Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

Kazuo Koike

The Manga Review, 7/8/22

by Leave a Comment

By now, if you’ve been on Twitter or Facebook, you’ve undoubtedly learned that Kazuki Takahashi died on Wednesday. Media outlets from National Public Radio to the New York Times, the Los Angeles Times, and Anime News Network have been covering the story, reporting the probable cause of death as a diving accident. Takahashi was a major force in the manga industry; his Yu-Gi-Oh! (1996-2004) spawned a veritable empire of television shows, movies, games, sequels, and merchandise, and remained popular with readers more than eighteen years after the original series ended. More recently, Takahashi published The ComiQ (2018), a supernatural mystery series, and Marvel’s Secret Reverse (2021), an original Iron Man/Spiderman story.

Since news of Takahashi’s death was first reported, there’s been an outpouring of tributes from fans, journalists, and critics. At Anime UK News, for example, Josh Stevens characterized the series as an important cultural touchstone “for children who grew up in the early 2000s.” He noted that “Sky One’s weekly double-bills of Pokémon and Yu-Gi-Oh! were a highly anticipated reward for making it through the school week, and making sure that you had packed your Yu-Gi-Oh! deck was just as important as textbooks and lunch money.” Over at The Gamer, Jade King fondly remembered collecting and trading Yu-Gi-Oh! cards with classmates: “Yu-Gi-Oh! is really fucking cool. It’s always been that simple. Your social worth was dictated by what cards you were bringing into school and whether you had a deck featuring some of the show’s most iconic creatures.” And comicbook.com’s Megan Peters rounded up fan reactions on social media.

FEATURES AND PODCASTS

The latest installment of Mangasplaining looks at two very manly manga: Kazuo Koike’s classic revenge story Lone Wolf and Cub and MASSIVE: Gay Erotic Manga and the Men Who Make It. [Mangsplaining]

The Manga Machinations gang is also on the Gengoroh Tagame bandwagon this week with a thoughtful discussion of Our Colors. [Manga Machinations]

Walt Richardson, Emily Myers, and Zack Wilkerson do a cover-to-cover review of the June 2022 issue of Shonen Jump. [Multiversity Manga Club Podcast]

Are you a regular reader of Yatta-Tachi? Do you find their monthly listing of light novel and manga releases useful? If so, they could use your support! Click on the link to find out how you can help. [Yatta-Tachi]

Jocelyne Allen takes a closer look at Itoi Nozo’s Boku wa Make Shite Miru Koto ni Shita, an as-yet untranslated manga about a salaryman who discovers the transformative power of serums, skin creams, and make-up. “This is absolutely a makeup-for-men explainer manga, but Itoi manages to imbue it with deeper meaning by adding commentary and a subplot on toxic masculinity and breaking free of that nightmare,” Allen observes. “Ichiro has internalized the message that makeup is only for women, but is trying to push past that. Meanwhile, his best friend is so completely unable to express emotion or see outside of his rigid framework of performative masculinity that he nearly destroys his relationships with the people closest to him. For a book that’s just trying to sell some men some makeup, it does a good job at confronting societal issues.” [Brain vs. Book]

REVIEWS

This week’s must-read review is Erica Friedman’s glowing assessment of Doughnuts Under a Crescent Moon. “Because this is a quiet, ever-so-gentle and tentative, slice-of-life story about emotional bonds and love, it’s easy to be fooled into thinking that nothing of consequence happens,” she notes. “But you’d be wrong. What I see here is some of the most profound manga about re-evaluating one’s entire life that I have ever read.” Also of note is Chris Ready’s brief but thoughtful critique of Witches: The Complete Collection, an anthology of short stories written by Daisuke Igarashi (Children of the Sea).

My Week in Manga: December 21-December 27, 2015

by

My News and Reviews

I think I’m finally getting back to my regular posting schedule. I get the week between Christmas and New Year’s off of work which is letting me catch up on a few things. (Sort of. Life has still been rather hectic of late.) Last week I posted an in-depth review of one of Chromatic Press’ most recent paperbacks, Jessica Chavez’s debut novel Dead Endings, illustrated by Irene Flores. The novel has a fantastic combination of horror, mystery, and snark, making it both fun and frightening. I’m looking forward to reading its sequel a great deal. And because the end the 2015 is fast approaching, last week I also posted my annual list of notable manga, comics, and novels of the year.

Quick Takes

Apple and HoneyApple and Honey / His Rose Colored Life by Hideyoshico. I wasn’t previously familiar with Hideyoshico’s work, but after reading the boys’ love collection Apple and Honey and its sequel/spinoff His Rose Colored Life, I sincerely hope that more is translated. In addition to the unrelated three-part story “Shades of Summer at the End of the World,” Apple and Honey introduces Natsuki and Komano who are the focus of His Rose Colored Life. Hideyoshico’s characterization is excellent—the characters have depth and the development of their relationships are entirely believable. Komano is this lovable outgoing goofball while Natsuki is much more reserved and unsure of himself. I was especially impressed by the sensitive portrayal of Natsuki’s anxieties and insecurities. While he desperately wants to be loved, he is also terrified of it, having been repeatedly hurt in the past; it’s hard for him to accept that it’s okay for him to be happy. (Natsuki also gets bonus points for majoring in information science which I hold a degree in but have never before seen in a manga.) Komano and Natsuki together make a wonderful couple, nicely balancing each other’s personalities.

Lone Wolf and Cub, Omnibus 3Lone Wolf and Cub, Omnibuses 3-5 (equivalent to Volumes 6-12) written by Kazuo Koike and illustrated by Goseki Kojima. The omnibuses are rather chunky, but I am so glad that Dark Horse is releasing Lone Wolf and Cub in a larger trim size; the previous edition was so small as to be nearly unreadable with my bad eyesight. Plus, it’s nice to be able to see Kojima’s excellent artwork more clearly. Lone Wolf and Cub is a fantastic series. Although there is an ongoing story to the manga, the individual chapters tend to be somewhat episodic. Ogami Itto was once the shogun’s official executioner but after being framed as a traitor he has become an assassin seeking revenge. Accompanying him on his journey is Diagoro, his now three-year-old son who has known nothing but a life filled with death. Lone Wolf and Cub is a violent series. Ogami is an incredibly skilled and resourceful warrior, surviving multiple attempts on his own life even as he is hired to end those of others. But he is also a father. Some of the most compelling chapters in the manga examine the depth of Daigoro and Ogami’s bond more closely.

Milkyway Hitchhiking, Omnibus 2Milkyway Hitchhiking, Omnibus 2 (equivalent to Volumes 2-3) by Sirial. I’m not entirely certain, but I believe that with the second omnibus Milkyway Hitchhiking is complete. (Because the manhwa is a series of largely unrelated stories, it can be difficult to tell.) Whether or not it is actually finished, Milkyway Hitchhiking continues to be a beautiful series. The full-color artwork is gorgeous, Sirial changing art styles and color palettes to better suit the mood of each of the stories. The manhwa ranges from brightly colored, upbeat tales to those that are more somber and melancholy. Some are based in reality while others incorporate elements of horror, science fiction, or fantasy. The only thing that really ties the individual stories in Milkyway Hitchhiking together is the presence of the Milkyway, a space-time cat. Although she’s the titular character, Milkyway Hitchhiking isn’t necessarily about Milkyway herself. She frequently has an important role to play, however the focus of the series is much more on the stories of the people she encounters.

My Week in Manga: July 14-July 20, 2014

by

My News and Reviews

Two reviews were posted at Experiments in Manga last week, one of a manga and one not. The first review was part of my Year of Yuri monthly review project. I took a look at Milk Morinaga’s Gakuen Polizi, Volume 1, which is quite different from her other work currently available in English. The first volume at least is less of a romance and more of a buddy cop story, but it’s still fairly entertaining. (She does promise that more of the drama in the second volume will be romance-related and less crime-related, though.)

My second review last week was of Tokyo Demons, Book 2: Add a little Chaos, a novel written by Lianne Sentar with illustrations by Rem. In case it isn’t clear from the review, I absolutely adore Tokyo Demons. It can get pretty dark and heavy, but it’s a fantastic series. The second volume should be available as an ebook later this month and the print edition is currently scheduled for release in October. (Tokyo Demons is one of Chromatic Press and flagship series, so in the meantime it can also be read online at Sparkler Monthly.)

Once again I wasn’t actually online much last week, but I did catch a few things that other people may be interested in: Over at Comics Forum, Martin de la Iglesia writes about Early manga translations in the West. Kate at Reverse Thieves explains How the Library Became My Go-to Place for Manga and Comics. (I posted a bit about finding manga at the library a little while back, too.) And on Twitter, manga scholar and translator Matt Thorn hints that a project with Moto Hagio is in the works. Let’s hope so!

Quick Takes

Honey DarlingHoney Darling by Norikazu Akira. After reading and enjoying Beast & Feast I decided to track down more manga by Akira available in English. This led me to picking up Honey Darling. The manga isn’t the most realistic or believable, but it is cute, delightful, funny, and very sweet. Chihiro is a young man without any real goals in his life until he takes in a stray kitten. When Shiro falls ill, Chihiro ends up working as the live-in housekeeper for Kumazawa, the vet who treats her, and helping out in the animal clinic. Honey Darling has a lot going for it: nice art, a sense of humor, adorable cats and dogs, amusing and ttractive leads, likeable side characters (including women!), and so on. Ultimately Honey Darling is a boys’ love manga, though. As might be expected, Chihiro and Kumazawa become more than just roommates by the time the manga ends, but the development feels more like Akira fulfilling a requirement of the genre rather than being something that was necessarily called for by story itself. Still, I did enjoy Honey Darling a great deal, the two of them made me happy as a couple, and the manga frequently made me smile.

Lone Wolf and Cub, Omnibus 1Lone Wolf and Cub, Omnibuses 1-2 (equivalent to Volumes 1-5) written by Kazuo Koike and illustrated by Goseki Kojima. One of the first manga to be translated into English, Lone Wolf and Cub wasn’t released in its entirety until Dark Horse picked up the license. Sadly, the first Dark Horse edition was tiny and, while extremely portable, was difficult to read because the text was so small and crowded. Additionally, those original twenty-eight volumes have steadily been going out of print. Thankfully, Dark Horse recently started releasing Lone Wolf and Cub in an omnibus format with a larger trim size. Though quite hefty (each omnibus is around 700 pages and collects about two and a half volumes or so), the reading experience is much improved overall. Lone Wolf and Cub is an excellent series, so I’m very glad that the manga will remain in print for a bit longer. The series is fairly episodic, following the titular Lone Wolf and Cub: Ogami Ittō, who once served as the Shogun’s executioner but who has become an assassin-for-hire out of revenge over the destruction of his family, and his young son Diagorō.

Mail, Volume 1Mail, Volumes 1-3 by Housui Yamazaki. Summer is the time for ghost stories in Japan, so I felt it was appropriate to finally get around to reading Mail. I came across this short series thanks to The Kurosagi Corpse Delivery Service which shares the same illustrator. Reiji Akiba–detective, exorcist, and the protagonist of Mail–actually briefly appears in the fourth volume of The Kurosagi Corpse Delivery Service as well. One of the things that particularly struck me about Mail is how often the stories incorporated modern technology such as cell phones and computers. It’s as though traditional ghost stories and urban legends have been updated for a contemporary audience. Occasionally Akiba will present a sort of prologue to the individual chapters, giving the stories an almost Twilight Zone feel to them. Mail can be legitimately creepy and at times a bit bloody, but gore is not at all the focus of the series. In general Mail is episodic, although the final volume adds a recurring character who becomes Akiba’s assistant as a sort of homage to Osamu Tezuka’s Black Jack.

Stone Collector, Book 2Stone Collector, Book 2 written by Kevin Han and illustrated by Zom-J. I want to like Stone Collector more than I actually do, but at this point I can’t really say that I’ve been enjoying the manhwa much at all. It’s not all bad. The artwork in particular has moments when it can be impressively dynamic. The character’s facial expressions are great. Even the basic premise of the story isn’t terrible. As a whole though, Stone Collector just isn’t working for me. Though it moves along quickly, the plot is thin and the characters are underdeveloped, almost as if it’s an outline or draft than a finished product. The second half of the second volume of Stone Collector of is devoted to a side story, “Land of Ice.” I was more interested in “Land of Ice” than the main story more because of its tundra setting than anything else, but it still frustrated me and had many of the same problems that Stone Collector proper has. November 2013 was the last time there was a Stone Collector update. I’m not sure if there are plans to release more (it may simply be that “more” doesn’t exist yet), but the story clearly hasn’t reached its conclusion yet.

Sengoku Basara: Samurai KingsSengoku Basara: Samurai Kings, Season 2 directed by Kazuya Nomura. While I was entertained by the first season of Sengoku Basara: Samurai Kings, I really enjoyed the second season. While there are still fantastically outrageous fights and action sequences, there’s also more focus on the characters and their characterization and on battle strategies and tactics. Personally, I appreciate the added context this gives the series. The characters, who continue to be magnificently and ridiculously overpowered, come across as a bit more human since their pasts and motivations are clearer. Their confrontations carry more emotional weight because of this as well. Miyamoto Musashi makes an appearance in this season, too. I was greatly amused by the fact that he fights with a giant oar. (Legend has it that Musashi once forgot to bring a sword with him to a duel and so carved a bokken out of the oar he used to get there; this why his weapon choice in Samurai Kings is simply perfect.) Samurai Kings is a tremendous amount of fun. Based on a video game that’s nominally based on actual events and historic figures, it’s wonderfully absurd and irreverent.

The Manga Hall of Shame: Wounded Man

by 41 Comments

Nicholas Cage, I have a swell idea for your next project: option the rights to Wounded Man. This mid-eighties schlockfest is tailor made for you. It has a hero with extravagantly bad hair, bad guys so charismatic they beg for Christopher Walken or Sharon Stone to play them, and copious amounts of acrobatic sex and violence. And while it lacks the evil Nazis and mad scientists of Offered, another Kazuo Koike gem set in South America, Wounded Man does Offered one better: the series’ main villain is a pornographer. But not the sleazy, sad-sack type who might be the prime suspect on a Law & Order: SVU episode — no, the chief villain in Wounded Man runs a studio called God’s Pornographic X-Rated Films, a.k.a. GPX. She also wears a caftan and carries a parasol.

You know she’s evil.

Wounded Man begins in Brazil, where Yuko Kusaka, an ambitious young NHK reporter, is pursuing a story about a modern-day gold rush in the Amazon basin. Yuko is intent on finding “Rio Baraki,” a prospector who’s rumored to be Japanese. Baraki finds her first, however, savagely attacking her in a city park. “You’d better thank me because this could be much worse!” he tells Yuko. “Go back to Japan if you don’t want anymore trouble!” (He also talks to her at great length about the unsavory eating habits of Amazonian fish, dialogue that’s so unsafe for work I’ll do the honorable thing and not reprint it here.)

What Baraki doesn’t count on is that Yuko falls madly in love with him, following him deep into the jungle in spite of his dire warnings. She and her camera crew are ambushed by bandits, tied up, and sexually tortured; Baraki rescues them. She then jettisons her crew and tags along with Baraki. Once again, she’s ambushed, tied up, and sexually tortured; once again, Baraki rescues her. Baraki and Yuko then fight; they have sex; and Baraki tells Yuko his sad story, a story even more screwed up than all crazy, non-con antics that preceded it.

Baraki, it turns out, was once Keisuke Ibaraki, star quarterback at USC. After a big game, a group of thugs kidnapped him and his high school sweetheart, threatening them with death if Baraki refused to make an X-rated film with a famous female tennis player. Baraki turned GPX down; his heart belonged to Natsuko, and no amount of money would compromise his resolve. Not even the prospect of starvation undermined his commitment to Natsuko — naked and locked in a dungeon, the two survived by drinking each other’s urine before Natsuko finally died. Baraki lived, and has been plotting his revenge ever since he escaped GPX’s clutches.

I’m not making this up.

You’d be forgiven for thinking that a couple of porn-addled teenagers were responsible for the script, however; the whole story feels like something concocted by Dirk Diggler in one of his pitiful bids for movie-actor legitimacy. Though the ostensible genre is action/adventure, the story’s epic sex scenes take up more than half the first volume alone, with only the occasional fist-fight or manly swim through piranha-infested waters to relieve the tedium. The most reprehensible aspect of all the fornicating, however, is how little of it is genuinely consensual. Yuko is molested by Baraki, by random smugglers and poachers, even by members of her own television crew in a scene unpleasantly reminiscent of Deliverance, yet Koike and artist Ryochi Ikegami play these episodes for maximum titillation, trotting out one of the hoariest, most offensive cliches from the rape culture playbook: the victim who falls for her attacker because the sex is so amazing.

I wish I were making this up.

Koike and Ryoichi Ikegami find other ways to offend as well. The Brazilian characters are drawn as crude caricatures, with hulking physiques, gap-toothed smiles, and leering eyes; their primary role in the story is menacing Yuko. The few female characters are equally ridiculous, shunning clothing the way six-year-olds shun brussell sprouts; I’ve never seen so much laughably gratuitous nudity in a manga before. (The naked tennis player is kind of disconcerting, however, as she looks an awful lot like Martina Navatarola.)

The series’ greatest offense, however, is the way Yuko is portrayed. She may be a judo champ, capable of delivering a high-flying kick, and a rising star at the NHK, scoring high ratings with her investigative journalism, but her behavior is so petulant, so dumb, and so completely contradictory that Koike undermines her identity as a competent, strong woman. “That’s right, I hate you,” she tells Baraki during one of their numerous fights. “But at the same time, I love you so much! I’m so in love with you and I get so weak just being touched by you.” Her frequent hysterical outbursts would be comical if they didn’t serve to infantilize and diminish her, robbing her of any meaningful agency or identity outside of sex object.

Really, I wish I were making this up.

I’d be the first to admit that Wounded Man is luridly fascinating. It’s hard to imagine who thought any of it was a good idea, though it unfolds in such a fast, furious, and utterly unironic fashion that readers may be swept up in the story despite their better judgment. In short, Wounded Man is perfect fodder for a Nick Cage movie. Agents, are you listening?

WOUNDED MAN, VOLS. 1-9 • STORY BY KAZUO KOIKE, ART BY RYOICHI IKEGAMI • COMICSONE • RATING: MATURE (COPIOUS NUDITY AND VIOLENCE, VIOLENCE AGAINST WOMEN, STRONG LANGUAGE, INANE PLOT TWISTS)

The Manga Hall of Shame: Wounded Man

by

Nicholas Cage, I have a swell idea for your next project: option the rights to Wounded Man. This mid-eighties schlockfest is tailor made for you. It has a hero with extravagantly bad hair, bad guys so charismatic they beg for Christopher Walken or Sharon Stone to play them, and copious amounts of acrobatic sex and violence. And while it lacks the evil Nazis and mad scientists of Offered, another Kazuo Koike gem set in South America, Wounded Man does Offered one better: the series’ main villain is a pornographer. But not the sleazy, sad-sack type who might be the prime suspect on a Law & Order: SVU episode — no, the chief villain in Wounded Man runs a studio called God’s Pornographic X-Rated Films, a.k.a. GPX. She also wears a caftan and carries a parasol.

You know she’s evil.

Wounded Man begins in Brazil, where Yuko Kusaka, an ambitious young NHK reporter, is pursuing a story about a modern-day gold rush in the Amazon basin. Yuko is intent on finding “Rio Baraki,” a prospector who’s rumored to be Japanese. Baraki finds her first, however, savagely attacking her in a city park. “You’d better thank me because this could be much worse!” he tells Yuko. “Go back to Japan if you don’t want anymore trouble!” (He also talks to her at great length about the unsavory eating habits of Amazonian fish, dialogue that’s so unsafe for work I’ll do the honorable thing and not reprint it here.)

What Baraki doesn’t count on is that Yuko falls madly in love with him, following him deep into the jungle in spite of his dire warnings. She and her camera crew are ambushed by bandits, tied up, and sexually tortured; Baraki rescues them. She then jettisons her crew and tags along with Baraki. Once again, she’s ambushed, tied up, and sexually tortured; once again, Baraki rescues her. Baraki and Yuko then fight; they have sex; and Baraki tells Yuko his sad story, a story even more screwed up than all crazy, non-con antics that preceded it.

Baraki, it turns out, was once Keisuke Ibaraki, star quarterback at USC. After a big game, a group of thugs kidnapped him and his high school sweetheart, threatening them with death if Baraki refused to make an X-rated film with a famous female tennis player. Baraki turned GPX down; his heart belonged to Natsuko, and no amount of money would compromise his resolve. Not even the prospect of starvation undermined his commitment to Natsuko — naked and locked in a dungeon, the two survived by drinking each other’s urine before Natsuko finally died. Baraki lived, and has been plotting his revenge ever since he escaped GPX’s clutches.

I’m not making this up.

You’d be forgiven for thinking that a couple of porn-addled teenagers were responsible for the script, however; the whole story feels like something concocted by Dirk Diggler in one of his pitiful bids for movie-actor legitimacy. Though the ostensible genre is action/adventure, the story’s epic sex scenes take up more than half the first volume alone, with only the occasional fist-fight or manly swim through piranha-infested waters to relieve the tedium. The most reprehensible aspect of all the fornicating, however, is how little of it is genuinely consensual. Yuko is molested by Baraki, by random smugglers and poachers, even by members of her own television crew in a scene unpleasantly reminiscent of Deliverance, yet Koike and artist Ryochi Ikegami play these episodes for maximum titillation, trotting out one of the hoariest, most offensive cliches from the rape culture playbook: the victim who falls for her attacker because the sex is so amazing.

I wish I were making this up.

Koike and Ryoichi Ikegami find other ways to offend as well. The Brazilian characters are drawn as crude caricatures, with hulking physiques, gap-toothed smiles, and leering eyes; their primary role in the story is menacing Yuko. The few female characters are equally ridiculous, shunning clothing the way six-year-olds shun brussell sprouts; I’ve never seen so much laughably gratuitous nudity in a manga before. (The naked tennis player is kind of disconcerting, however, as she looks an awful lot like Martina Navratilova.)

The series’ greatest offense, however, is the way Yuko is portrayed. She may be a judo champ, capable of delivering a high-flying kick, and a rising star at the NHK, scoring high ratings with her investigative journalism, but her behavior is so petulant, so dumb, and so completely contradictory that Koike undermines her identity as a competent, strong woman. “That’s right, I hate you,” she tells Baraki during one of their numerous fights. “But at the same time, I love you so much! I’m so in love with you and I get so weak just being touched by you.” Her frequent hysterical outbursts would be comical if they didn’t serve to infantilize and diminish her, robbing her of any meaningful agency or identity outside of sex object.

Really, I wish I were making this up.

I’d be the first to admit that Wounded Man is luridly fascinating. It’s hard to imagine who thought any of it was a good idea, though it unfolds in such a fast, furious, and utterly unironic fashion that readers may be swept up in the story despite their better judgment. In short, Wounded Man is perfect fodder for a Nick Cage movie. Agents, are you listening?

WOUNDED MAN, VOLS. 1-9 • STORY BY KAZUO KOIKE, ART BY RYOICHI IKEGAMI • COMICSONE • RATING: MATURE (COPIOUS NUDITY AND VIOLENCE, VIOLENCE AGAINST WOMEN, STRONG LANGUAGE, INANE PLOT TWISTS)

7 Short Series Worth Adding to Your Manga Bookshelf

by 37 Comments

I like getting lost in a long, twisty story as much as the next person, but I often lose interest in a manga around the five- or ten-volume mark. As a service to other people afflicted with Manga ADHD, therefore, I’ve compiled a list of seven shorter series that enjoy pride of place on my shelves.

There were a few ground rules that guided my list-making. First, the series needed to be complete in five volumes or fewer. Second, every volume of the series needed to be readily available through a major retailer like Amazon. Third, the list needed to be diverse, covering a range of genres and demographics. Had I expanded the list to include out-of-print favorites — Antique Bakery, Apocalypse Meow, Club 9, Domu: A Child’s Dream, The Name of the Flower, Planetes — it would have been an unwieldy beast, and one sure to disappoint: why recommend a book that’s selling for $100 on eBay?

So without further ado… here are seven short series worth adding to your manga bookshelf.

A DISTANT NEIGHBORHOOD

JIRO TANIGUCHI • FANFARE/PONENT MON • 2 VOLUMES

A Distant Neighborhood is a wry, wistful take on a tried-and-true premise: a salaryman is transported back in time to his high school days, and must decide whether to act on his knowledge of the past or let events unfold as they did before. We’ve seen this story many times at the multiplex — Back to the Future, Peggy Sue Got Married — but Taniguchi doesn’t play the set-up for laughs; rather, he uses Hiroshi’s predicament to underscore the challenges of family life and the awkwardness of adolescence. (Hiroshi is the same chronological age as his parents, giving him special insight into the vicissitudes of marriage, as well as the confidence to cope with teenage tribulations.) Easily one of the most emotional, most intimate stories Taniguchi’s ever told. (A Distant Neighborhood was one of my picks for Best Manga of 2009; click here for the full list.)

ICHIGENME… THE FIRST CLASS IS CIVIL LAW

FUMI YOSHINAGA • DMP • 2 VOLUMES

One of the things that distinguishes Fumi Yoshinaga’s work from that of other yaoi artists is her love of dialogue. In works like Antique Bakery and Solfege, she reminds us that conversation can be an aphrodisiac, especially when two people are analyzing a favorite book or confessing a mutually-shared passion for art, cooking, or manga. True to form, the sexiest scenes in Ichigenme: The First Class Is Civil Law are conversations between law professors and their students. We feel the erotic charge of more experienced scholars engaging their proteges in intense debates over legal procedure and philosophy, even when the topics themselves are rather dry. Not that Yoshinaga skimps on the smut: there’s plenty of bedroom action as the carefree Tohdou helps his uptight, closeted classmate Tamiya explore his sexuality, but the series’ best moments are fully clothed. An entertaining manga that gets better with each reading. (Reviewed at PopCultureShock on 3/14/08.)

ODE TO KIRIHITO

OSAMU TEZUKA • VERTICAL, INC. • 2 VOLUMES

While investigating an outbreak of a mysterious disease, an earnest young doctor contracts it himself, becoming a hideous dog-man who craves raw meat. Kirihito’s search for the cause — and the cure — is the backbone of this globe-trotting adventure, but Kirihito’s quest to reclaim his humanity is its heart and soul; his travels bring him into contact with hustlers, racists, and superstitious villagers, each of whom greets him with a mixture of suspicion and fear. As its dog-man premise suggests, Ode to Kirihito is Tezuka at his bat-shit craziest: in one storyline, for example, Kirihito befriends a nymphomaniac circus performer who transforms herself into human tempura. But for all its over-the-top characters and plot developments (see “nympho human tempura,” above), Ode to Kirihito is one of Tezuka’s most moving stories, a thoughtful meditation on the the fluid boundaries between man and animal, sanity and insanity, good and evil. (Reviewed at The Manga Critic on 4/7/10.)

THE SECRET NOTES OF LADY KANOKO

RIRIKO TSUJITA • TOKYOPOP • 3 VOLUMES

Kanoko, the sardonic heroine of The Secret Notes of Lady Kanoko, is a student of human behavior, gleefully filling her notebooks with detailed observations about her classmates. Though Kanoko would like nothing more than to remain on the sidelines, she frequently becomes embroiled in her peers’ problems; they value her independent perspective, as Kanoko isn’t the least bit interested in dating, running for student council, or currying favor with the alpha clique. Kanoko’s sharp tongue and cool demeanor might make her the mean-girl villain in another shojo manga, but Ririko Tsujita embraces her heroine’s prickly, opinionated nature and makes it fundamental to Kanoko’s appeal. The perfect antidote to shojo stories about timid good girls and boy-crazy spazzes. UPDATE 4/16/11: TOKYOPOP announced that it would be shutting down its US publishing operations on May 31, 2011. Unfortunately, that means that Lady Kanoko will likely remain incomplete at two volumes. The stories are largely self-contained, so it is still possible to enjoy Lady Kanoko without reading the last volume.

7 BILLION NEEDLES

NOBUAKI TADANO • VERTICAL, INC. • 4 VOLUMES

Nobuaki Tadano gives Hal Clement’s Needle a manga makeover, moving the action from a remote island in the South Seas to Japan, and replacing Clement’s wholesome, Hardy Boy protagonist with a sullen teenage girl who’s none too pleased to discover that an alien bounty hunter has taken control of her body. The decision to make Hikaru a troubled loner with a difficult past is a stroke of genius; her social isolation proves almost as formidable an obstacle for her to overcome as the monster that she and Horizon (as the bounty hunter is known) are pursuing. Her personal struggles also add a level of raw, emotional authenticity to the story — something that was largely absent from the fascinating, though clinically detached, original. Oh, and the monster? It’s a doozy. (7 Billion Needles was one of my picks for Best Teen-Friendly Comic of 2010; see Good Comics for Kids for the full list. Volumes one and two were reviewed at The Manga Critic on 11/21/10; volume three was reviewed on 2/17/11. The fourth and final volume will arrive in stores on April 26, 2011.)

TO TERRA

KEIKO TAKEMIYA • VERTICAL, INC. • 3 VOLUMES

If Richard Wagner wrote space operas, he might have composed something like Keiko Takemiya’s To Terra, an inter-generational drama about a race of telepathic mutants who’ve been exiled from their home world. Under the leadership of the charismatic Jomy Marcus Shin, the Mu embark on a grueling voyage back to Terra to be reunited with their human creators. Their principle foe: an evil supercomputer named Mother. Takemiya’s richly detailed artwork makes To Terra an almost cinematic experience, suggestive of 2001: A Space Odyssey and Star Wars. But don’t be fooled by those blinking computers and blazing starships: To Terra is an unabashedly Romantic saga about two ubermensch locked in a struggle of cosmic proportions. No doubt Richard would approve. (To Terra was one of my picks for Best Manga of 2007; read the full list at PopCultureShock. For more information on To Terra‘s history, click here.)

TOTO! THE WONDERFUL ADVENTURE

YUKO OSADA • DEL REY • 5 VOLUMES

Shonen series often run to 10, 20, or 40 volumes, but Toto! The Wonderful Adventure proves that good stories come in shorter packages, too. Yuko Osada brazenly steals ideas from dozens of other sources — Castle in the Sky, One Piece, Last Exile, The Wizard of Oz — to produce a boisterous, fast-paced story about a tyro explorer who crosses paths with sky pirates, military warlords, and a high-kicking senjutsu expert named Dorothy. Though the jokes are hit-or-miss, Toto! boasts crisp artwork, strong female characters, and an infectious sense of bonhomie among the series’ protagonists; Kakashi and his traveling companions are impossible to dislike. (Reviewed at The Manga Critic on 9/16/10.)

HONORABLE MENTIONS

CAT-EYED BOY (Kazuo Umezu • VIZ • 2 volumes): Readers looking for an introduction to Kazuo Umezu’s work could do a lot worse than this two-volume collection of stories about a strange little boy who’s half-human, half-demon. Umezu gives free reign to his imagination, conjuring some of the most bizarre monsters in the J-horror canon. The results aren’t always as shocking as they might be, but Cat-Eyed Boy is by turns funny, scary, and sad. (Reviewed at The Manga Critic on 10/3/10.)

LADY SNOWBLOOD (Kazuo Koike and Kazuo Kimimura • Dark Horse • 4 volumes): Now that everyone’s forgotten Kill Bill, the epic mess “inspired” by Kazuo Koike’s Lady Snowblood, it’s possible to read this series for what it is: a deliciously trashy story about a beautiful assassin who manipulates, cajoles, seduces, and stabs her way through Meiji-era Japan. Expect copious nudity, buckets of blood, and fight scenes so outrageous they have to be seen to be believed.

ONE POUND GOSPEL (Rumiko Takahashi • VIZ • 4 volumes): In this charming sports comedy, a struggling boxer is torn between his love for food and his love for a pretty young nun who wants him to lay down his fork, lose some weight, and win a few matches. The series is a little episodic (Takahashi published new chapters sporadically), but the dialogue and slapstick humor have a characteristically Takahashian zing.

For additional suggestions, see:

  • 5 Underrated Shojo Manga, which includes Setona Mizushiro’s X-Day;
  • My 10 Favorite CMX Titles, which includes such short series as Astral Project, Chikyu Misaki, Kiichi and the Magic Books, The Name of the Flower, and Presents. Note that many of these series are out of print and may be hard to find through retailers like Amazon;
  • My 10 Favorite Spooky Manga, which includes such short series as Dororo, Gyo, Mail, and School Zone.

7 Short Series Worth Adding to Your Manga Bookshelf

by

I like getting lost in a long, twisty story as much as the next person, but I often lose interest in a manga around the five- or ten-volume mark. As a service to other people afflicted with Manga ADHD, therefore, I’ve compiled a list of seven shorter series that enjoy pride of place on my shelves.

There were a few ground rules that guided my list-making. First, the series needed to be complete in five volumes or fewer. Second, every volume of the series needed to be readily available through a major retailer like Amazon. Third, the list needed to be diverse, covering a range of genres and demographics. Had I expanded the list to include out-of-print favorites — Antique Bakery, Apocalypse Meow, Club 9, Domu: A Child’s Dream, The Name of the Flower, Planetes — it would have been an unwieldy beast, and one sure to disappoint: why recommend a book that’s selling for $100 on eBay?

So without further ado… here are seven short series worth adding to your manga bookshelf.

A DISTANT NEIGHBORHOOD

JIRO TANIGUCHI • FANFARE/PONENT MON • 2 VOLUMES

A Distant Neighborhood is a wry, wistful take on a tried-and-true premise: a salaryman is transported back in time to his high school days, and must decide whether to act on his knowledge of the past or let events unfold as they did before. We’ve seen this story many times at the multiplex — Back to the Future, Peggy Sue Got Married — but Taniguchi doesn’t play the set-up for laughs; rather, he uses Hiroshi’s predicament to underscore the challenges of family life and the awkwardness of adolescence. (Hiroshi is the same chronological age as his parents, giving him special insight into the vicissitudes of marriage, as well as the confidence to cope with teenage tribulations.) Easily one of the most emotional, most intimate stories Taniguchi’s ever told. (A Distant Neighborhood was one of my picks for Best Manga of 2009; click here for the full list.)

ICHIGENME… THE FIRST CLASS IS CIVIL LAW

FUMI YOSHINAGA • DMP • 2 VOLUMES

One of the things that distinguishes Fumi Yoshinaga’s work from that of other yaoi artists is her love of dialogue. In works like Antique Bakery and Solfege, she reminds us that conversation can be an aphrodisiac, especially when two people are analyzing a favorite book or confessing a mutually-shared passion for art, cooking, or manga. True to form, the sexiest scenes in Ichigenme: The First Class Is Civil Law are conversations between law professors and their students. We feel the erotic charge of more experienced scholars engaging their proteges in intense debates over legal procedure and philosophy, even when the topics themselves are rather dry. Not that Yoshinaga skimps on the smut: there’s plenty of bedroom action as the carefree Tohdou helps his uptight, closeted classmate Tamiya explore his sexuality, but the series’ best moments are fully clothed. An entertaining manga that gets better with each reading. (Reviewed at PopCultureShock on 3/14/08.)

ODE TO KIRIHITO

OSAMU TEZUKA • VERTICAL, INC. • 2 VOLUMES

While investigating an outbreak of a mysterious disease, an earnest young doctor contracts it himself, becoming a hideous dog-man who craves raw meat. Kirihito’s search for the cause — and the cure — is the backbone of this globe-trotting adventure, but Kirihito’s quest to reclaim his humanity is its heart and soul; his travels bring him into contact with hustlers, racists, and superstitious villagers, each of whom greets him with a mixture of suspicion and fear. As its dog-man premise suggests, Ode to Kirihito is Tezuka at his bat-shit craziest: in one storyline, for example, Kirihito befriends a nymphomaniac circus performer who transforms herself into human tempura. But for all its over-the-top characters and plot developments (see “nympho human tempura,” above), Ode to Kirihito is one of Tezuka’s most moving stories, a thoughtful meditation on the the fluid boundaries between man and animal, sanity and insanity, good and evil. (Reviewed at The Manga Critic on 4/7/10.)

THE SECRET NOTES OF LADY KANOKO

RIRIKO TSUJITA • TOKYOPOP • 3 VOLUMES

Kanoko, the sardonic heroine of The Secret Notes of Lady Kanoko, is a student of human behavior, gleefully filling her notebooks with detailed observations about her classmates. Though Kanoko would like nothing more than to remain on the sidelines, she frequently becomes embroiled in her peers’ problems; they value her independent perspective, as Kanoko isn’t the least bit interested in dating, running for student council, or currying favor with the alpha clique. Kanoko’s sharp tongue and cool demeanor might make her the mean-girl villain in another shojo manga, but Ririko Tsujita embraces her heroine’s prickly, opinionated nature and makes it fundamental to Kanoko’s appeal. The perfect antidote to shojo stories about timid good girls and boy-crazy spazzes. UPDATE 4/16/11: TOKYOPOP announced that it would be shutting down its US publishing operations on May 31, 2011. Unfortunately, that means that Lady Kanoko will likely remain incomplete at two volumes. The stories are largely self-contained, so it is still possible to enjoy Lady Kanoko without reading the last volume.

7 BILLION NEEDLES

NOBUAKI TADANO • VERTICAL, INC. • 4 VOLUMES

Nobuaki Tadano gives Hal Clement’s Needle a manga makeover, moving the action from a remote island in the South Seas to Japan, and replacing Clement’s wholesome, Hardy Boy protagonist with a sullen teenage girl who’s none too pleased to discover that an alien bounty hunter has taken control of her body. The decision to make Hikaru a troubled loner with a difficult past is a stroke of genius; her social isolation proves almost as formidable an obstacle for her to overcome as the monster that she and Horizon (as the bounty hunter is known) are pursuing. Her personal struggles also add a level of raw, emotional authenticity to the story — something that was largely absent from the fascinating, though clinically detached, original. Oh, and the monster? It’s a doozy. (7 Billion Needles was one of my picks for Best Teen-Friendly Comic of 2010; see Good Comics for Kids for the full list. Volumes one and two were reviewed at The Manga Critic on 11/21/10; volume three was reviewed on 2/17/11. The fourth and final volume will arrive in stores on April 26, 2011.)

TO TERRA

KEIKO TAKEMIYA • VERTICAL, INC. • 3 VOLUMES

If Richard Wagner wrote space operas, he might have composed something like Keiko Takemiya’s To Terra, an inter-generational drama about a race of telepathic mutants who’ve been exiled from their home world. Under the leadership of the charismatic Jomy Marcus Shin, the Mu embark on a grueling voyage back to Terra to be reunited with their human creators. Their principle foe: an evil supercomputer named Mother. Takemiya’s richly detailed artwork makes To Terra an almost cinematic experience, suggestive of 2001: A Space Odyssey and Star Wars. But don’t be fooled by those blinking computers and blazing starships: To Terra is an unabashedly Romantic saga about two ubermensch locked in a struggle of cosmic proportions. No doubt Richard would approve. (To Terra was one of my picks for Best Manga of 2007; read the full list at PopCultureShock. For more information on To Terra‘s history, click here.)

TOTO! THE WONDERFUL ADVENTURE

YUKO OSADA • DEL REY • 5 VOLUMES

Shonen series often run to 10, 20, or 40 volumes, but Toto! The Wonderful Adventure proves that good stories come in shorter packages, too. Yuko Osada brazenly steals ideas from dozens of other sources — Castle in the Sky, One Piece, Last Exile, The Wizard of Oz — to produce a boisterous, fast-paced story about a tyro explorer who crosses paths with sky pirates, military warlords, and a high-kicking senjutsu expert named Dorothy. Though the jokes are hit-or-miss, Toto! boasts crisp artwork, strong female characters, and an infectious sense of bonhomie among the series’ protagonists; Kakashi and his traveling companions are impossible to dislike. (Reviewed at The Manga Critic on 9/16/10.)

HONORABLE MENTIONS

CAT-EYED BOY (Kazuo Umezu • VIZ • 2 volumes): Readers looking for an introduction to Kazuo Umezu’s work could do a lot worse than this two-volume collection of stories about a strange little boy who’s half-human, half-demon. Umezu gives free reign to his imagination, conjuring some of the most bizarre monsters in the J-horror canon. The results aren’t always as shocking as they might be, but Cat-Eyed Boy is by turns funny, scary, and sad. (Reviewed at The Manga Critic on 10/3/10.)

LADY SNOWBLOOD (Kazuo Koike and Kazuo Kimimura • Dark Horse • 4 volumes): Now that everyone’s forgotten Kill Bill, the epic mess “inspired” by Kazuo Koike’s Lady Snowblood, it’s possible to read this series for what it is: a deliciously trashy story about a beautiful assassin who manipulates, cajoles, seduces, and stabs her way through Meiji-era Japan. Expect copious nudity, buckets of blood, and fight scenes so outrageous they have to be seen to be believed.

ONE POUND GOSPEL (Rumiko Takahashi • VIZ • 4 volumes): In this charming sports comedy, a struggling boxer is torn between his love for food and his love for a pretty young nun who wants him to lay down his fork, lose some weight, and win a few matches. The series is a little episodic (Takahashi published new chapters sporadically), but the dialogue and slapstick humor have a characteristically Takahashian zing.

For additional suggestions, see:

  • 5 Underrated Shojo Manga, which includes Setona Mizushiro’s X-Day;
  • My 10 Favorite CMX Titles, which includes such short series as Astral Project, Chikyu Misaki, Kiichi and the Magic Books, The Name of the Flower, and Presents. Note that many of these series are out of print and may be hard to find through retailers like Amazon;
  • My 10 Favorite Spooky Manga, which includes such short series as Dororo, Gyo, Mail, and School Zone.

The Manga Hall of Shame: Color of Rage

by

RageCoverWhen reading historical manga, I grant the artist creative license to tell a story that evokes the spirit of an age rather than its details. What rankles my inner historian, however, are the kind of anachronisms that result from sheer laziness or paucity of imagination: modern slang, gross disregard for well-established fact. Alas, Color of Rage is filled with the kind of historical howlers that would make C. Vann Woodward or Leon Litwack gnash their teeth in despair.

The story begins in 1783. Off the coast of Japan, a whaling ship sinks in turbulent seas, claiming the lives of all but two crew members: George, a Japanese man, and King, an African-American slave. The two wash ashore, cut away their shackles, and set out in search of a community where they can live peacefully — no small challenge, given how conspicuous King is among such a homogenous population. Of course, this being a manga by Kazuo Koike, George and King’s journey is anything but picaresque, as they bump up against the vigorous defenders of Edo-era status quo: ruthless daimyo, yakuza thugs, samurai-for-hire.

…

Read More

The Manga Hall of Shame: Color of Rage

by

When reading historical manga, I grant the artist creative license to tell a story that evokes the spirit of an age rather than its details. What rankles my inner historian, however, are the kind of anachronisms that result from sheer laziness or paucity of imagination: modern slang, gross disregard for well-established fact. Alas, Color of Rage is filled with the kind of historical howlers that would make C. Vann Woodward or Leon Litwack gnash their teeth in despair.

The story begins in 1783. Off the coast of Japan, a whaling ship sinks in turbulent seas, claiming the lives of all but two crew members: George, a Japanese man, and King, an African-American slave. The two wash ashore, cut away their shackles, and set out in search of a community where they can live peacefully — no small challenge, given how conspicuous King is among such a homogenous population. Of course, this being a manga by Kazuo Koike, George and King’s journey is anything but picaresque, as they bump up against the vigorous defenders of Edo-era status quo: ruthless daimyo, yakuza thugs, samurai-for-hire.

For such a far-fetched premise to work, its principal characters’ thoughts, words, and actions need to make sense in historical context, yet George and King behave like modern action heroes deposited in feudal Japan, not products of the eighteenth century. During scenes of limb-severing carnage, for example, they banter with the consummate skill of Harrison Ford and Will Smith, pausing occasionally to deliver speeches about finding a place where “color doesn’t matter” — a noble sentiment, to be sure, but one cribbed from a Civil Rights speech circa 1964, not an eighteenth century abolitionist’s tract. A similar sense of historical amnesia informs another scene in which King declares that conditions are worse for Japanese peasants than for slaves in the American South, leaving me to wonder how a slave working on a colonial plantation would have any comparative basis for making such an assertion or, frankly, any notion of the “American South,” given that the Revolutionary War was still in full swing at the time King was gang-pressed into whaling. Other historical oversights abound: how did a Japanese man end up in the galley of an American whaling ship? Where did George learn to speak fluent English? Who taught King to handle a sword? And so forth.

colorofrageinteriorThe bigger problem, however, is that King entertains notions of race, class, and gender that would have been as alien to American colonists as they were to Japanese farmers and overlords. His blind commitment to addressing inequality wherever he encounters it — on the road, at a brothel — leads him to do and say incredibly reckless things that require George’s boffo swordsmanship and insider knowledge of the culture to rectify. If anything, King’s idealism makes him seem simple-minded in comparison with George, who comes across as far more worldly, pragmatic, and clever. I’m guessing that Koike thought he’d created an honorable character in King without realizing the degree to which stereotypes, good and bad, informed the portrayal. In fairness to Koike, it’s a trap that’s ensnared plenty of American authors and screenwriters who ought to know that the saintly black character is as clichéd and potentially offensive a stereotype as the most craven fool in Uncle Tom’s Cabin. By relying on American popular entertainment for his information on slavery, however, Koike falls into the very same trap, inadvertently resurrecting some hoary racial and sexual tropes in the process.

Koike’s treatment of female characters, like his handling of racial issues, can be downright ugly. In a valiant effort to head off feminists at the pass, the editors acknowledge Koike’s propensity for writing “samurai-era yarns with a certain sense of chauvinist violence and pulpy sexiness.” Now I’m all for “pulpy sexiness” — doesn’t that sound like fun? But the casual mingling of sex and violence in Color of Rage crosses the line from mere chauvinism to outright misogyny. The nadir is a scene in which King strips a woman naked and crams dirt into her mouth until she chokes. Her crime: being turned on by the sight of King’s big, strapping body (which, I might add, artist Seisaku Kano treats as a kind of fetish-object throughout the book). Richard Wright might have known how to make the moment horrific, tragic, and peculiarly just, but someone as ill-versed in American history as Koike does not. The result is an uncomfortable mixture of kink and racism that hints at the story’s 1970s roots; one wonders what, exactly, Koike had read or seen to inspire such a florid racial fantasy.

The artwork is a hodgepodge of styles and techniques. The best pages appear to be done in charcoal or pastels, and have the soft edges and expressionist lighting I associate with fin-de-siecle modernists such as Käthe Kollwitz. The opening scene, in particular, is beautifully rendered, a harrowing sequence of wordless, slightly abstract panels that reveals how George and King survived their maritime ordeal:

corv2

Most of the art, however, looks like homage to Goseki Kojima’s work on Lone Wolf and Cub, Samurai Executioner, and Path of the Assassin — not a bad thing, given Kojima’s superb draftsmanship and penchant for drawing memorable mugs. Seisaku Kano’s character designs are fine, but his fight scenes are poorly composed, a riot of swords, guts, and bodies in motion that fail to give the reader a clear picture of what’s happening. That might be an OK artistic choice once in a while, perhaps to suggest the chaos of hand-to-hand combat, but as the dominant mode of depicting action it soon grows tiresome, leaving the reader feeling more pummeled than entertained.

Though some of these criticisms could be leveled at Koike’s other work — Lady Snowblood, Crying Freeman and, yes, Lone Wolf and Cub — Color of Rage lacks something common to the aforementioned manga: a sense of play. Koike never takes himself too seriously in these other works, even when the plot takes a dark turn or two. In Color of Rage, however, his sincerity proves his undoing, as he tries to insert a noble black character into a world of vicious overlords and amoral samurai. King’s high-minded speeches and interventions clash violently with the story’s “pulpy sexiness” (for want of a better term), producing something that’s neither dramatically compelling nor fun to read. Die-hard Koike fans may feel the completist’s urge to buy Color of Rage — especially since Dark Horse has given it such a deluxe treatment — but casual readers will find much less here to love.

This is a revised version of a review that originally appeared at PopCultureShock on 5/14/2008.

COLOR OF RAGE • BY KAZUO KOIKE AND SEISAKU KANO • DARK HORSE • 414 pp. • RATING: MATURE (18+)