Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

netcomics

Watch This Space!

by

If you’ve been a long-time MangaBlog reader, you may have noticed that posts have been a little sporadic lately. Brigid and I have teamed up to ensure that the blog is updated on a more regular basis. Over the coming weeks, we’ll be introducing a few new features. For those of you who read MangaBlog for Brigid’s impeccable news round-ups, fear not—those will continue to be our bread-and-butter. And for those of you who remember The Manga Hall of Shame with fondness, we’ll be flexing our reviewing muscles as well. Stay tuned!

On to the links…

Remember NETCOMICS? Back in 2006, NETCOMICS broke new ground by offering readers an inexpensive way to read manhwa and manga online. Print editions of its most popular series soon followed, though by 2009 NETCOMICS appeared to be a digital-only operation again. In 2013, NETCOMICS dipped its toes back into the print waters with a handful of BL titles. This month, the publisher will release Give to the Heart, a series about a handsome water god and his would-be human bride. (Hat tip to Lori Henderson.)

The folks at Vertical, Inc. address fan concerns about manga pricing with a refreshingly candid response.

Once again Attack on Titan dominates the New York Times’ Manga Bestseller list. You might be surprised to learn, however, that it’s the first volume of Titan that tops this week’s list, not the most recent—an impressive feat, considering that volume one was released in June 2012! Other titles making a strong showing include the latest installments of One Piece—now up to volume 72 in English—and Soul Eater.

Volume 2 of The Ancient Magus' Bride, to be published by Seven Seas in 2015.

Volume 2 of The Ancient Magus’ Bride.

Seven Seas continues to unveil new licenses for 2015. Among the most promising are Nami Sano’s Haven’t You Heard? I’m Sakamoto, which documents the exploits of an impossibly cool teenager, and Kori Yamazaki’s The Ancient Magus’ Bride, which explores the relationship between a wizard and an orphan girl.

Erica Friedman posts her weekly round-up of yuri manga news.

Over at Heart of Manga, Laura makes an impassioned licensing plea for Ao Haru no Ride, a shojo series by Strobe Edge manga-ka Io Sakisaka. She also offers a brief run-down of all the series currently running in Bessatsu Friend magazine.

Headed to New York Comic Con this week? The New York Times revisits the first New York comics convention, which was held in 1964. Fun fact: Fantasy author George R.R. Martin—yes, that George R.R. Martin—attended.

Reviews: Shaenon Garrity jumps in the WABAC machine with a nostalgic look at Rumiko Takahashi’s short story anthologies Rumic Theater and One or Double. If you haven’t read them, her post may send you scurrying to eBay to scare up copies. Other reviews of note:

Allen Kesinger on vol. 1 of Doubt (No Flying No Tights)
Allen Kesinger on vol. 2 of Doubt (No Flying No Tights)
Marissa Lieberman on vol. 1 of Dragon Ball Full Color: Saiyan Arc (No Flying No Tights)
Sean Gaffney on vol. 1 of Durarara!! Yellow Scarves Arc (A Case Suitable for Treatment)
John Rose on vol. 34 of Fairy Tale (The Fandom Post)
Leroy Douresseaux on vol. 2 of Food Wars! (Comic Book Bin)
Kate O’Neil on vol. 3 of Gangsta (The Fandom Post)
Rebecca Silverman on vol. 1 of Honey Blood (Anime News Network)
Rebecca Silverman on The Man of Tango (Anime News Network)
Lori Henderson on vol. 1 of Moonlight Kreuz (Manga Xanadu)
Danica Davidson on vol. 1 of Noragami: Stray God for Hire (Otaku USA)
Jessica Chautin on Sakuran (No Flying No Tights)

Full House 1-4 by Sooyeon Won

by

There’s certainly plenty of precedent for romantic comedies in which a feisty, average girl exchanges snarky banter with a rich and handsome fellow (to whom she is often secretly attracted even while deeming him odious). It may just be a licensing fluke, but it seems that a large portion of the sunjeong manhwa that I’ve read (Very! Very! Sweet, Sugarholic, Goong: The Royal Palace, There’s Something About Sunyool) also follows this formula. Now, I can add Sooyeon Won’s Full House to that list.

Ellie Ji is a Korean living alone in the UK after the deaths of her parents. Although her family relocated while Ellie was in primary school, she still doesn’t feel quite at home in England, so the lovely house her architect father built and left to her is an important refuge. One morning, she is unceremoniously ousted by emissaries of Ryder Baye, a famous actor, who claim that he is now the owner of the home, known as Full House. Hot-tempered Ellie vows to get the house back, no matter what it takes, and when Ryder hits her with his car, the perfect opportunity arises.

Ellie demands Ryder hand over Full House as compensation for her injuries, but he’s not having that, and thus they embark upon the first of what will be many, many, many arguments. Finally, Ellie declares, “I’ll even marry you, if that’ll do the trick!!” Ryder is far from enthused (“How could you say such a thing, when the very idea of wedding you is so horrific?! It’s beyond absurd, and even more disgusting than vomit and foot odor!”) but his manager, Miranda, likes the idea because it’ll help quash some nasty rumors that Ryder is gay. Eventually, everyone ends up agreeing to the arrangement.

So, once Ellie is discharged from the hospital, she and Ryder officially announce their engagement and move into Full House, with Ryder occupying the first floor and Ellie the second. Whereupon they proceed to have the rest of those many, many, many arguments I mentioned earlier. Ellie can be hyper-defensive and obnoxious, while Ryder is somewhat more sympathetic but yet unable to say what needs to be said to defuse a hostile situation. Sometimes they almost seem to get along, then something happens to derail that. Seriously, I can’t even list all the things they find to get up in arms about, because it’s kind of ridiculous and, more importantly, absolutely wearing upon the reader. Probably the worst moment is when Ryder offers to introduce Ellie, an aspiring screenwriter, to a director and she scathingly retorts, “I’m so grateful I’m about to break into tears! Should I bow down and kiss your feet to show my appreciation?”

The characters do and say things that make one want to shake them, like Ellie’s reluctance to just tell Ryder that her dad built that house and that she’d been living in it. They’d also rather let misunderstandings and misconceptions of their motives persist than deign to provide an exonerating explanation for their behavior. Sometimes this kind of dynamic can work for me in a couple—I actually like all those series I mentioned above—but here, I just really found it maddening. They’re bound and determined to be nasty to each other, even though they both surely realize there’s something good about their influence on each other. For Ryder, Ellie serves as a “stimulant,” when compared with all the other docile fangirls who throw themselves upon him. For Ellie, Ryder’s insistence upon public appearances awakens her potential as a stunning beauty and helps the once uncouth girl develop genuine poise.

Beyond its aggravating central relationship, Full House has some other odd quirks. As demonstrated by the quotes above, the dialogue is often over-the-top and laughable. (Felix, Ellie’s former beau, on learning of her engagement: “I couldn’t fall asleep from being so overwhelmed and busy sobbing.”) There are some grammatical errors, as well. On the plus side, some effort is made to make the speech sound British, with a scattering of “bloke”s and “bloody wanker”s peppering the script. Plotting is also similarly melodramatic. For example, volume four concludes with the sudden revelation that Ryder has a brain tumor and only three to five months to live. Dun dun dun!

Despite my gripes, I actually don’t hate Full House at all. I do marvel, though, that there are sixteen volumes in this series, plus a five-volume sequel. Are they all like this? I positively long for these two to have a civil conversation, and perhaps they will do, if the events of the first chapter of volume five (the only portion of that volume currently available on the NETCOMICS website) are any indication.

And now I’ve just realized that my opinion toward this series—it drives me crazy, but I can’t seem to leave it alone—is exactly what’s going on between its two leads. So, perhaps what I really ought to be saying is “Well done, Miss Won?”

Full House was originally published in English by the now-defunct CPM, but only the first four volumes—out of a total of sixteen—were released. The series is being released on the NETCOMICS website with a new translation, though the last update (the first chapter of volume five) was just over three months ago. No print editions have yet been produced.

Review copies provided by the publisher.

There’s Something About Sunyool 2-3 by Youngran Lee: B+

by

Sunyool Lee’s life is full of disreputable accomplishments. If only she had something to show for them!

Volume two picks up four years after the dissolution of Sunyool’s six-month marriage to Sihyun Park, a wonderful guy with whom she was perfectly compatible. After a two-year stay in Paris, where she attempted to forget her pain and honed her pastry chef skills, she returned to Korea. A one-year stint running her own bakery ended in failure and now she works as an assistant at a bakery owned by a foul-tempered but gorgeous (aren’t they all?) novelist named Kangjae Lee.

When Kangjae first meets Sunyool, he’s willing to overlook the fact that she has just destroyed his laptop because she’s totally his type. Once he puts his contacts in, however, his illusions are shattered and they begin an adversarial relationship. Kangjae has the dubious talent of being able to enrage anyone within five seconds of meeting them, but Sunyool is able to hold her own against him, even while she’s working off her debt by working as his housekeeper. Most of the second volume consists of Kangjae acting like a spoiled child—“He’s a toddler who has no regard for anyone else’s feelings,” Sunyool decrees at one point—and Sunyool learning about his crappy childhood from his assistant/cousin, Byungman.

Things pick up a great deal in volume three with the return of Sihyun. In a nutshell: he still loves Sunyool and wants to be with her. Sunyool’s pride is stung because he didn’t stand up for their marriage four years ago and she knows that nothing has changed as far as his disapproving family is concerned. Various family members/wannabe fiancées show up to accuse Sunyool of ruining Sihyun’s life, and this is where she really shines as a character.

Although she, and members of the supporting cast, comment often on the storyline’s resemblance to a violent soap opera, Sunyool counters the over-the-top bitchiness of her accusers with a profound level-headedness that’s extremely satisfying. She has no expectations of a happy reunion with Sihyun, and makes that clear time and time again. Seeing a woman depicted as both in love and sensible is truly a lovely thing to behold, and though some of these twists are silly (though I did love the scene where she snaps and assaults someone) they also serve to show what makes her such a unique and interesting character.

Complicating matters is Kangjae. He begins hanging around the bakery more and more, getting antsy when Sunyool is not there and feeling jealous of Sihyun when he shows up. According to his cousin, Kangjae (whose real name also happens to be Sunyool Lee) was neglected by his parents in favor of his talented brother, so to see Sunyool all hung up on Sihyun when she could be basking in his hotness instead really bothers him. Initially, I was sort of annoyed that I was supposed to take the horrible Kangjae seriously as a love interest, but maybe this will shape up to be a Boys Over Flowers kind of scenario where the tough-as-nails commoner girl is able to help the immature rich guy become a better person.

In the end, There’s Something About Sunyool offers a lot of crackalicious drama that is extremely fun to read. Volume two is a bit slow, as all of the bickering grows tiresome, but don’t let that dissuade you from continuing on to volume three, which is much better and ends on quite a cliffhanger. That’s a little worrisome, since there haven’t been any new updates on the NETCOMICS site lately, but I choose to believe we’ll get more of this story in the future.

Volumes two and three of There’s Something About Sunyool are currently available only at NETCOMICS.com, though a print version for volume two is scheduled for a September release. No cover image is currently available.

Review copies provided by the publisher.

Run, Bong-Gu, Run!, Dokebi Bride, Time and Again

by Leave a Comment

At Manga Bookshelf’s Off the Shelf, Michelle Smith and I discuss three manhwa series, Byun Byung-Jun’s Run, Bong-Gu, Run! from NBM/Comics Lit, Marley’s Dokebi Bride from NETCOMICS, and JiUn Yun’s Time and Again from Yen Press.

Here’s an excerpt from our discussion:

MICHELLE: How about with Run, Bong-Gu, Run! by Byun Byung-Jun? I’ve spent a lot of time thinking about this one since I finished it. For those who aren’t familiar with it, this is a simple story of a boy and his mother who travel from a seaside town to Seoul in search of the father/husband who went to the city in search of work and who hasn’t been heard from in some time. While there, they meet a kindly old man and his granddaughter, rescue a bird from a building, and bemoan the difficulties of life in the city.

While low on plot, Run, Bong-Gu, Run is high on atmosphere, with a dreamy yet deliberate way of portraying the actions of our protagonists as opposed to the near faceless mob of Seoul-ites who go whizzing past them. Our smalltown heroes have not lost the ability to see others in pain, be they homeless humans or endangered pigeons. They manage to do a fair amount of good on their visit simply by noticing those around them and providing what help they can offer.

MJ: It’s true there isn’t much to the plot of this little manhwa, and for me that’s definitely part of its charm. I love the simplicity of the story and its characters, and Byun’s manner of presenting them. I like, too, that it’s not just the smalltown visitors doing good, either.

The old man they meet there is as kind and helpful as they are, and obviously has been helping out the woman’s husband while he’s been in the city. There’s this big, faceless city, but once you get down to the individuals, they are just people like anyone else, and I love that about this story. I think it’s significant that the old man is first seen in the story panhandling on the subway. That person–a begger on the subway–is the easiest for most of us to brush off in our lives as someone on the outskirts of our own experience. Yet he turns up later as a fully-realized character.

In a way, Byun portrays Seoul exactly as I think of big cities in general. They can seem intimidating–as though they might swallow your individuality whole–but when you really spend time in one, maybe even live in it, you realize that a neighborhood is a neighborhood, no matter where you live in the world. A city is just a dense collection of small towns with no official dividers between them.

I like your description of the atmosphere as “dreamy yet deliberate.” That’s the perfect way to describe Byun’s artwork and writing style. And it’s nice to see it used for a warm, simple story like this one. Run, Bong-Gu, Run! lacks the sheer bleakness of Byun’s melancholy anthology, Mijeong, and though some of those stories perhaps have more to them, this one is much more soothing for the soul.

Read more here!

Do Whatever You Want, Vol. 1

by Leave a Comment

Do Whatever You Want, Vol. 1 | By Yeri Na | Published by NETCOMICS – Jiwon and Hosoo are best friends dreaming of musical stardom which they’ve sworn to pursue together to the exclusion of all else, including girls. Their friendship is so close that rumors persist that they are involved with each other romantically, but though Hosoo appears to appears to view Jiwon in much the same way as he does a pretty girl (and Jiwon has examined his own feelings for Hosoo with some concern as well), both of them are too focused on family problems and career goals to dwell too much on questioning the nature of their relationship. …

Read More

Full House, Vol. 2

by Leave a Comment

Full House, Vol. 2 | By Sooyeon Won | Published by NETCOMICS – In the aftermath of their engagement party, Ellie and Ryder progress from passing angry notes to bickering openly in the privacy of their newly shared home. Despite their mutual show of antipathy, they are unmistakably drawn to each other—Ryder to Ellie’s fearlessness and self-confidence, and Ellie to Ryder’s surprisingly considerate nature. Any hint of potential romance is nipped quickly in the bud, however, by the reappearance of Ellie’s ex-boyfriend, Felix, who turns up on their doorstep begging for forgiveness. Determined not to play the fool, Ryder uses his next film shoot as an excuse to stay away from Ellie and her resuscitated relationship, but when an opportunity arises for him to uncover her true intentions regarding Full House, he finds himself pursuing her in an unexpected fashion.

“They always come sliming back.” This wise statement regarding the nature of ex-boyfriends was uttered by an old friend of mine back in the day, and it works surprisingly well as the theme of this installment of Full House. Though Felix makes a fine show of his contrition and heartfelt affection for Ellie, it’s hard to forget that he was the guy who so brutally dumped her for not being eager enough to jump into the sack. Though it seems obvious that Ellie will eventually throw him over for Ryder (who at least gets her excited, if not quite in the way she’d like) execution is the key to this series’ charm, not result, so it would be a terrible shame to rush.

Though this series is, frankly, stunningly predictable, to leave it at that would be a grave oversimplification. Manhwa-ga Sooyeon Won has an extraordinary talent for turning romantic cliché into storytelling gold, a skill she would later refine to perfection in her outrageously poetic boys’ love epic, Let Dai. Her secret to this is brazen excess, which in this case applies to the series’ endless stream of classic screwball comedy banter—precisely the thing that makes the story so much fun in the first place. Will Ellie and Ryder get together? Of course. Will they face numerous rivals, career obstacles, and ridiculous misunderstandings along the way? Sure! Frankly, none of it matters as long as they keep talking … and talking and talking.

While the narrative trajectory of Full House may not leave much to question, the real mystery here is why, with recent acquisitions such as Full House, Please, Please Me, and Small-Minded Schoolgirls, NETCOMICS has not already become the prime online destination for grown-up women who read comics. For fun, sexy comedy with a fantastic vintage feel, check out Full House.

Complimentary digital access provided by the publisher.

100% Perfect Girl, Vols. 10-11

by 1 Comment

100% Perfect Girl, Vols. 10-11 | By Wann | Published by NETCOMICS | Rated 13+ – Now firmly back in Jarte’s clutches, Jay falls ill from stress and fatigue, finally opening Jarte’s eyes to the monster he’s become. As he nurses her back to health, the two slowly reconcile, though not without emptying their frustrations out on each other along the way. With their long-awaited wedding day finally on the horizon, it seems as though Jay and Jarte might actually find an awkward kind of peace together. Unfortunately, Jarte’s enemies still have one last trick in store.

After everything this story’s heroine has been through, putting a positive spin on her relationship with her primary abuser is no easy piece of work, which is not to suggest that Wann doesn’t put in one hell of an effort. Given a second chance to prove he trusts Jay, Jarte comes through like a hero of the dreamiest kind, even sacrificing himself to save his beloved. Unfortunately, even readers with selective amnesia will have trouble buying Jarte’s redemption this late in the game.

Plausibility aside, however, it must be noted that Wann’s ability to express her characters’ emotional weakness and mental anguish is no less than striking. There are even times when it seems she understands how sick the romance she’s written truly is. At one point, for instance, an ally of Jay’s suggests that she’s fallen victim to Stockholm Syndrome—one of the most believable explanations offered over the course of the entire series. Jay protests valiantly, of course, but it doesn’t stop the accusation from ringing true.

Though this series is beautifully drawn, genuinely compelling, and emotionally fraught, it ultimately falls far short of satisfying romance.

Digital access provided by the publisher. Review originally published at PopCultureShock.

100% Perfect Girl, Vol. 9

by 1 Comment

100% Perfect Girl, Vol. 9 | By Wann | Published by NETCOMICS | Rated 13+ – Jarte is the monarch of a small but economically robust city-state called Roinne, and Jay is a Korean high school student who dreams of being an artist (against her family’s wishes). The two meet by chance in Korea, and Jarte finds himself so enamored with Jay that he pursues her until she agrees to become engaged to him. Though he appears to love her, Jarte is overprotective and extremely controlling. At first, Jay is unhappy with his overprotective nature, but over time she begins to truly fall for him. Unfortunately, just as she realizes she actually loves him, she is involved in an accident that causes her to lose her memory, placing her in the hands of a beautiful but bloodthirsty mafia don who will do anything to keep her.

Subsequent volumes follow Jay as she is shuttled around between three obsessive, violent, tyrannical men: Jarte, whose intense obsession with protecting Jay somehow renders him entirely unable to do so; Luigi, the brutal Italian mobster who takes hold of Jay while she is suffering from amnesia; and Clarence, a vicious arms dealer obsessed with destroying Jarte. Thanks to her involvement with these men, through the course of the series Jay becomes a victim of kidnapping, assault, abuse (both verbal and otherwise), and attempted rape, eventually becoming so broken and depressed that she attempts to take her own life.

In volume nine, despite having finally freed herself from the shackles of the men in her life and finding herself on the brink of real notoriety as an up-and-coming artist, Jay is dragged back into the muck by a plot to ruin her family and finds herself crawling back to Jarte to offer herself to him in return for clearing her family’s name. Jarte takes her up on her offer, but unfortunately time and loss have turned him into a true monster, and as the price for what she wants, he imprisons her and forces her to agree to a loveless marriage. A look into Jarte’s thoughts reveals that he is acting mainly out of fear of losing her again, but that doesn’t stop him from treating her like a cheap possession and forcing himself on her repeatedly. Weak and heartsick, Jay falls ill, forcing Jarte to face the terror of losing her once again. But will his remorse come too late?

By this point in the series, Jay has become so deeply damaged and Jarte such a beast, it is nearly impossible to find the will to root for their relationship, despite the fact that the story seems to be continuously demanding it. The excuses made for Jarte’s behavior have become so old by now not one of them holds up, and Jay is so hopelessly drawn to their destructive relationship it’s hard to maintain sympathy for her, even as she is made the victim once again. The sense that all of this is somehow meant to be romantic on some level is quite disturbing, though the author undeniably displays quite a bit of insight into the broken psyches of these people. As difficult as it is to like any of the characters, it is equally difficult to turn away from the emotional and psychological train wreck that Wann has created.

It is also difficult to know if the oppressive atmosphere of this volume is truly as intended. Volume eight was, in many ways, a breath of fresh air. The freedom that Jay felt having finally escaped eternal captivity back into the light where she could truly become herself again (even regaining her ability to paint) was palpable and brought sudden meaning to the series. She had even found someone to trust who didn’t want to own her or possess her body–something which had seemed impossible in this story. Seeing her now in a position to once again lose herself to the man who essentially brought her to ruin is honestly horrifying and disheartening on a level that seems deeper than Wann could have possibly desired.

Wann’s art is lovely, and all the characters are devastatingly attractive, making the visuals a definite highlight of the series. The panel layouts, too, are full of expression and quite wonderfully creative, evoking a sense of freedom and artistry that is unfortunately lacking in the storytelling itself. With less than two volumes left to go, time will tell if the story can manage to pull itself out of the depths of bodice-ripper romance to match the quality of its visuals.

Though the first seven volumes of this series are available in print with more to come (volume eight is due at the end of this month), the real value is at NETCOMICS.com, where each chapter (released simultaneously in Korean and English) can be viewed for $.25 apiece. The endless melodrama and misogynistic overtones will be a fatal turn-off for some readers, but for those with a love of soap opera and a stomach for violence, 100% Perfect Girl provides an attractive package at an unbeatable price.

Digital access provided by the publisher. Review originally published at PopCultureShock.

Let Dai, Vols. 1-15

by 7 Comments

Let Dai, Vols. 1-15 | By Sooyeon Won | Published by NETCOMICS | Rated 16+ – Jaehee Yoo is a smart, responsible high school sophomore whose life is changed forever by a single chance meeting. One afternoon in Seoul, Jaehee spots a group of young gang members mugging a girl. He attempts to intervene, and is soon introduced to the leader of the gang, Dai Lee, a cruel, seemingly conscienceless boy to whom he is inexplicably drawn. After several increasingly violent encounters, Jaehee finds himself being initiated into the gang and falling into an obsessive romantic relationship with Dai. As others in his life are drawn into Dai’s world and the suffering that inevitably brings, Jaehee struggles between his obligations to friends and family and his bond with Dai, against which he feels increasingly powerless.

Let Dai is ridiculously melodramatic, unrelentingly violent, borderline misogynistic, deeply implausible, and an incredibly compelling read. The first chapter begins with the narration, “Love was like a banquet of pain,” setting the story’s melodramatic tone from the start, but this is not a bad thing, by any means. Sooyeon Won’s sense of drama and flowery language is one of the series’ greatest charms, capable of reverting even the most jaded adult woman back to her thirteen-year-old self. Won is Emily Brontë, E.M. Forester, and S.E. Hinton all rolled up into one tragically romantic girl-pleasing package. Outside the hazy, love-drunk filter of the series, Jaehee and Dai would almost certainly be unbelievable as real-life boys, but they are so lovingly and richly written, it hardly matters. Even in the final volume, as the story’s delinquent heroes are discussing F. Scott Fitzgerald and Pablo Neruda, reciting poetry, and declaring, “It’s just like the way I love you,” to each other while bicycling attractively over a forest path, it’s impossible to stop reading.

Much is made of Dai’s impact on Jaehee’s life and the lives of those around him, but the character who actually changes the most over the course of the series is Dai. At the beginning of the story, he is written as a classic sociopath. He has no regard for his safety or the safety of others, no remorse, no empathy, no tolerance for compassion, nor does he see any value in those qualities. He is unapologetically cruel, and feels no responsibility for his own actions or desires. It is desire, however, that ultimately forces him to grow. On several occasions, Dai declares that he will not forgive Jaehee for choosing to help or fulfill a commitment to someone else, yet eventually he must in order to come back to Jaehee, whom he appears to genuinely love.

Dai’s growth is slow and sometimes deceptive. For instance, at one point he arranges to have his former gang brutally beaten in front of a girl whom they gang-raped in a questionable attempt to make amends. Of course, this action’s true aim is to free Jaehee from guilt over the incident so that he can (according to Dai’s logic) be released from his obligation to the girl and commit himself more fully to Dai. Still, there are real changes in Dai as the story goes on, as he is forced to learn to respect Jaehee’s hopes and feelings and how those extend to people other than himself.

If Dai’s journey is about learning to accept the needs of others, Jaehee’s is about learning to accept himself. Strangely, though the entire series is filled with narration in which Jaehee talks about how tragic and painful Dai’s influence on his life will be, for the most part Jaehee appears happier in his life with Dai than he was before. Yes, he’s hurt people and experienced loss, and he’s certainly felt a great deal of pain over how their relationship is received by others, but he admits more than once that he doesn’t like the parts of himself that are selfless and reliable, and is genuinely thrilled with the freedom he feels when he is with Dai. It may seem odd to support a character’s quest to become more selfish, but in this case, there is a sense that if the right balance can be found, Dai can teach Jaehee to live more for himself and for the moment, and Jaehee can teach Dai to feel responsibility for others. It is this, more than anything, that makes it possible for the reader to continue to root for the relationship even as other characters are being hurt in the process.

While the story’s initial approach to its primary relationship is filled with dire warnings of pain and suffering that hover dangerously close to homophobia, Jaehee’s appeal for his mother’s acceptance of his sexuality later on in the series is very nicely written. The author unfortunately clings to Jaehee and Dai’s obsessiveness as a bit of a crutch, allowing them to repeatedly express their devotion to each other without quite admitting what that means. Both characters claim that the gender of the other “doesn’t matter,” and their on-screen sexual relationship is surprisingly chaste. Still, Jaehee’s plea for understanding and the arguments made against it by Jaehee’s mother will be sadly familiar to many gay teenagers (and adults) who have come out to their parents, and the eventual resolution between them feels very genuine.

Despite the all-consuming quality of Jaehee’s relationship with Dai, Won manages to maintain a good-sized cast of fully realized supporting characters as well. Standouts here are Eunhyung Song, Jaehee’s almost-girlfriend whose traumatic encounter with Dai’s gang breaks her in ways from which she will never recover, and Naru Hagi, a carefree, narcissistic classmate of Jaehee’s who lends an unexpected warmth to the series. Both of these characters are just as richly developed as the two leads (perhaps even more so in the case of Eunhyung) and their personal stories are incredibly compelling.

If there is one truly regrettable thing about Let Dai it is the story’s treatment of women. It can be unfair to assume that a character’s attitudes reflect the author’s, but Dai’s hatred of women is so pronounced it is difficult to ignore. Dai is first introduced beating up a high school girl, and things go downhill from there. Certainly his character is complex and deeply troubled, and the author does not mean to suggest that his actions are okay, but it does appear that she means them to be romantic, or at least attractive on some level, which is difficult to swallow. Misogyny in stories written for women is incredibly disturbing and far too common in boys’ love, and as fantastic a read as this story is, it comes uncomfortably close to crossing that line.

NETCOMICS’ online distribution of Let Dai is a pretty good deal for those who aren’t keen on re-reads (about five dollars total to view all fifteen volumes) though the quality of the scans could stand improvement. Much of the text is difficult to read at the lower of the two available screen settings, and some is virtually unreadable in either setting, particularly the frequent sections that feature gray text (lightly outlined in white) on gray or textured backgrounds. In another comic this might be an insignificant problem, but the large blocks of narration that continue throughout Let Dai make the quality of the text paramount.

Sooyeon Won’s art is beautiful, and her characters burst, lifelike, from the page. Even the darkest, most violent moments are aesthetically pleasing. The visual storytelling is very clear and easy to follow, only hindered by the quality of the onscreen reproduction of the text.

Complete in fifteen volumes, Let Dai stands out in a market flooded with one-shots and short series that can never achieve the same impact as an epic tale well told. Regardless of any complaints that can be made, this story is riveting from start to finish, visually appealing, and intricately crafted to please its target audience.

Digital access provided by the publisher. Review originally published at PopCultureShock.

Totally Captivated, Vol. 6

by 4 Comments

Totally Captivated | By Hajin Yoo | Published by NETCOMICS | Rated 16+ – Ewon Jung is a 23-year-old scholarship student in Seoul, whose curiosity over whether or not it is possible to have great sex without love (“It was possible.”) leads him to cheat on his boyfriend, Jiho. Devastated and yearning for revenge, Jiho persuades his new boyfriend, a small-time loan shark named Mookyul Eun, to force Ewon into service at his office where he is expected to run errands, clean, and balance the books, all without payment. Unfortunately for Jiho, Mookyul soon develops an interest in Ewon, and it isn’t long before Jiho ends up shunted aside once again. Mookyul is controlling and occasionally violent, and Ewon is far from a pushover, but they eventually reach a mutually beneficial arrangement and begin living together. Things do not continue peacefully for long, however, as Ewon becomes aware that he is falling harder for Mookyul than he intended and experiences his first real taste of jealousy. Though the story’s premise initially seems contrived, its real function is to provide a stylish, humorous background to what is essentially a very moving story about two deeply damaged men learning how to love.

In volume five, Ewon finally broke off his tumultuous relationship with Mookyul, unwilling to continue as his lover while Mookyul was still providing sexual favors to his company’s CEO—a man who had long ago rescued a young Mookyul and raised him as his own child. Unable to withstand the separation from Ewon, Mookyul confronted his father figure, breaking all ties with him and his company, and as volume six begins, he sets out to find Ewon and win him back. Ewon consents, but their reunion is short-lived, as Mookyul’s former business rival sets up a plot to ruin him now that he is no longer in the CEO’s favor. Mob madness ensues, Ewon is kidnapped, Mookyul is injured, Mookyul disappears, Ewon runs away, all leading up to the real drama of the volume, in which Ewon begs Mookyul to leave him so that he may be free of the constant terror of losing him. This is the real crux of the story, and ultimately provides the emotional payoff for the series.

It has been hinted throughout the series that Ewon’s absent parents were likely still alive, and this is finally confirmed in volume six, along with the sickening story of how he was abandoned as a child in the middle of the woods, essentially left to die. It is interesting to note that while both Ewon and Mookyul have serious abandonment issues, they have learned to deal with them in completely different ways. While Mookyul grew up to become controlling and possessive, determined to cage anything that might run from him, Ewon learned to avoid any real human connection, carefully protecting himself from the possibility of ever being abandoned again.

One of the things that has always been refreshing about Totally Captivated is that it is not a coming-out story. Ewon never agonizes over or apologizes for his sexuality (something he’s been aware of since the sixth grade), and he is completely comfortable with himself and unusually self-aware for his age. He knows what he likes and who he is sexually, and is completely up front about that with his partners (as they generally are with him). The dramatic benefit of this is that instead of having to focus on the characters’ feelings about being gay, the story is free to explore much further. Though the series does not shy away from the characters’ sexuality, its real focus is on emotional intimacy, and it is this that drives the story forward, especially in the final volume.

This series also avoids the thinly-veiled homophobia that is paradoxically present in so much of the boys’ love genre. “I don’t want some stinking homophobe to buy me a drink,” Ewon says to a co-worker early on in the series, and this attitude is never compromised at any point. The story never avoids specifics about the characters’ sexuality, neither does it portray its primary relationship as “forbidden love” nor insinuate that it is fundamentally inferior to heterosexual love—themes that are unfortunately common in many popular boy’s love stories.

Thankfully, this volume is free of the one discomfiting boys’ love cliché that is too often present earlier on, namely Mookyul’s habit of bullying Ewon for sex that is more frequent or rough than he is comfortable with (made tolerable only by the fact that Ewon proves many times over that he is capable of extracting himself from any situation he truly does not want to be a part of). After some shaky moments in the middle of the series that came uncomfortably close to romanticizing Mookyul’s controlling (even sadistic) tendencies, volume five brought Ewon back into control (despite the fact that he still calls his lover “boss”), with the two men finally reaching equal ground in volume six. Considering the extensive damage both Ewon and Mookyul bring to the table, it’s not surprising that they would fall into unhealthy patterns with each other as their relationship develops, but rooting for them became difficult during those middle volumes while the relationship was clearly abusive. With this in mind, volume six is a balm for the reader, as both characters shed their most destructive habits and are finally able to provide the emotional security each other requires.

The character designs in this series have never been anything special, but with characterizations so strong, they almost don’t have to be. What is lacking in design is made up for in substance, and though more distinctive art would certainly enhance the story’s effect, the series is not gravely damaged without it. The visual storytelling is clear and easy to follow and if the designs are merely serviceable, they at least do not get in the way. All the characters are visually expressive when they need to be, and many are downright poignant, particularly Ewon’s ex, Jiho, and his long-time friend, Dohoon Moon, who puts aside his own feelings to protect Ewon when he most needs it.

In its early volumes, Totally Captivated was smart, sexy, and fabulously dramatic. Now at the end of its final volume, it has also grown into an unexpectedly satisfying love story, rivaling the best of its genre.

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

Roureville, Vols. 1-3

by Leave a Comment

rourevilleRoureville, Vols. 1-3 | By E. Hae | Published by NETCOMICS – Evan Pryce is a an acclaimed reporter for the New York Times, whose most recent story has earned him a spot on a terrorist hit list. When coworkers at the Times make it clear they want him out of the vicinity until things cool down, he is shipped off to the middle of nowhere to investigate a tabloid-esque ghost story tip, very much against his will. Having spent ten days searching vainly for an off-the-map town called Roureville, Evan is about to throw in the towel when luck appears suddenly in the form of a flustered priest who unintentionally leads him straight into the town. Though the ghost story appears to be unfounded, Roureville is fishy from the start and after Evan manages to score a place to stay with a quiet young local named Jayce, the townspeople make it very clear that they wish for him to leave, enough even to resort to attempted murder. As the series continues, Evan becomes closer both to his reticent host and to the town’s carefully protected secret, ultimately discovering that he shares more in common with them than he ever would have suspected.

…

Read More

U Don’t Know Me

by 1 Comment

U Don’t Know Me | By Rakun | Published by NETCOMICS – “I realized that the reason the two of us couldn’t stand forever in the same place wasn’t just because I couldn’t keep up with his height–a height, by the way, which began outgrowing my own little by little.” – Prologue, U Don’t Know Me

Seyun and Yoojin have been close since childhood, raised like brothers by their parents who were best friends–so much so that when Seyun’s father made the decision to take on the debt left by his own father, Yoojin’s parents offered to take Seyun in as their own child to ease his burden. Though Seyun’s father refused the offer and moved his family to a cheaper neighborhood to tough it out, Seyun and Yoojin remained friends, despite the distance and their ever-shifting lives. …

Read More

Full House, Volume 1

by Leave a Comment

FullHouse1Full House, Vol. 1 | By Sooyeon Won | Published by NETCOMICS – Ellie is a young, independently-minded, Oxford educated screenwriter living in London, far from her native Korea, on an estate called Full House, left for her by her recently deceased father. Having given up on romance with her childhood friend Felix, who became frustrated with her lack of interest in a physical relationship, Ellie is content to live the life of a single career woman in the house she so loves. Her happy existence is disrupted, however, when she is evicted from the house by its new owner, scandal-ridden matinee idol, Ryder Baye. Following her eviction, Ellie lingers on a street corner, pondering her future and vowing to complete the screenplay she holds in her hands. A gust of wind blows the pages into the street, and as Ellie struggles to gather them up, her foot is run over by a passing car, the driver of which turns out to be none other than Ryder Baye.

With Ryder already embroiled in scandal, he and his handlers pamper Ellie in the hospital, hoping to keep the accident out of the news. In a burst of anger and desperation, Ellie suggests that Ryder marry her so that she can recover ownership of her home, an idea which–much to her surprise–is pounced upon eagerly by Ryder’s manager, Miranda, who is anxious to prove that Ryder is not gay. Finally agreeing to a false engagement with a guarantee she can return to Full House (which she will share with Ryder, whom she hates), Ellie begins her new life in the public eye, for better or worse.

Though the setup is classic and so far predictable, Full House has a number of things working strongly in its favor. First of all, Sooyeon Won is delightfully wordy, crafting pages of pithy banter between determined enemies Ellie and Ryder as well as long pieces of narration that read more like a novel than a comic. Though this is the same style responsible for the deliciously overwrought melodrama of her well-known boys’ love series, Let Dai, here it reads as stylish romance with a vintage theatrical feel. Ellie’s quick wit and sharp tongue make her an unconventionally appealing heroine, more interested in her career than her appearance or any other traditionally feminine concerns. Ryder is thoroughly enjoyable as her foil, whose only goals are to do his work and carry on his affairs without hassle. That he is especially drawn to the house that Ellie would do anything to keep gives them one piece of common ground, though this romantic comedy is guaranteed to be volatile for a good long time before either of them recognize it.

Another point in this series’ favor is NETCOMICS’ English adaptation, which reads surprisingly well, even capturing a genuinely British feel in the dialogue, something that is helped along significantly by the decorous third-person narration that accompanies much of the volume. Not having read any of the volumes of this series released by its former licensee, Central Park Media, I can’t compare the two, but considering NETCOMICS’ poor early track record with translation, it seems important to mention how nicely they’ve done with this series so far.

Sooyeon Woo’s art, though not as detailed or beautiful to look at as her work on Let Dai, has a light, sketchy feel that complements the breezy tone of the series, aided further by her playful paneling which keeps the pace brisk despite the abundance of dialogue. Both art and dialogue look clean and crisp in NETCOMICS’ online reader, even at its lower-resolution setting, and even the smallest text is readable against the series’ backgrounds, something that can’t be said for Let Dai.

Despite its questionably believable plot and obvious setup, this series has enough spark and energy behind it to easily propel readers into its second volume. Its fast-paced banter and classic romantic comedy feel make Full House an appealing new addition to NETCOMICS’ manhwa catalogue.

Volume one of Full House is available from NETCOMICS online.

There’s Something About Sunyool 1 by Youngran Lee: B

by

Sunyool Lee first met her father, a powerful politician, six months after her mother’s death. He’d been unable to have children with his wife, and so acknowledged Sunyool as his daughter. The arrangement gave Sunyool access to the finer things in life, but also required a number of sacrifices, including giving up the freedom to choose her own spouse. For her part, though, Sunyool is practical about the necessities of an arranged marriage, and is more than willing to check out the candidates her father has chosen. In the end, she chooses a gentlemanly young man named Sihyun Park and the two are married.

At first, one is led to believe that There’s Something About Sunyool will be a romantic comedy in which the two leads marry as strangers but learn to love each other—akin to something like Goong: The Royal Palace—but in actuality, they quickly discover that they are highly compatible, and that a happy future is not only possible but likely. Of course, such perfect bliss cannot last for long and—through no fault or desire of the newlyweds—the marriage is ultimately short-lived. The story picks up four years later with Sunyool living in another town and poised to embark on entirely new adventures.

It’s not until one reaches the final chapter that one realizes that this change of direction is coming and that the first volume is really serving as a prologue to a story that has hardly begun. These events establish Sunyool’s character and will presumably set up an overarching plot for the series, but the story cuts off at such a random point in her new life that it’s difficult to see how the events have changed her, if at all, and without any substantive hints about the story’s direction from here, it’s a pretty abrupt and lackluster conclusion.

Gripes about plot structure aside, though, this is still an engaging read, largely because of the strong and quirky protagonist. Sunyool faces life honestly and without pretension, which enables her to accept the idea of an arranged marriage without difficulty, saying, “Well, it’s not like I have some lofty dreams for the future… It might be nice to marry whoever (sic) Assemblyman Lee says to and live a life of comfort. I’ve been at the bottom and it was not pretty.” Too, her father gives her some advice—“Be brave and confident in any circumstance”—that she takes to heart and uses to get her through the tough times resulting in the dissolution of her marriage. While some guys are intimidated (or simply turned off) by her lack of feminine mystique, her fearlessness is largely responsible for Sihyun growing to love her so swiftly, and suggests she’ll land on her feet no matter what happens.

Lee’s art is attractive, featuring the pointed chins and pouty lips that would enable those familiar with manhwa to recognize its origins pretty immediately. Her style here is a little more cute than in Click, an earlier series from this creator also published by NETCOMICS, but not as frantically sparkly as it could’ve been. Unfortunately, there are a couple of errors in the script—mostly in the form of the wrong word being chosen rather than typos or general awkwardness—that I hope will be corrected for the print edition. There aren’t so many as to ruin the reading experience, but they’re distracting nonetheless.

Ultimately, I am very intrigued by There’s Something About Sunyool and eager to see where the story goes from this point. Happily, the series updates regularly at the NETCOMICS site, with several chapters of volume two already available.

There’s Something About Sunyool is being simultaneously released in the US and Korea, with new chapters appearing regularly at the NETCOMICS site. Amazon also lists a print edition of the first volume, due in June.

Review copy provided by the publisher. Review originally published at Manga Recon.

10 Must-Read Manhwa

by 26 Comments

After visiting “Korean Comics: A Society Through Small Frames” last weekend, I was struck by the homogeneity of titles on the exhibit’s suggested reading list. The list isn’t bad by any means, but it places heavy emphasis on recent, teen-oriented titles such as The Antique Gift Shop, Chocolat, Click, Moon Boy, and Snow Drop while overlooking some less popular choices such as Buja’s Diary. As a supplement to my write-up of the “Korean Comics” show, therefore, I’ve compiled my own list of must-read manhwa. Though my goal is to direct readers to works in a variety of styles and genres, I freely admit that this list reflects my own tastes and biases. I’d love to hear from you about what you think belongs on a must-read manhwa list and why. And if you’d like a copy of the SFPL’s Korean Comics bibliography, let me know — I’d be happy to mail one to you.

dejavu10. DEJA-VU: SPRING, SUMMER, FALL, WINTER

YOUN IN-WAN • TOKYOPOP • 1 VOLUME

Déjà vu is a manhwa smorgasbord, pairing writer Youn In-Wan with six artists with distinctly different styles. The first four stories follow the same basic template: two lovers find themselves drawn together by mysterious forces, only to be separated by a moment of terrible violence. The settings and circumstances range from the vaguely folkloric — a warrior and a fox demon fall in love after he frees her from a hunter’s snare — to the contemporary — a blind Korean-American girl and an up-and-coming pop singer meet cute on the streets of San Francisco. The best stories, “Spring” and “Winter,” deftly interlace the fates of the warrior and the fox with the survivors of a twenty-third century apocalypse, bringing to mind Sun, the final installment of Osamu Tezuka’s Phoenix. Though the stories aren’t uniformly excellent, Deja-vu still makes a fine introduction to the contemporary Korean comics scene in general and the writing of Youn In-Wan in particular; look for his series March Story in October 2010. (Reviewed at PopCultureShock on 1/30/08.)

narration9. NARRATION OF LOVE AT 17

KYONGOK KANG • NETCOMICS • 4 VOLUMES

Seyoung, the heroine of Narration of Love at 17, is bright, but not exceptional; pretty, but not a head-turner; and talented, but not outstanding. For several years, Seyoung has been a member of the drama club, relegated to backstage roles while the beautiful Hyemi lands the plum parts. When Hyemi becomes involved with Hyunwoo, Seyoung’s friend and first crush, Seyoung faces a tough choice: will she wait for Hyunwoo to reciprocate her feelings, or will she move on? Backstage rivalries and first loves are standard manhwa fare, but Narration of Love at 17 proves deeper and more heartfelt than most coming-of-age stories in this vein, thanks to Kyongok Kang’s believable, appealing characters; their quicksilver moods, intense passions, deep insecurities, and ever-changing social allegiances make them seem like real teenagers and not an adult’s idea of what teenagers are like. Though the art is, at times, a little clumsy, Kang’s fondness for 1970s shojo is evident in her linework and character designs, and in her emotionally resilient protagonist. (Reviewed at PopCultureShock on 9/12/07. Click here to read a preview chapter at NETCOMICS.)

priest18. PRIEST

MIN-WOO HYUNG • TOKYOPOP • 16 VOLUMES

This sprawling, religio-horror epic comes saddled with enough convoluted backstory for a J.R.R. Tolkein trilogy or a George Lucas franchise, yet proves surprisingly fast-paced and fun. Skipping between the present, the Crusades, and the American West — or, more accurately, a manhwa artist’s cinematically influenced notion of the West — Priest tells the story of Ivan Isaacs, a man of the cloth who renounces his faith after evil researchers use his sister as a human sacrifice. Over the span of sixteen volumes, Ivan battles fallen angels and zombies in an effort to avenge Gena’s death, restore order, and redeem his sinner’s soul. The artwork is bold and stark, with spiky lines and attitude to spare; if you adored the over-the-top action sequences and pistol-packing clergymen of Hellsing, Min-woo Hyung’s elaborate shoot-em-up will be your cup of tea. (Click here to read the first volume at Tokyopop.)

bongsmallcov7. RUN, BONG-GU, RUN!

BYUN BYUNG-JUN • NBM/COMICS LIT • 1 VOLUME

Run, Bong-Gu, Run! tells a simple story: Bong-Gu and his mother leave their rural village to find Bong-Gu’s father, who has gone to Seoul in search of work. As they retrace his steps through the capital, a chance encounter with a beggar yields an important clue to the father’s whereabouts, offering hope that the family will be reunited. The author never explicitly states what prompted the father to leave, how long he’s been away, or why Bong-Gu’s mother waited so long to track him down. In leaving these characters’ personal histories mysterious, Byun Byung-Jun comes dangerously close to romanticizing them: Bongu-Gu’s parents and the old beggar often register as poor but dignified archetypes rather than flesh-and-blood people. But Byun’s spare, restrained artwork mitigates against the story’s sentimentality, offering readers a haunting cityscape that’s as much a character as Bong-Gu or his mother. Rendered in rough, energetic brushstrokes and muted watercolors, Byun’s street scenes are among the most beautiful images I’ve seen in any manhwa translated for English-speaking audiences. (Reviewed at PopCultureShock on 7/11/07. Click here to read a preview at NBM/Comics Lit.)

1020306. 10, 20, AND 30

MORIM KANG • NETCOMICS • 7 VOLUMES

The ten, twenty, and thirty of the title refer to Rok, a sixteen-year-old girl; Belle, her twenty-six-year old cousin; and Krumb, Rok’s mother, who at age thirty-two finds herself a widow. Through a series of interlocking vignettes, 10, 20, and 30 documents the trio’s fumbling efforts to find themselves — and Mr. Right. If the naive, cartoonish art is a take-it-or-leave-it affair, Kang’s heroines are winning, at once complex and sympathetic. They make mistakes; they overreact; they misjudge the men in their lives; they sometimes hurt loved ones with selfish behavior. To be sure, similar characters abound in Bridget Jones’ Diary and Sex and the City, but there’s a qualitative difference between Bridget and the ladies of 10, 20, and 30: Rok, Belle, and Krumb aren’t neurotic. Beneath their quirks and anxieties, all three women display genuine strength and self-determination, even if they don’t always make smart choices about the men in their lives.  (Reviewed at PopCultureShock on 5/10/07. Click here to read a preview chapter at NETCOMICS.)

goong75. GOONG: THE ROYAL PALACE

PARK SOO-HEE • ICE KUNION • 10+ VOLUMES (ongoing)

Goong: The Royal Palace focuses on commoner Chae-Kyung, a high school student who marries the next in line to the (fictional) Korean throne. Just as Diana Spence did in real life, Chae-Kyung discovers that being a princess isn’t glamorous, as her day-to-day life is filled with palace intrigue, onerous civic responsibilities, jealous classmates, and an indifferent husband who’s in love with someone else. Though the plot is an amalgam of familiar soap-opera conventions — romantic triangles! hot younger siblings! disapproving mother-in-laws! — the story has surprising depth, showing us the emotional toll that public life exacts on the young couple. Another plus is the artwork: it’s flat-out gorgeous, with considerable attention devoted to ancient ceremonial costumes and au-courant fashions. Pair those beautiful images with a compelling plot and boatloads of romantic tension, and you have a recipe for manhwa crack. (Reviewed at PopCultureShock on 8/29/08.)

forestgray24. FOREST OF GRAY CITY

JUNG-HYUN UHM • ICE KUNION/YEN PRESS • 2 VOLUMES

Struggling artist Yun-Ook and bartender Bum-Moo decide to room together after a series of drunken misunderstandings that wouldn’t be out of place in a Meg Ryan movie. Though Yun-Ook is horrified to discover their age difference — she’s in her twenties, he’s seventeen — Bum-Moo begins courting her in a confused, low-key fashion. The story would be pure Harlequin fodder if Jung-Hyun Uhm’s heroine wasn’t such a strong, appealing character. Yun-Ook is impetuous, insecure, and quick to take offense, but she’s also focused on her career, protective of Bum-Moo, and determined not to sacrifice her sense of self just to land a husband. There’s a level of emotional authenticity about her character that will resonate with female readers in their twenties and thirties, even if her story seems more firmly rooted in romance novel convention than reality. (Reviewed at The Manga Critic on 4/27/09.)

shaman33. SHAMAN WARRIOR

PARK JOONG-KI • DARK HORSE • 9 VOLUMES

Shaman Warrior serves up generous portions of pow! splat! thmp! and gyaaaa! with heaping sides of political intrigue and supernatural hoo-ha. The story is, at heart, an inter-generational revenge fantasy about a young woman who spends her childhood preparing to confront her father’s assassin and lay bare the double-crosses and unsavory alliances that led to his demise — in short, it’s a grrrl power theme-and-variation on the Epigoni. What it lacks in complexity Shaman Warrior makes up in beauty and bravado: Park Joong-Ki is a superb draftsman, populating his story with an astonishing variety of faces and body-types. His fight scenes are artfully choreographed, if a little heavy on the speedlines, immersing readers in the action in the manner of a contemporary wuxia film. (Reviewed at PopCultureShock on 1/24/07. Click here to read a preview at Dark Horse.)

dokebi22. DOKEBI BRIDE

MARLEY • NETCOMICS • 6 VOLUMES (on hiatus in Korea)

After losing her mother to mental illness and her grandmother to old age, Sunbi’s long-absent father returns to claim her. Their reunion proves an awkward and unhappy one, however: his new wife and daughter resent Sunbi’s presence, while Sunbi’s classmates shun her for her “freakish” behavior, none of them realizing that her aloof, abrasive demeanor helps protect her from demons and spirits. Familiar as Dokebi Bride‘s “I see demons!” premise may be, Marley uses Sunbi’s affliction as a jumping-off point for exploring issues such as fitting in, blending families, and answering that most basic of questions, who am I? Sunbi is an all-too-rare character in comics, a smart, resourceful girl who’s palpably — and justifiably, I might add — angry. Long after you’ve forgotten the basic storyline, the memory of Marley’s fierce, real heroine will stay with you. N.B. Dokebi Bride has been on hiatus for over a year; NETCOMICS has released the six volumes that were published in Korea. No word on when — or if — Dokebi Bride will resume. (Click here to read a preview chapter at NETCOMICS.)

bujacovsmall1. BUJA’S DIARY

SEYOUNG O • NBM/COMICS LIT • 1 VOLUME

Among the manhwa featured in “Korean Comics: A Society Through Small Frames” was “The Picture Diary of Puja,” a short, poignant story about a rural family’s efforts to make a home in Seoul. “Puja’s Diary” (translated by NBM as “Buja’s Diary”) juxtaposes wordless scenes, illustrated in a naturalistic style, with a young girl’s description of the same events: a robbery, a shakedown, a child being injured at a construction site. The effect is simple yet devastating, a Dickensian critique of industrialization and poverty in modern-day Korea. As the other stories in Buja’s Diary attest, displacement, change, and encroaching urbanization are important themes in Seyoung O’s work, though he proves equally adept at humor (“Observe,” which tracks a vain gum-chewer through the streets of Seoul) and surrealism (“Escape,” which depicts one bored man’s nightmarish daydream about his office mates). The artwork varies according to the tone of the story; some of the more somber tales are rendered in charcoal wash and ink, while others employ more exaggerated linework reminiscent of Daumier. One of the most thought-provoking and beautiful manhwa available in English. (Click here to read a preview at NBM/Comics Lit.)