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Love Skit

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Love Skit
By Rie Honjoh
Published by 801 Media

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At eighteen years old, Aoto has had more than his share of tragedy. Orphaned in his youth, he’s dedicated himself to taking care of his older sister, Ryouko. Though relief eventually arrives in the form of Ryouko’s fiancé, Takashi, it brings along with it a new set of troubles, as Aoto quickly realizes he’s fallen in love with his new brother-in-law. Now, after his sister’s death, Aoto is left alone with Takashi, experiencing both grief and guilt over his own feelings. Then enters Masayuki, an old classmate of Takashi’s who is smitten with Aoto and determined not to let him pine after his dead sister’s husband for the rest of his life.

I’d anticipated this release quite enthusiastically, based on the emotionally affecting trailer offered up on YouTube by 801 Media, and at the outset it indeed seemed to have all the elements required to make up a rather touching (if conventional) boys’ love story. Unfortunately there are also several moves taken from the Creepy Yaoi Playbook, preventing the story’s early promise from quite following through.

Though fourteen years his senior, Masayuki chases Aoto like a sex-obsessed teen, grabbing at him incessantly at the least appropriate times and forcing himself on Aoto the moment he receives the slightest reciprocation of his feelings. Finally able to release his apparently uncontrollable urges, Masayuki forges on, regardless of Aoto’s obvious physical and emotional discomfort, whispering sweet nothings like, “Don’t worry. It’ll be over soon. Come on,” while Aoto winces in pain.

… be still my heart?

The manga’s reliance on questionably consensual sex is honestly a real shame, as it is otherwise quite thoughtful, exploring the internal struggles of its three main characters with unexpected insight. Though its “gender doesn’t matter” theme stubbornly refuses to grant the characters a shred of gay identity, even this could pass as a minor quibble if the sexual politics were not so blatantly askew. Rie Honjoh’s art is expressive and even whimsical, giving the romantic scenes a sense of playfulness that is distinctly refreshing in a story of this kind. Though the volume’s primary tale is interrupted halfway through to make way for a short side story involving one of its supporting characters, it still manages to feel substantial, especially in terms of character development.

For those who can stomach the bedroom dynamics, Love Skit certainly has its charms. For less fervent fans of the genre, it is probably best left on the shelf.

Tactics, Vol. 8

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tactics8By Sakura Kinoshita and Kazuko Higashiyama
TOKYOPOP, 192 pp.
Rating: Teen (13+)

This volume opens with the conclusion to Kantarou’s latest conflict with Raikou Minamoto and his underlings. Haruka arrives to save the day (and to reassure Kantarou of his loyalty) but though Minamoto’s immediate plans are destroyed, the fight ultimately ends in a draw. Things are looking up for Kantarou, however, as Haruka makes a promise to one day tell him about his past. The story then takes a break to make way for a string of short “Bedtime Stories” featuring the series’ regular characters, which provide filler for the latter two-thirds of the volume.

Though the volume starts strong, thanks to the underlying tension between Kantarou and Haruka, it quickly falls apart with the introduction of its short story series, “Record of One Hundred Goblins.” With a single exception, these shorts provide neither humor nor substance sufficient to hold readers’ attention. Fortunately, the volume’s final story, “Otoshi,” about an artist whose ability to paint youkai (supernatural creatures) has mysteriously failed him, has enough strength of its own to turn things around. Focusing on relationships between humans and youkai, this story provides one of the most poignant moments of the series so far, rescuing the volume from its flat middle chapters. “… How precious an ‘existence’ is to youkai,” muses Kantarou, having finally returned the artist’s ability to him. “… That’s why I use my writing to make them immortal and [the artist] uses his art to pass on to future generations.”

Despite its uneven storytelling and tone, the eighth volume of Tactics manages its way out of complete destruction with a healthy dose of true feeling.

Review copy provided by the publisher. Review originally published at PopCultureShock.

Ludwig II, Vols. 1-2

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ludwig2Ludwig II, Vols. 1-2
By You Higuri
Published by Digital Manga Publishing
Rating: 18+ (Mature)

Repulsed by affairs of the state and obsessed with the beauty of the arts, young King Ludwig II of Bavaria would much rather attend the opera than discuss his country’s vulnerability to power-hungry Prussia. As his ministers struggle to turn his focus to politics, Ludwig seeks the company of kindred spirits, particularly attractive young men whom he also desires as sexual partners.

With his greatest love apparently unrequited (that for notoriously decadent composer Richard Wagner, who uses Ludwig’s patronage to conceal his affair with a married woman) and his effusive relationship with Prince Paul of Thurn and Taxis nearing its end, Ludwig becomes infatuated with his new stable boy, an attractive young blond named Richard Hornig, whom he soon appoints as his personal manservant. Despite numerous obstacles, including a criminal plot hatched by Hornig’s brother and Ludwig’s brief engagement to his devoted cousin, Sophie, their mutual love grows, threatened only by political enemies and Ludwig’s increasingly frequent hallucinations.

As a matter of historical fact, King Ludwig II’s tragic and unexplained death can hardly be treated as a spoiler, a point wisely taken by mangaka You Higuri, who uses the event to open the series while also introducing Ludwig’s cousin Elizabeth (Empress of Austria), with whom he shared an exceptionally close relationship. Elizabeth, whose restless spirit earned her the name “The Wandering Queen,” begins as narrator and is portrayed throughout the story as the only person capable of truly understanding her cousin, doomed (as he is) to a fretful life as penance for the sin of dreaming. Higuri also makes good use of Ludwig’s well-known obsession with Wagner and his controversial legacy as “The Mad King,” by giving him recurring visions of a beautiful male “Valkyrie” (mythical Norse maidens who act as angels of death, portrayed extensively in Wagner’s opera Die Walküre) who draws him slowly into darkness and away from Hornig.

Though early on, Higuri tosses in a half-hearted reference to Ludwig’s lifelong struggle with religion and sexuality (as documented in his diaries), Ludwig’s imaginary Valkyrie is given most of the dirty work when it comes to tearing him away from his One True Love, Hornig, as well as the task of explaining his death. That Higuri’s story is highly fictionalized is not only obvious but intentional, yet it is its historical foundation that gives it much of its resonance, so much so that it’s tempting to wish she had gone just a bit further.

Higuri has set up a very attractive tragedy—its beautiful lovers doomed by circumstance, position, and mental instability. This premise, as stated, is perfectly primed for romantic fantasy and certainly a staple of the genre. What’s a bit sad is that the demands of boys’ love must take precedence over the opportunity to illustrate Ludwig’s true tragedy—one better told by historians and biographers. Much more heartbreaking than a tale of star-crossed lovers is that of a sensitive and artistically inclined young man, shackled by position and ruined by wealth, tortured by the impossibility of reconciling his deeply ingrained religious beliefs with the reality of his own sexuality, and doomed to lose lover after lover to disenchantment or, worse, matrimony.

Not only does Higuri romanticize Ludwig’s famously mysterious end, she also carefully leaves out his pain over Hornig’s real-life marriage, which took place years before. Though the true tale, of course, fails to provide the stuff of romantic fantasy, it reveals far more poignant truths about life as a gay monarch in the nineteenth century.

Even the New York Times, in their 1886 obituary, described Ludwig as a man born “too soon or too late”—a reclusive lover of the arts burdened with the weight of deep feeling, and ill-suited to an environment of politics and war. That Ludwig’s loneliness is palpable, even in the coldest historical accounts, is painfully revealing and unfortunately far removed from the world of boys’ love manga, as is his eventual decline into obesity. Given Ludwig’s aesthetic tastes, it is likely that Higuri’s ending for him—young, beautiful, and adored even in his final moments—would better satisfy his sensibilities than the one he came to himself.

One aspect of Ludwig’s personality that Higuri captures quite well is his devotion to his own fantasies—bestowing lavish gifts on those who pleased him and pouring his personal fortune into the construction of a series of elaborate castles—something that caused strife amongst his ministers but inspired considerable loyalty in the Bavarian people. It is Ludwig’s increasing retreat into fantasy that Higuri uses to justify his romantic and beautiful demise, something Ludwig himself would no doubt have appreciated.

Historical inaccuracies aside, Higuri’s tale is undeniably engaging and honestly romantic, despite her tendency to sentimentalize some disturbingly imbalanced bedroom dynamics which, granted, may not be far removed from class-based sexual politics of the day. The series’ detailed artwork and lush, period setting provide a feast for the eyes as well, with special attention given to the emotional tone of each scene. Ludwig’s inner world is especially well established, both visually and otherwise, and Higuri’s ability to portray him equally well in ecstasy as in despair gives him the range necessary to rise above the melodrama as a genuinely poignant character.

With just enough fact behind the fiction, Ludwig II manages to be more than a stylish costume piece, and if it inspires yearning for a deeper look at history, this can hardly be a bad thing. Succinct yet satisfying in two double-sized volumes, this series provides enough substance to please even casual fans of the genre.

Review copies provided by the publisher. Review originally published at PopCultureShock.

Love*Com, Volume 14

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Guest Review: Love*Com, Vol. 14
By Aya Nakahara
Published by VIZ Media

Review by Deanna Gauthier

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In this volume, Risa and Otani’s relationship is once again under attack. To Risa’s horror, her own grandfather has hired a woman to seduce Otani and break them up. Even worse, Otani believes the sob story he’s been given by the beautiful, buxom Hitomi and accuses Risa of lying to him about her grandfather’s scheme. When the truth comes out will it matter who was wrong and who was right now that a jealous and conniving Hitomi has tricked Risa and left her at the mercy of two yakuza thugs?

This is a romantic comedy so of course a plotline like this will never end as tragically as it could. Still, it is the darkest plotline (and Hitomi, the character with the blackest heart) to appear in Love* Com. Being the gullible reader I am, I believed Risa was in real danger. The threat of rape just doesn’t sit right with me as fodder for comedic misunderstanding. Love*Com has always delivered liberal doses of fluffy silliness along with angst as Risa and Otani discover what they mean to each other and learn what it means to like someone, let alone be in love with them. The mangaka, Aya Nakara, has characterized her manga as intended to bring a smile to the faces of her readers and give them even a moment of enjoyment in their lives. In that regard she has always delivered in spades. I found plenty to laugh about in this volume as I have in the volumes that preceded it–not to mention warm and fuzzy moments to make me smile. Risa and Otani are such innocent and awkward leads–two loveable stumbling idiots who are absolutely made for each other. I do not mean to pick on Nakahara too much for this storyline. It just struck me as too serious and dark a dilemma for an otherwise non-threatening shojo romantic comedy.

Speaking of non-threatening, this volume marks the return of the clownishly-drawn, not-too-bright punks who Risa’s brother nearly came to blows with in the previous volume. Nakahara’s artwork is strongest when it comes to facial expression, especially the eyes. Yet the facial features of her yakuza are drawn with very thin lines and no shading, reducing them almost to doodles that look like they don’t quite belong in the same universe as our main characters. I don’t particularly like the design and execution of the yakuza characters. It feels sloppy in comparison to how beautiful (or at least human) the rest of her characters look most of the time. However, I do feel Nakahara successfully uses this same technique of reducing the facial features of the rest of her cast to thin lines that stretch or contort into odd shapes to comically express certain emotions more strongly. It’s funny, but it’s only just now, fourteen volumes into the series, that it occurs to me: Nakahara uses this instead of drawing chibis!

I really am enjoying this series. It has given me reason to smile when I have really needed it during the dreary fall and winter days, and it holds up well to re-reads. It is definitely one for my keeper shelf. I look forward to the final three volumes!

Review copy provided by the publisher.

Vampire Knight, Volume 8

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Guest Review: Vampire Knight, Vol. 8
By Matsuri Hino
Published by Viz Media

Review by Megan M.

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Cross Academy is divided into two groups of students: the Day Class, made up of seemingly normal high school students, and the Night Class, whose members are actually vampires. Protecting the human students from the vampires are Yuki Cross (the headmaster’s foster daughter) and her childhood friend, Zero Kiryu. Yuki has always had a strange relationship with the head of the Night Class, Kaname, on whom she must rely to explain the mysteries of her past. Fortunately for Yuki, circumstances have reached a point where Kaname has no other choice but to do so.

I read the first three volumes of this series when they first came out in the U.S., but eventually dropped it. While I found the main plotline interesting and liked Yuki and Zero, I found Kaname to be extremely creepy and his relationship with Yuki even more so. The real deal breaker for me, however, was that the entire cast (excepting Zero) behaved as if Yuki was one of Kaname’s personal possessions. Having now read this volume, there is virtually nothing I can say on this topic that would not be considered a major spoiler, but suffice it to say that the story itself now appears to support this view of Yuki. Not only has Kaname been firmly established as a love interest, but we also learn that Yuki was literally created purely for the purpose of being Kaname’s bride. There are other plot elements that briefly appear–the mythology of the vampire hunters and the dangers of twin hunters, for instance–but these items are clearly secondary.

In addition to giving life to the creepiest implications of the story’s core premise, the overall quality of the series seems to have declined. In early volumes, I recall that Yuki had quite a bit to do. In this volume, she literally does nothing but run around in a nightgown. In addition, Zero does nothing but point his gun and angst. Only Kaname has anything of real substance on his plate, which unfortunately consists of obsessing over Yuki and seeking revenge. Had I not read previous volumes, I would wonder if Hino’s characters were capable of anything but angst (alternately tragic and angry), aside from some supporting characters, whose range extends to ominous, mysterious, and tragic.

The series’ art has also suffered a serious decline. In the past, I’ve found Matsuri Hino’s art to be too cluttered for my taste–more focused on looking pretty than storytelling–but her designs and backgrounds were interesting and appealing, and her art very detailed. Unfortunately, she has degenerated to substituting backgrounds with white space or hazy textures and her characters have become so generic that they are difficult to tell apart except by hairstyle.

I decided to give Vampire Knight another try thanks to a growing fondness for other gothic shojo titles over the last two years. Unfortunately, whatever it is that CLAMP, Higuri You and Kaori Yuki have, Matsuri Hino doesn’t.

Review copy provided by the publisher.

Sayonara, Zetsubou-Sensei, Vol. 4

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zetsubou4By Koji Kumeta
Del Rey, 192 pp.
Rating: OT (16+)

Suicidal schoolteacher Nozomu Itoshiki (Zetsubou-sensei) and his students are back, with a satirical take on such topics as Christmas, leftovers, societal hierarchies, cooling-off periods, second opinions, and how to deal with dead space. Even exam students are taken to task in this volume, as Zetsubou-sensei despairs over their ability to get away with nearly anything–a privilege he attempts to recapture for himself by engaging in a series of increasingly ridiculous certification programs. Easily passing tests for certifications in flower arrangement and animal breeding (and scraping by in subjects like “love”), he finds himself ultimately unqualified for either “life” or “death” (a certification that requires numerous sub-licenses, such as “writing a suicide note” and “how to leave your shoes”), leaving him trapped ever further in despair.

Since this series has been dismissed by some as relying too heavily on inside jokes and obscure cultural references to be effective with North American readers, it is important to note that volume four is easily the most accessible in the series so far, requiring very few trips to the translator’s notes provided in the back (and virtually none for readers familiar with Japanese manzai characters—the only cultural reference in this volume absolutely required for the understanding of an entire chapter). Smooth reading facilitates smooth comedy, making this volume more universally hilarious than its predecessors as well. For those who have loved this series from the beginning, volume four is yet another fabulous treat provided by tireless translator/adapter Joyce Aurino and the folks at Del Rey Manga. For those who have yet to warm to the series’ charms, perhaps this is the place to start.

Review copy provided by the publisher. Review originally published at PopCultureShock.

Bamboo Blade, Volume 2

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Guest Review: Bamboo Blade, Vol. 2
By Masahiro Totsuka and Aguri Igarashi
Published by Yen Press

Review by Megan M.

bambooblade2
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Kojiro is his school’s kendo coach and is always broke and hungry. When his senpai, the coach of a rival school, bets him a year’s worth of free sushi that Kojiro’s girls’ kendo team can’t beat his, Kojiro can’t resist. The only problem is that despite his recent acquisition of Tama, the daughter of a dojo, he only has four girls on his team, one less than what’s required. That’s assuming that his other new member, Miya, can work through her behavioral issues, and that the elusive member, Saya, can actually be tracked down and make it to practice. Meanwhile, Saya and Miya (neither of whom realize the other is a teammate) become enemies when Saya scolds Miya for smoking on school property.

Not having read the first volume, I’m uncertain as to whether the bet is the central plot of the series or simply a prominent subplot. I had heard of “Bamboo Blade” but been leery of it, as the description painted a picture of a school-based shonen series with a pervy teacher and a lot of fanservice, though I was curious enough about the subject of a girls’ kendo team to give it a try. Thankfully, my suspicions appear to have been wholly unfounded, as this volume is extremely clean and the closest thing Kojiro comes to having wrong thoughts about his students is to bemoan the fact that they don’t trust him with money. Actually, despite his engaging in underhanded plots to address the problem of not having enough team members, he may function better as a coach than most teachers in manga.

The book is genuinely funny and its characters engaging. Of the characters, my favorites are Saya, who is obsessively driven to find her true calling in life, and the much more laid back (almost spacey) Kirino. The two obviously appear to be best friends. Thankfully, Kojiro and his students aren’t portrayed positively at the expense of making their rivals evil or cruel and both teams and coaches are presented as humorous and engaging, with plenty of focus on the friendships between teammates. The art is a bit cartoonish and the designs are nothing new, but it’s functional and the characters are easy to distinguish. More importantly, the action is very easy to follow, something that’s important in a series that focuses on the mechanics of a sport.

I wasn’t sure what to expect with this one, given my suspicions regarding the premise, but I ended up enjoying it far more than I expected to, and am looking forward to reading more, especially as it appears that the next volume will focus even more on practice matches between the two teams.

Review copy provided by the publisher.

Natsume’s Book of Friends, Vol. 1

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Natsume’s Book of Friends
By Yuki Midorikawa
Published by Viz Media

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Teenaged orphan Takashi Natsume has spent most of his life passed around from relative to relative, each anxious to be rid of him thanks to his habit of talking about things they can’t see. As it happens, Takashi is able to see spirits (yokai), an ability he inherited from his grandmother, Reiko. He also inherited the innocuously named “Book of Friends,” a book Reiko used to write down the names of yokai, effectively enslaving them to her every command. Now living with distant relatives near the home where his grandmother grew up, Takashi begins to encounter the many yokai she bullied over the years. Desperate to claim the book for themselves, the yokai first appear simply as enemies, but as Takashi discovers what it is they’re really after (thanks to an uneasy alliance with a cat-shaped demon he accidentally frees from its protective ward) he becomes determined to give them back their names. Word spreads, and soon the yokai are seeking him out, most with the purpose of gaining their freedom, though not all are so benign.

This story is a pleasant surprise on all counts–art, characterization, storytelling–providing something much more charming than I would have gathered simply from its PR material. It possesses a sort of xxxHolic meets Mushishi vibe I’d hoped for (but never found) in Tokyopop’s Tactics, which is not to suggest that it lacks its own unique charms. This volume is charming from start to finish, thanks to Takashi (whose good heart shines even as he faces rejection from family and peers) and the spirits he meets along the way, ranging from downright adorable to genuinely frightening.

The chapters are fairly episodic, each introducing a new spirit who has come to retrieve his or her name from Reiko’s book. Some especially poignant stories include that of a yokai who spent his life in a shrine, worshiped by locals as a god, now reduced to the size of a tiny doll as his worshipers have dwindled to one. His devotion to the last old woman to continue to offer respects is unexpectedly touching. Another especially moving story is that of a spirit (once a swallow) who attaches herself to Takashi in hopes of catching a glimpse of a human who once comforted her years ago. It is Takashi’s own loneliness that allows him to understand the feelings of these yokai and it is through his experiences with them that he learns the value of connecting with others. “Man and beast…even yokai… they search for that connection,” he says to himself at the end of the volume. “I love their fervent striving.” An emerging subplot involving another student at Takashi’s school promises more through-story as the series continues, which is something I’ll definitely look forward to.

This series is touching and even solemn in its treatment of both humans and yokai, but not without humor. Takashi’s supernatural companion, for instance (whom he refers to as “Nyanko-sensei”) is not a warm, fuzzy yokai by any means and only stays with Takashi because he’s been promised the “Book of Friends” should Takashi die before returning all the names. Yet he spent so many years trapped in the form of a Lucky Cat that he has taken on the form himself, much to his dismay. Several of the story’s characters, in fact (such as a couple of trickster yokai who at one point insist on becoming Takashi’s entourage) exist mainly to provide comic relief, but what makes the humor really work in this series is that it is never there purely for its own sake.

Yuki Midorikawa’s artwork is understated and perhaps nothing special, but she manages some beautiful imagery at just the right moments. There is a genuine feel to the story’s yokai, bringing a traditional sensibility into this modern story, much as the modern dress of Mushishi‘s Ginko does the reverse for its nineteenth-century setting. I particularly enjoy Midorikawa’s imaginative and intuitive panel layouts which are especially effective in terms of pacing.

Though many elements of its story are well-trodden territory in girls’ supernatural manga, Natsume’s Book of Friends brings a quiet thoughtfulness to the genre more characteristic of adult series like Mushishi or delicate shojo romances such as We Were There. An unexpected treasure among recent Shojo Beat titles, Natsume’s Book of Friends is definitely a series to keep an eye on.

Review copy provided by the publisher.

We Were There, Volume 8

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wwt8For today’s review, I’ll point you to Manga Recon’s On The Shojo Beat column, where I reviewed volume eight of Yuki Obata’s We Were There. When I go into a new volume of We Were There, it’s always with a bit of trepidation. I know that the writing is likely to be extraordinary–thoughtful and unusually nuanced for high school-based shojo–beautifully enhanced by the author’s wispy, sparse artwork (re-reading my review of volume one, I can’t believe I thought then that the art was weak). What I’m also expecting, however, is that I’ll be an emotional wreck by the end of the volume and, true to form, that was certainly the case yesterday evening. It was almost a relief to be constrained by the column’s style and word limit, which restricted me from spewing my emotional responses all over the page as I have occasionally done in the past.

That said, this is an exceptionally moving series that provokes strong responses, not through the use of practiced formula or calculated emotional manipulation, but by the power of good writing and genuine insight. This is a series that constantly compels me into introspection and confession, even in a review. Part of that is due, I think, to my own life choices, which have resulted in a state of perpetual vulnerability more typically associated with a teen than an adult. While other readers my age may view this series as something that hearkens back to the trials of their youth, I’m frequently identifying with it in a more immediate way. On the other hand, the realities that Obata’s characters face–the ambiguity of concepts like “truth” and “love,” and the contradictory nature of the human heart–are not confined to youth by any means. They loom over us throughout our lives, no matter how earnestly we strive to construct secure walls around us. If there is a truth in this world, it can be found in the wavering heart of a lonely teen, something that Obata has captured with stunning accuracy.

If my rambling personal monologue has still left you in doubt about the emotional impact of We Were There, I urge you read it for yourself. Meanwhile, you can check out my review.

2009 Best/Worst Picks at Manga Recon!

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nabarinoouThe big news in my world today (and what kept me working down to the wire last night) is Our Favorite Manga of 2009, a list of the worst/best manga of the year as perceived by those of us on the Manga Recon staff. As I reflect on my list this morning, I’m mainly struck by all the fantastic series I was unable to find room for, both continuing series like NANA, Nodame Cantabile, We Were There, Goong, and Fullmetal Alchemist, as well as new series like Children of the Sea and Detroit Metal City. If only I could have mentioned Flower of Life, which finally concluded its short run this year, charming me at every moment!

The best thing about these lists, however, is how greatly they vary. Sure, there are a few titles that appear over and over but there are more that don’t, and some on which we quite pointedly disagree. Take Yen Press’ Nabari No Ou, for example, listed by me as “Best Manga That You Thought You Would Hate” and by Michelle as “Biggest Disappointment.” Wanna watch us duke it out? Check out the list for yourself!

Guest Review: Dystopia, Volume 1

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Guest Review: Dystopia, Vol. 1
By Judith Park
Published by Yen Press

Review by Megan M.

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Seventeen-year-old Dionne has always been extremely close to (and even emotionally dependent upon) her older brother Lyon. Lyon is their parents’ favorite, while Dionne herself has never gotten along with them. When Dionne’s best friend, Shikku, confesses to a crush on Lyon, Dionne is happy to play matchmaker. Everything seems perfect for the trio until tragedy strikes and Dionne learns of a secret about her family that her parents have kept hidden since Lyon was two.

This is a very rough book and in the end I’m not entirely certain if it’s intended to be a complete story or the start of one. The first two-thirds are devoted to a rather awkward teen drama, and things only really pick up when some minor science fiction elements and a character named Gabriel are introduced in the last third. Emotionally, the series is very difficult to track. Dionne’s conflict with her parents reads as typical, but exaggerated to a point where the natural conflict feels forced and its eventual explanation makes little sense. In addition, I couldn’t tell what precisely attracted Shikku and Lyon to each other beyond hormones and I was never certain whether or not I was meant to view the relationship between the three leads as a (potentially incestuous) triangle. It’s only Gabriel, who seeks an identity of his own rather than that which was forced upon him, who really makes much sense to me as a character.

The art is rough but competent. The layouts are easy to follow and the designs are decent, but they’re also fairly uninspired and more styled to character types than individual characters. It also seems to be trying to blend several styles into one, something that I don’t think quite works. In addition, there’s an unfinished feeling to it, as if someone forgot to apply the finishing touches that would give it a needed crispness.

Park has some interesting ideas here, but I don’t think they ever really come off. The story might benefit from a creator who would wallow in the melodrama of it or take various elements to the extreme. Park chooses to instead focus on things like the serious nature of humanity and identity, but her characters and their relationships lack the “oomph” needed to really pull that off. Given more time to develop, it could work, but as executed here, it really doesn’t. While I cannot truly recommend this, I also can’t condemn it, as the potential is there, if unfulfilled. Unfortunately, though this volume is not bad, it is not good enough to stand out either, and I can’t help but think about what a more experienced creator might have done with the same material.

Review copy provided by the publisher.

Lucky Star, Vol. 1

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luckystar1Good morning all! My big news for the day is my debut as a guest reviewer at Deb Aoki’s manga blog! To check it out, head on over to about.com where you’ll find Deb’s introduction, followed by my review of Kagami Yoshimizu’s Lucky Star, volume one.

As a pretty enthusiastic fan of the anime series, I was excited when Bandai announced they’d licensed the manga as well. Unfortunately, their first volume turned out to be a fairly stunning lesson on the importance of effective translation. For those who still haven’t read Matt Thorn’s recent smackdown on the state of translation in the manga industry, now would be a good time. On a positive note, the third volume of Lucky Star (which I have here in my possession) displays a change in translation credit I think many will find heartening. I know I do.

Many thanks to Deb for this opportunity! Read my full review here!

Butterflies, Flowers, Volume 1

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Butterflies, Flowers, Vol. 1
By Yuki Yoshihara
Published by Viz Media

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Choko Kuze’s once-wealthy family fell into financial ruin when she was seven years old, forcing them to trade in their heavily-staffed country estate for a family-run noodle shop. Now a grown woman seeking her first job, Choko is cornered into signing on with the only firm to show any interest, which is unfortunately the same company whose interviewer asked her such wildly inappropriate questions as, “Are you a virgin?” Things are no better once she begins work, as the outrageous interviewer takes her under his tyrannical wing , choosing to personally train her for his department rather than allowing her to learn alongside the company’s other new hires. Confused by his attention and unwarranted familiarity, Choko tries her best, even while her coworkers rant about her behind her back. Finally, then, a slip of the tongue reveals that Choko’s new boss is actually the son of her family’s former chauffeur (once known to her as “Cha-chan”) who had cared for her a child and promised they would one day be reunited.

Though this revelation clears up a lot of questions for Choko, it actually makes her life much more complex. She’s grateful to reconnect with the boy she so loved as a child but his adult self is unfamiliar and fraught with contradiction. Furthermore, their relationship both in and outside of work is a confusing mess, with “Cha-chan” (more appropriately known as Masayuki) vaulting back and forth from controlling boss to obedient servant multiple times a day, leaving Choko constantly flustered over where she really stands. To complicate matters further, she also finds herself falling for Masayuki, whose perception of her as a helpless innocent he must protect (he still addresses her by the childhood name, “Milady”) prevents him from seeing her as an adult, let alone a candidate for romance. Help arrives in the (unexpected) form of Masayuki’s cross-dressing best friend, Suou, who sees Choko as someone uniquely worthy of his friend’s affection, but can anyone truly overcome such complicated mutual history?

This series’ premise may first appear to be shojo all over–shojo of the worst kind, even, with its controlling male love interest winning over the passive heroine with occasional crumbs of condescending kindness. Fortunately, there is a solid thread of adult humor and understanding running through the entire volume that makes its content both more complex and more palatable, exposing the series’ true brilliance. The result is a smart, funny, romantic comedy that takes some real shots at both soap-opera romance and Japanese office politics without ever taking itself too seriously.

Though Choko is undeniably drawn to Masayuki, she recognizes the maddening contradiction in her own feelings, something most every adult woman has faced at some point in her life. “I don’t want him to treat me like a child, but I want him to stay close and indulge me. I want him to call me ‘Milady,’ but I want him to see me as a woman,” she laments as she realizes she’s fallen in love. Meanwhile, Masayuki is just as confused as she is, torn ungracefully between the desire to control Choko and the world around her and the desire to be controlled by her. With both gender and class dynamics (some specific to modern Japanese society, others more universal) being constantly turned on their heads and back again over the course of this volume, the characters’ mutual confusion becomes both surprisingly sympathetic and genuinely humorous as the story progresses.

Speaking of humor, it’s important to be clear here that this manga is really quite funny, often in unexpected moments. For instance, when Choko finds herself in terrifying position of being expected to “entertain” a visiting client in the most horrifying sense possible, Masayuki arrives to save the day by gravely offering himself up as her replacement. The volume is filled with over-the-top behavior played with utter sincerity, rendering all of it twice as funny as it would be if it was delivered with a wink and a smile. Take this deadpan exchange for instance:

Choko: And please stop calling me “Milady.”
Masayuki: Then how about “Milady-Poo”?

The series’ art is a highlight as well–fresh, sharp, and stylized as needed. The use of popular shojo imagery, such as flowers and stormy backgrounds, helps accent the romantic melodrama while the overall cleanliness keeps everything in perspective. Like the story itself, Yoshihara’s art operates on multiple levels, maintaining its aura of smart humor while also providing the seeds of real substance. What this manga will ultimately turn out to be is anyone’s guess but whatever game is being played, both the story and its artwork are playing along perfectly.

With the second volume of Butterflies, Flowers not due out until March, it’s difficult not to feel impatient. Though the series’ first volume is charming to be sure, there is a sense that its true colors have not yet been spotted. Despite the story’s obvious commitment to humor at this stage in the game, there’s enough romantic substance bubbling underneath to suggest the possibility of a deeper direction. Though most of the characters in Choko’s life are painted with a hilariously broad brush, that each of them has more to offer seems quite clear. Time will tell how much of this we’ll see as the story continues.

In the meantime, there’s plenty to enjoy as-is. Butterflies, Flowers is truly delightful.

Review copy provided by the publisher.

Yen Press publishes Gossip Girl adaptation

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bringiton_2I’ve never read Cecily von Ziegesar’s Gossip Girl series. I’ve never even seen the television adaptation. So why is this announcement so exciting to me? I’ll tell you why. Yen Press’ adaptation is being written and illustrated by manhwa-ga HyeKyung Baek, author of Bring it On! (among others), a highly enjoyable manhwa series originally brought to English-speaking readers by IceKunion and now part of Yen Press’ extensive manhwa catalogue.

Whether Baek’s adaptation can have the same impact as the original novels or the very popular TV series obviously remains to be seen, but this seems like a smart move on Yen Press’ part and I’m frankly thrilled that they continue to turn to talented Korean artists for so many of these projects. Furthermore, this license is very much in step with other recent acquisitions, particularly Lisi Harrison’s The Clique. …

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Manga/Manhwa Holiday Gift Guide

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bluepresentgoodWelcome to Manga Bookshelf’s Manga/Manhwa Holiday Gift Guide! I am one of many bloggers publishing such a guide over the next few days as a response to the New York Times Graphic Novel Gift Guide which turned up last week with not a single volume of manga included.

Now, with so many bloggers making recommendations at once, I’ve deliberately refrained from attempting to create anything like a comprehensive guide, instead focusing on series and genres I especially favor in fairly arbitrary groupings. For a rich, well-rounded shopping guide experience, I recommend making the rounds to everyone’s guides over the next week or so (Erica Friedman is keeping a list of participating bloggers over at Okazu and David Welsh is linking to entries as they go up at Precious Curmudgeon). But first, behold!…

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