gilt-framed oil paintings, mirrors, and the kind of expensive bric-a-brac one might expect to find at Thornfield or Chesney Wold.

Normally, I’m a purist about black-and-white imagery, but Steve Oliff’s expert coloring brings clarity and emotion to the work that might otherwise be absent. Many of Otomo’s finer details — the pattern in an elaborate rug, for example, or the grain in a wood panel — pop with the judicious use of color, giving the ghost ship’s interior a more palpable feel. The use of rich reds, purples, and golds colors further reinforces strangeness of the environment; we, too, want to know why this lavish ship is adrift inside a cloud of metal, glass, and machine parts. Most importantly, however, Oliff uses color to underscore the characters’ emotional state, using an intense, disturbing green backdrop in the final pages of the story to suggest their growing state of panic as they discover the ship’s true purpose.

Readers curious about “Memories” won’t have any difficulty scaring up inexpensive copies on eBay; I paid less than a dollar for a bagged and boarded one in great condition. Anime fans may prefer to seek out the big-screen adaptation, which is longer and more detailed than the source material. (More information about the anime can be found here.) In either format, this short story is surprisingly eerie and graceful, proof that even the most familiar plot lines can acquire new power in the hands of an expert storyteller.

Manga Artifacts is a monthly feature exploring older, out-of-print manga published in the 1980s and 1990s. For a fuller description of the series’ purpose, see the inaugural column.

MEMORIES • BY KATSUHIRO OTOMO • EPIC COMICS (MARVEL) • 32 pp. • NO RATING

Filed Under: Manga, Manga Critic, Recommended Reading, REVIEWS Tagged With: Classic, Katsuhiro Otomo, Marvel Comics

Domu: A Child’s Dream

October 25, 2009 by Katherine Dacey

domu1Revisiting AKIRA prompted me to re-read Domu: A Child’s Dream, an earlier work that helped cement Katsuhiro Otomo’s reputation as the leading manga-ka of his generation. Though both series include elements of horror and science fiction, the two are utterly different in approach: AKIRA is sweeping, grand, and allegorical, whereas Domu is compact, a taut psychological thriller that unfolds in a mere 230 pages.

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

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

domu_page

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

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

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

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

Filed Under: Manga Critic Tagged With: Classic, Dark Horse, Katsuhiro Otomo, Seinen

Manga Artifacts: Domu: A Child’s Dream

October 25, 2009 by Katherine Dacey

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

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

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

domu_page

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

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

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

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

Filed Under: Manga, Manga Critic, Recommended Reading, REVIEWS Tagged With: Classic, Dark Horse, Katsuhiro Otomo, Sci-Fi

AKIRA, Vol. 1

October 22, 2009 by Katherine Dacey

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

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

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

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

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

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

Review updated on October 5, 2010.

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

Filed Under: Manga, Manga Critic, REVIEWS Tagged With: Classic, Katsuhiro Otomo, Kodansha Comics, Post-Apocalyptic Sci-Fi

AKIRA, Vol. 1

October 22, 2009 by Katherine Dacey

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

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

The story, however, demands the more intimate medium of print, as those chases and fights seem more urgent and surprising on the page than on the screen. The story’s setting works better in print as well; the city feels feels more claustrophobic when rendered in black and white than in color. The story’s length, too, is a factor; the movie compresses over 2,000 pages of material into two hours, trimming some of the manga’s more interesting subplots and secondary characters in order to accommodate the explosions and high-speed chases. More significantly, the film grossly simplifies the relationship between principal characters Tetsuo and Kaneda, reducing Tetsuo’s transformation from juvenile delinquent to god-like being to a mere plot device. The manga, however, gives each character more room to be, and not just react; as a result, Tetsui and Kaneda seem like real teenage boys, not generic action figures.

Plot-wise, AKIRA is still as topical as ever. Its paranoid vibe seems as resonant in 2009 as it did when the manga was first released in 1982, as does its message about the devastating consequences of weapons of mass destruction. Watching China prepare for the Beijing Olympics in 2008 — leveling shanty towns, silencing protests — suggested parallels with AKIRA‘s own Olympic subplot, both in the secrecy surrounding the facilities’ construction and in the government’s adamant denial of citizen opposition.

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

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

Review updated on October 5, 2010.

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

Filed Under: Manga Critic Tagged With: Classic, Katsuhiro Otomo, kodansha, Seinen

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