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Manga Bookshelf

Discussion, Resources, Roundtables, & Reviews

yen press

The Manga Review, 6/17/22

June 17, 2022 by Katherine Dacey Leave a Comment

Big news from Yen Press: the publisher is launching IZE Press, a new imprint dedicated to Korean webnovels and webtoons. The imprint will debut this fall with three series created by HYBE and global pop stars BTS, as well as six additional titles: Tomb Raider King, The World After the Fall, The Boxer, My Gently Raised Beast, The Remarried Empress, and Villains Are Destined to Die. Explains JuYoun Lee, the Deputy Publisher and Editor-in-Chief of Yen Press, “we couldn’t be more excited to get a chance to really open up the doors to put these beautiful books in the hands of English-language readers.” I’m still a little salty that the original manhwa boom went bust–remember Dokebi Bride or Goong?–but optimistic that the current market will be more receptive to Korean comics.

NEWS

Are you looking for a job in the publishing field? Yen Press is currently advertising a range of editorial, marketing, and accounting positions. [Yen Press]

The May NPD Bookscan numbers are in, and manga made a strong showing on the Top 20 Author Graphic Novels chart , with volumes of Solo Leveling occupying four of six top slots. Spy x Family continues to dominate the Top 20 Manga chart, though Death Note Short Stories and Toilet-Bound Hanako-kun also posted strong sales. [ICv2]

Justin Lin–best known for his work on the Fast & Furious franchise–has been hired to direct a live-action adaptation of One-Punch Man. [Deadline]

FEATURES, INTERVIEWS, AND PODCASTS

In honor of Pride Month, Latonya Pennington has posted a thoughtful exploration of the last 100 years of queer representation in manga. “A hundred years after the debut of the first yuri novel and twenty years after the publication of Wandering Son, LGBTQ+ manga has greatly matured in terms of their creators, content, and its subgenres,” she notes. “When it comes to manga with transgender characters and themes, there are more options than ever before… On the yuri and yaoi side of manga, both subgenres have moved beyond the teenaged schoolyard romances that were present at the genre’s inception. There are not only gay and lesbian manga featuring adult main characters, but also manga in different fictional genres.” [Popverse]

What LBGTQ+ manga would you like to see adapted into an anime? [Anime Feminist]

And speaking of queer manga, Kory, Helen, and Apryll discuss the merits of two recent titles: BL Fans LOVE My Brother?!, a done-in-one story from Tokyopop, and Even Though We’re Adults, an ongoing yuri series published by Seven Seas. [The Taiiku Podcast]

The latest Manga Machinations episode looks at 10 Dance, Classmates, and Ruri Dragon. [Manga Machinations]

Ashley and Asher investigate Flower in a Storm, a short romantic comedy about a super-rich boy and a headstrong girl. [Shojo & Tell]

The gang at Honey’s Anime compile a list of manga that they didn’t see through to the end. [Honey’s Anime]

Brigid Alverson interviews Seven Seas’ Lianne Sentar and Lissa Pattillo about the challenges and rewards of bringing Asian webtoons to the US market. “I think a huge factor is the convenience of the format,” they note. “Do you have a smartphone and an Internet connection? Here: endless comics to scroll through (discreetly!) during your lunch break, wherever you are. If you look at Asian markets like Japan and Korea, there’s a huge audience of people reading comics on their phones while commuting in public transit like trains. I think newer generations in particular are adding comic reading to the many other leisure activities they do on their phone, and in North America, the boom in Middle Grade comics over the last 5-10 years has seeded millions of new readers who are comfortable reading long-form, sequential comics the way they would ingest other media (prose, TV, etc.).” [ICv2]

REVIEWS

Over at Anime UK News, Sarah posts a glowing review of Gengoroh Tagame’s Our Colors, while No Flying No Tights declares Junji Ito’s Deserter a mixed bag. “That’s not to say this is a bad collection, but Ito has such wonderfully scary other pieces that many in this volume fell flat for me,” Kris notes. The latest Reader’s Corner is up at Beneath the Tangles, with brief reviews of Alice in Borderland, Golden Gold, and To Strip the Flesh.

  • Adachi and Shimamura, Vol. 3 (Jaime, Yuri Stargirl)
  • Aria The Masterpiece, Vol. 1 (HWR, Anime UK News)
  • Cat + Gamer, Vol. 1 (Justin, The OASG)
  • Chainsaw Man, Vol. 11 (Josh Piedra, The Outerhaven)
  • Crazy Food Truck, Vol. 1 (Christopher Farris, Anime News Network)
  • Creature! (Krystallina, Daiyamanga)
  • Ghost Reaper Girl, Vol. 1 (Dallas Marshall, CBR)
  • Hard-Boiled Cop & Dolphin, Vols. 2-3 (King Baby Duck, Boston Bastard Brigade)
  • Heterogenia Linguistico, Vol. 1 (Jennifer, No Flying No Tights)
  • I Think Our Son Is Gay, Vols. 1-2 (Andy Oliver, Broken Frontier)
  • I Want to Be a Wall, Vol. 1 (Josh Piedra, The Outerhaven)
  • Ima Koi: Now I’m In Love, Vol. 2 (Rebecca Silverman, Anime News Network)
  • Jujutsu Kaisen, Vol. 16 (Marina Z., But Why Tho?)
  • Lost Lad London, Vol. 1 (Kevin Rodriguez, The Fandom Post)
  • Mashle: Magic and Muscles, Vols. 5-6 (King Baby Duck, Boston Bastard Brigade)
  • The Masterful Cat Is Depressed Again, Today, Vol. 3 (Johanna Draper Carlson, Comics Worth Reading)
  • My Dress-Up Darling, Vol. 1 (SKJAM, SKJAM! Reviews)
  • My Love Mix-Up, Vol. 4 (Kate Sánchez, But Why Tho?)
  • Nightfall Travelers: Leave Only Footprints, Vol. 1 (Al, Al’s Manga Blog)
  • Reign of the Seven Spellblades, Vol. 5 (Antonio Mireles, The Fandom Post)
  • Run on Your New Legs, Vol. 1 (Rebecca Silverman, Anime News Network)
  • Something’s Wrong With Us, Vol. 1 (Kaley Connell, Yatta-Tachi)
  • Something’s Wrong With Us, Vols. 7-8 (Demelza, Anime UK News)
  • Summertime Rendering, Vols. 1-2 (Helen Chazan, The Comics Journal)
  • That Time I Got Reincarnated as a Slime: The Ways of the Monster Nation, Vol. 7 (Josh Piedra, The Outerhaven)
  • Total Eclipse of the Eternal Heart (Megan D., The Manga Test Drive)
  • What Did You Eat Yesterday?, Vol. 18 (Johanna Draper Carlson, Comics Worth Reading)
  • Wotakoi: Love Is Hard for Otaku, Vol. 6 (Johanna Draper Carlson, Comics Worth Reading)
  • Yashahime: Princess Half-Demon, Vol. 1 (Nick Smith, ICv2)

Filed Under: FEATURES Tagged With: LBGTQ Manga, Manga Industry Jobs, Manga Sales Analysis, manhwa, one punch man, Seven Seas, Shojo & Tell, webtoons, yen press

The Manga Review, 5/13/22

May 13, 2022 by Katherine Dacey Leave a Comment

April sales figures are in, and manga continues to dominate the NPD Adult Graphic Novels list. Though the list includes some perennial favorites–Berserk, Demon Slayer, My Hero Academia—Spy x Family saw a big jump in sales after its anime debuted on Crunchyroll last month. ICv2’s Brigid Alverson points out that  “April marks the fourth consecutive month that manga has completely filled the chart of the top 20 Adult graphic novels in the book channel.” Manga sales aren’t quite as robust in comic book stores, but three titles made ComicsHub’s Top 20 Graphic Novels for April: Chainsaw Man (4), Kaiju No. 8 (16), and Spy x Family (20). For additional insights into the current state of the manga, check our Madeline Dunnett’s recent post at Anime News Network.

MANGA NEWS

Kodansha just announced the winners of its 46th annual Manga Awards. [Anime News Network]

With less than three weeks to go, Sam Sattin and Guruhiru’s Kickstarter campaign for Unico: Awakening has exceeded its pledge goal of $50,000. The story is “an homage to the God of Manga’s original messaging of social welfare and eco-consciousness.” [Kickstarter]

Good news for Moto Hagio fans: Fantagraphics will be re-printing the first volume of The Poe Clan this summer. While there’s no official release date for the new edition, the long-awaited second volume will be released on July 26, 2022. [Fantagraphics]

Drawn and Quarterly will be publishing Nejishiki, an anthology of short stories by Yoshiharu Tsuge. Look for it in stores in April 2023. [Drawn and Quarterly]

Earlier this week, Yen Press announced that it will publish Sho Harusono’s Hirano and Kaguira, a spin-off of Sasaki and Miyano. [Yen Press]

Brace yourself: Seven Seas just announced even more new manga licenses! Among the most promising are Polar Bear Café: Collector’s Edition and Ex-Yakuza and Stray Kitten, which is pretty much what it sounds like: a former mobster indulges his softer side by rescuing a cat from the streets. [Seven Seas]

Over at The OASG, Justin and Helen round up the latest anime, manga, and licensing news. [The OASG Podcast]

FEATURES AND INTERVIEWS

Patricia Thang takes issue with the marketing label “manga-inspired,” arguing that “To call a comic ‘manga-inspired’ is akin to me saying, ‘Here’s a painting I did! It’s art-inspired! You’d think (or at least hope) I was joking, right? Because what in the fuck would that even mean?!” [Book Riot]

On the most recent Manga in Your Ears podcast, Kory, Helen, and Apryl dissect two manga by Naoki Urasawa: Sneeze, a short story anthology, and Asadora!, his latest series. [Manga in Your Ears]

Andy and Elliot dedicate the latest episode of the Screentone Club to City Hunter and Goodbye-Eri. [Screentone Club]

Walt Richardson and Emily Myers review the April issue of Shonen Jump. [Multiversity Comics]

The Mangasplainers turn their attention to Kakegurui: Compulsive Gambler, “the smash hit seinen manga that pits trust-fund-teens against one another in battles that cause embarrassment and ecstasy, skirting the line between schadenfreude and sadism!” [Mangasplaining]

As the spring anime season kicks into gear, Silvana Reyes Lopez recommends fifteen “unmissable” manga adaptations, from Chainsaw Man to Kakegurui Twin. [Book Riot]

Wondering what to read after Black Clover wraps up later this year? Christian Markle has a few recommendations. [Honey’s Anime]

Brianna Lawrence argues that Death Note Short Stories is more than just a sequel or a companion to the original series; it’s a thoughtful exploration of “how the government would react if such a terrifying weapon was available.” [The Mary Sue]

In an interview with TCJ’s Alex Deuben, Ken Niimura discusses his latest work, Never Open It: The Taboo Trilogy, which re-tells three of Japan’s most famous folk tales. “What I like about these stories… is that they’re pretty open ended,” Niimura explains. “They can be interpreted in many different ways. For example, there’s what’s considered to be the standard version of ‘The Crane Wife,’ but there are actually different versions depending on the region, the era, with many differences to the characters, the ending, etc…” [The Comics Journal]

REVIEWS

Readers in search of “hallucinogenic” stories might want to check out Keiichi Koike’s Heaven’s Door: Extra Works. “In some of these stories, the scale is pure Akira, but the detail and fluidness of the line are absolutely Moebius,” reviewer James Hepplewhite opines. Speaking of over-the-top manga, Megan D. revisits one of the most ludicrous series Tokyopop ever published: The Qwaser of Stigmata. (No, really; this manga goes to eleven.)

  • After School!, Vols. 1-2 (Krystallina, Daiyamanga)
  • Apollo’s Song (SKJAM, SKJAM! Reviews)
  • A Bride’s Story, Vol. 13 (Sakura Aries, The Fandom Post)
  • Bungo Stray Dogs Wan!, Vol. 1 (Rebecca Silverman, Anime News Network)
  • A Centaur’s Life (Megan D., The Manga Test Drive)
  • Dead Mount Death Play, Vol. 7 (Josh Piedra, The Outerhaven)
  • Death Note Short Stories (Joseph Luster, Otaku USA)
  • Death Note Short Stories (Kate Sánchez, But Why Tho?)
  • Dissolving Classroom (King Baby Duck, Boston Bastard Brigade)
  • Dr. STONE, Vol. 21 (Marina Z., But Why Tho?)
  • Eclair Bleue, Eclair Rouge, and Eclair Orange (Jaime, Yuri Stargirl)
  • Hinowa ga CRUSH!, Vol. 6 (Josh Piedra, The Outerhaven)
  • Hinowa ga CRUSH!, Vol. 6 (Krystallina, The OASG)
  • I Want to Be a Wall, Vol. 1 (Danica Davidson, Otaku USA)
  • Little Miss P: The Fourth Day (Demelza, Anime UK News)
  • Love of Kill, Vol. 7 (Krystallina, The OASG)
  • Made in Abyss (Harry, Honey’s Anime)
  • Magic Artisan Dahlia Wilts No More, Vol. 1 (Justin, The OASG)
  • The Magical Revolution of the Reincarnated Princess and the Genius Young Lady, Vol. 1 (Sakura Eries, The Fandom Post)
  • Marionette Generation (Megan D., The Manga Test Drive)
  • Moriarty the Patriot, Vols. 6-7 (King Baby Duck, The Boston Bastard Brigade)
  • The Music of Marie (Krystallina, Daiyamanga)
  • Our Colors (Publisher’s Weekly)
  • Our Teachers Are Dating, Vol. 4 (Erica Friedman, Okazu)
  • Our Teachers Are Dating, Vol. 4 (Jaime, Yuri Stargirl)
  • The Royal Tutor, Vol. 16 (Sakura Eries, The Fandom Post)
  • Seimaiden (Megan D., The Manga Test Drive)
  • Spy x Family, Vol. 7 (Rebecca Silverman, Anime News Network)
  • The Transcendent One-Sided Love of Yoshida the Catch, Vol. 1 (Rebecca Silverman, Anime News Network)
  • Walkin’ Butterfly (Megan D., The Manga Test Drive)

Filed Under: FEATURES Tagged With: death note, Drawn and Quarterly, Fantagraphics Books, Manga Sales Analysis, moto hagio, Naoki Urasawa, Osamu Tezuka, Seven Seas, Shonen Jump, The Poe Clan, Unico, yen press

Days on Fes, Vol. 1

April 9, 2021 by Katherine Dacey

Like many Gen-Xers, I cut my musical teeth at rock concerts. I didn’t have much experience going to festivals—they were rare in the 1980s—but I did catch the first Lollapalooza tour as it passed through the Boston area in 1991. My memories of that day are impressionistic; it was hot, dirty, and loud, and I considered leaving when I learned that Siouxsie and the Banshees had cancelled their appearance. I’m glad I didn’t, though, as the festival helped expand my musical horizons, introducing me to the sound of rap-metal and the Rollins Band, and reminding me just how phenomenal Living Colour was. Reading Days on Fes reminded me of that formative experience, though not in the way I’d expected. I imagined that a manga about rock festivals would focus on the music, but Days on Fes is equally concerned with food stalls, merch, and concert-going logistics, even dedicating one chapter to finding the perfect campsite at an outdoor festival.

The first volume follows two characters: Otoha, a goofy high school student, and Gaku, her thirty-something brother. In the first half of the book, Otoha persuades her classmate Kanade to attend the Meteorock Festival with her, while in the second Gaku drags his Eeyore-esque employee Ritsuru to the Fries & Sushi Festival. Both siblings face predictable hurdles in getting to the venue, from lack of interest—Kanade confesses that she doesn’t like rock—to lack of funds—Ritsuru bemoans the fact that he’s too poor to afford a ticket. Once at the festivals, however, both Kanade and Ritsuru succumb to the excitement of eating good food, wandering the grounds, drinking beer, sleeping under the stars, and—yes—hearing some concerts.

The most satisfying passages in volume one focus on getting ready for a festival. Oka vividly captures the feeling of pre-concert anticipation, carefully documenting the small but important rituals that festival-goers observe, from picking out an outfit to deciding what to bring; he even includes a two-page spread detailing the contents of Kanade and Otoha’s backpacks. Though this illustration serves a legitimate educational purpose, showing the festival n00b what they’ll need—suncreen, snacks—it also speaks volumes about the two girls’ personalities and expectations for the festival itself. Less satisfying are the performances. Oka relies on reaction shots and close-ups of musicians’ faces to convey the excitement of hearing live music, but the blandness of the illustrations undercuts the efficacy of this time-honored strategy for showing what can’t be heard: whoops, claps, whistles, boos, sing-alongs. The dialogue provides the only clue that these performances were good; characters spend more time talking and thinking about how the music effects them then they do listening to music.

For anyone old enough to remember the original Lollapalooza tour, the contrast between the lackluster performance scenes and the rhapsodic discussions of festival foods may be jarring; it often feels like Oka has channeled too much energy into depicting the things you can buy and do at a festival rather than what you might hear. For younger readers, however, Days on Fes offers a safe but tantalizing glimpse of what it might be like to attend Coachella or Bonnaroo, as well as a down-to-earth reminder that festivals are an expensive habit—a message that’s sure to be music to parents’ ears.

DAYS ON FES, VOL. 1 • ART AND STORY BY KANAKO OKA • TRANSLATED BY AJANI OLOYE • LETTERING BY ALEXIS ECKERMAN • YEN PRESS • RATED TEEN • 208 pp.

Filed Under: Manga, Manga Critic, REVIEWS Tagged With: Musical Manga, Rock, yen press

Penguin Gentlemen

April 7, 2021 by Anna N

Penguin Gentlemen by Kishi Ueno

The premise of this manga – penguins who happen to run a cafe where they are all very buff men wearing tuxedos – seemed so ridiculous I couldn’t help wanting to check it out. This single volume manga certainly gets the deluxe treatment, with a hardcover edition and plenty of color pages. Now and then I really enjoy a didactic manga, and that’s what Ueno delivers. I was a little disappointed that there wasn’t more of a storyline focusing on penguin cafe work, because I enjoy a good food manga as well, but for readers who want to dramatically up their knowledge of penguin behavior, species variants, and random facts about penguin habitats this is the book for you!

Penguin Gentlemen

The character designs are one of the most amusing aspects of the book, as Ueno showcases differences in penguin markings and size into the hair styles and tuxedo uniforms of all the waiters. The main boss of the cafe is the King penguin, who is dwarfed in size by the stoic Emperor penguin who looms over everyone. The penguin gentlemen discuss their characteristics in the setting of the cafe, with plenty of comedic bits. The characters switch back and forth often between their anthropomorphic human forms and their natural states as penguins, but Ueno is great at rendering the heightened emotions of the characters even when they are in bird form. I read this book in several sittings, simply because I was not able to absorb all the information about penguin egg hatching, body language, and markings without a break here and there. The last section of the book that focuses on penguin courtship rituals is particularly hilarious. If someone wants to learn many scientific facts about penguins and be entertained along the way, Penguin Gentlemen certainly delivers.

Filed Under: Manga Reviews, REVIEWS Tagged With: penguin gentlemen, yen press

King of Eden, Vol. 1

November 11, 2020 by Katherine Dacey

Is it too soon to enjoy a pandemic-themed manga? That question was foremost in my mind as I read King of Eden, a new thriller that pits a group of globe-trotting scientists against an assortment of terrorist organizations that have weaponized a lethal virus. I’m happy to report that King of Eden didn’t remind me of the COVID crisis, but it did something arguably worse: it bored me.

The dullness of the story is all the more surprising for a series written by Takashi Nagasaki, Naoki Urasawa’s collaborator on such entertaining pot-boilers as Monster, Master Keaton, and 20th Century Boys. All of Nagasaki’s worst tendencies are on display in King of Eden: there are pointless flashbacks to the main characters’ childhoods, solemn monologues about the Old Testament, long-winded conversations about global terrorism, and an interminable lecture on the ancient Scythians that name-checks Herodotus because… why not? Though the first volume introduces a dizzying number of characters, Nagasaki barely fleshes them out. Even leads Rua Itsuki and Teze Yoo feel more like skill sets than actual people, as evidenced by an on-the-nose exchange in which a bureaucrat recites Dr. Itsuki’s resume and reminds her that she “hold[s] a black belt in Tae Kwon Do” and is “proficient in the Israeli martial art of Krav Maga” as if she didn’t know these things about herself.

None of this would matter, of course, if King of Eden were entertaining, but Nagasaki is so intent on world-building that he overwhelms the reader with information, all delivered in such earnest, exhaustive detail it saps the narrative momentum. Itsuki and Yoo cross paths with MI-6 agents, WHO officials, IRA terrorists, crazy archaeologists, Interpol officers, and zombies—ZOMBIES, for Pete’s sake!—yet none of these encounters are memorable. Had Nagasaki placed more trust in artist SangCheol Lee (a.k.a. Ignito), King of Eden might have been a brisker, more imaginative entry in the zombie canon.

The first chapter offers a tantalizing glimpse of that potential partnership. Gone are the long-winded speeches; instead, Lee drops the reader into the action alongside two police officers who stumble across a baffling, gruesome scene. After the officers arrest a potential suspect, Lee skillfully cross-cuts between two spaces at the local precinct—an interrogation room and the morgue—allowing us to glimpse what’s unfolding in each room, and to feel the policemen’s growing unease. Lee’s crack pacing keeps the reader invested in the characters’ fate, building to a satisfying reveal of the carnage’s true source: a hideous, lantern-jawed creature that’s part werewolf, part zombie.

Alas, that cinematic flair disappears as soon as the characters begin talking; the next two chapters consist of information dumps punctuated by the occasional fist fight or car chase. By the time Nagasaki and Lee introduce a vampire arms dealer near the end of volume one, it barely registers as a major development. And that, in a nutshell, is what’s wrong with King of Eden: the story is so overstuffed with characters and events that I couldn’t muster the energy for another 15 or 100 chapters of talking heads explaining zombie behavior or Scythian culture just to figure out who this vampire is, and why he matters.

Yen Press provided a review copy of volume one.

KING OF EDEN, VOL. 1 • STORY BY TAKASHI NAGASAKI • ART BY IGNITO • TRANSLATED BY CALEB COOK • LETTERING BY ABIGAIL BLACKMAN • RATED OLDER TEEN (16+) • 384 pp.

Filed Under: Manga, Manga Critic, REVIEWS Tagged With: Horror/Supernatural, Takashi Nagasaki, yen press, Zombies

Skull-Face Bookseller Honda-san, Vol. 1

January 4, 2020 by Katherine Dacey

If you’ve ever worked a thankless retail job, you’ll appreciate Skull-Face Bookseller Honda-san, a candid, fitfully funny series about working in the customer service industry. The titular character works in the manga section of a large Tokyo bookstore, helping buyers find the perfect series, taking inventory, and meeting with representatives from major publishers.

Some of her adventures are genuinely amusing, as when a handsome male customer requests explicit doujinshi for his daughter, or an American fujoshi explains her penchant for a particular seme-uke dynamic; other chapters are more matter-of-fact, conveying the difficulties of keeping popular titles in stock, or documenting the social and professional interactions among the staff members. Though none of its is laugh-out-loud funny, the artwork is terrific, capturing Honda-san’s sweaty anxiety every time a customer or colleague makes an uncomfortable request of her—no mean feat, given that the artist has depicted herself with a skeleton head and androgynous, apron-clad body. (Her colleagues’ identities have been camouflaged in a similar fashion: one has a paper bag for a head, and another wears a gas mask.) Amanda Haley’s thoughtful translation complements Honda’s crisp illustrations, offering useful context for understanding the unique challenges of selling manga to the general public, and plenty of footnotes to decode the insider shop-talk.

Yet for all the craft with which Skull-Face Bookseller is written, I never fully succumbed to its charms. I found the pacing uneven and the publishing-focused chapters long-winded, especially when contrasted with the snappy staging of Honda-san’s encounter with the international BL brigade. I’m still curious about the series, but would put Skull-Face Bookseller in the same category as Saint Young Men: a comedy that’s better in principle than in practice. Your mileage may vary.

SKULL-FACE BOOKSELLER HONDA-SAN, VOL. 1 • STORY AND ART BY HONDA • TRANSLATION BY AMANDA HALEY • YEN PRESS • NO RATING • 166 pp.

Filed Under: Manga, Manga Critic, REVIEWS Tagged With: Comedy, Skull-Face Bookseller, yen press

Short Takes: Museum and Phantom Tales of the Night

October 6, 2019 by Katherine Dacey

I have a confession: I am a complete chicken when it comes to horror movies. I watched Alien through my fingers and made it to the end of Fright Night by staring at the ingredient list on a candy wrapper; even the hot vampires of The Lost Boys weren’t soulful or shirtless enough to fully hold my gaze. But horror manga is another story, as I count Mermaid Saga, Gyo, Tomie, The Kurosagi Corpse Delivery Service, and PTSD Radio among my favorites series. I can’t explain why horror manga doesn’t affect me the same way that movies do–no soundtrack, perhaps?–but I’m glad that I’ve found the intestinal fortitude to read Junji Ito and Kazuo Umezu’s work. Alas, I had less patience with the two most recent horror series I read: Museum, a digital-only offering from Kodansha, and Phantom Tales of the Night, a cautionary tale about a mysterious innkeeper.

Museum, Vol. 1
Story and Art by Ryosuke Tomoe
Kodansha Comics
Rated M, for Mature (graphic violence)

Stop me if you’ve heard this one before: a mask-wearing vigilante kidnaps and tortures his victims in grotesque fashion–feeding them to dogs, severing their ears, tying them to toilets–then leaves cryptic notes that characterize each act as a “punishment,” daring the authorities to catch him. The mystery of who the vigilante is and what motivates him is the main driving force behind Museum, but you might not want to soldier through the carnage for answers to those questions since Ryosuke Tomoe can’t decide if his vigilante is a hero or a monster. Tomoe depicts the violence with such fetishistic detail that the reader is invited to admire the killer’s technique rather than meditate on the true horror of what the character has done. The ugly, utilitarian artwork and  relentlessly dour tone are the nails in the proverbial coffin, underscoring just how unpleasantly banal Museum really is. Not recommended.

Phantom Tales of the Night, Vol. 1
Story and Art by Matsuri
Yen Press
Rated OT, for Older Teens (violence and sexual themes)

Phantom Tales of the Night is the kind of bad manga that’s difficult to review: it isn’t offensive or ineptly drawn, but it’s a chore to read thanks to its poor plotting, muddled characterizations, and maddeningly opaque dialogue. Ostensibly, the series focuses on the Murakamo Inn, where the demonic host cajoles his guests into revealing their secrets. The rules governing how the Murakamo Inn operates, however, are in a constant state of flux, making it hard to pin down what, exactly, Phantom Tales is about. In some chapters, characters share their secrets with the inn’s owner in exchange for having a wish fulfilled, while in others, characters learn a terrible secret about themselves. The later chapters hint at a potentially longer, more complex arc that will play out over several volumes, but the set-up is so abrupt and confusing that it robs the final pages of their full impact–a pity, since Matsuri has a flair for drawing genuinely creepy monsters. Perhaps the most damning thing about Phantom Tales of the Night is that the characters talk incessantly about “secrets” but lack a basic understanding of what a secret really is or why it holds such power—a key failing in a series that is predicated on the idea that secrets are a kind of supernatural currency. Not recommended.

Filed Under: Manga, Manga Critic, REVIEWS Tagged With: Horror/Supernatural, Kodansha Comics, yen press

Chio’s School Road, Vol. 1

September 4, 2018 by Katherine Dacey

With the new school year underway, now seemed like the ideal time to review Chio’s School Road, a gag manga about an average teen with a rich imagination and a talent for getting into trouble. Think of it as a female answer to My Neighbor Seki or Haven’t You Heard? I’m Sakamoto!!, two similar comedies in which a high school student turns out to have some truly astonishing skills.

Chio’s School Road is built on a simple but sturdy premise: Chio Miyamo, an average high school student, goes to comic lengths to avoid embarrassment. And by “comic lengths,” I mean diving into dumpsters, hiding in a tree, and giving her best friend a passionate kiss to conceal the fact they were eavesdropping on the popular kids. To be sure, these kind of scenarios are standard comic fodder, but Tadataka Kawasaki takes the gags in such unpredictable directions that the payoffs are fresh and funny without frustrating the reader’s desire to see the dignity-challenged Chio prevail.

In chapter three, for example, Chio stumbles into an alley blocked by members of a biker gang. Her attempt to slip past them goes awry, leading to confrontation in which Chio inadvertently escalates the situation with a nervous stutter. “You pick a fight and then laugh? You got some balls!” the head biker declares, prompting Chio to reveal her “true” identity as Bloody Butterfly, an assassin who’s “out every night packing heat” in the mean streets of Tokyo. The joke, of course, is that Chio is recycling bits of dialogue from her favorite first-person shooter game, delivering her lines with the swagger of a yakuza foot solider — a swagger she can’t sustain as soon as she arrives on school grounds.

The only strike against Chio’s School Road is the fan service. In one particularly egregious sequence, Kawasaki draws a woman’s chest as if two balloon animals were tussling under her sweater. (Seriously, folks: breasts do not look like balloon animals. Not even on a braless woman. No, really.) These panels are noticeable in part because his draftsmanship is otherwise crisp and convincing, creating a vivid sense of the urban neighborhood where Chio attends school, and strong sense of the characters’ personalities. Still, I wouldn’t hesitate to recommend Chio’s School Road to fans of My Neighbor Seki and Haven’t You Heard? I’m Sakamoto!, as it delivers a steady stream of amusing, weird, and well-executed jokes. Better still, Chio earns its laughs honestly by reminding us that Chio isn’t ordinary at all; she’s just striving to be. Recommended.

Chio’s School Road, Vol. 1
Art & Story by Tadataka Kawasaki
Translated by Alexander Keller-Nelson
Yen Press, 160 pp.
Rated OT, for Older Teens (Sexual and bathroom humor; fan service)

Filed Under: Manga, Manga Critic, REVIEWS Tagged With: Chio's School Road, Comedy, Seinen, Tadataka Kawasaki, yen press

Laid-Back Camp, Vol. 1

August 14, 2018 by Katherine Dacey

Laid-Back Camp may be the most quintessentially Japanese thing I’ve read this year: it features cute girls doing cute things while imparting information about camping gear. There’s no real plot to speak of, just a meet-cute in the first chapter that introduces seasoned camper Rin to enthusiastic newbie Nadeshiko. Through one of those only-in-manga coincidences, Rin and Nadeshiko attend the same school, where two other girls — Aoi and Chiaki — are struggling to recruit members for their Outdoor Exploration Club. You can guess what happens next: Nadeshiko joins the club and, by dint of her Golden Retriever personality, brings the skeptical Rin into the fold.

Each chapter is built around a skill, a piece of equipment, or a location. In “Mount Fuji and Cup Ramen,” for example, Rin explains how to build the perfect campfire, calling dried pine cones “nature’s premier fire starter,” while in “You Can Only Go Camping If You Have the Gear,” the Outdoor Exploration Club pores over catalogs, debating the merits of down and synthetic sleeping bags. These passages are deftly woven into the fabric of each story, playing a natural part of the girls’ conversations as they plan camping trips. Dashes of humor and breath-taking scenery add welcome nuance to the storytelling, preventing it from tipping into edu-manga dullness or yon-koma hijinks. Best of all, Rin is a genuinely interesting character, a small, self-sufficient kid who likes solo camping trips. Though volume one doesn’t explain how she caught the camping bug, author Afro has done such a good job of fleshing out Rin it doesn’t matter; we can see how someone so introspective and independent would welcome the opportunity to be alone in nature. Recommended, even for those who prefer the Great Indoors.

Laid-Back Camp, Vol. 1
Story and Art by Afro
Translation by Amber Tamosaitis
Yen Press, 178 pp.
Rated T, for Teen

Filed Under: Manga, Manga Critic, REVIEWS Tagged With: Afro, Comedy, Laid-Back Camp, Seinen, yen press

Shibuya Goldfish, Vol. 1

August 3, 2018 by Katherine Dacey

Shibuya Goldfish falls somewhere along the horror continuum between Sharknado 3 and Jaws: it’s too competently executed to be a guilty pleasure but too predictable to be genuinely scary. Though the premise has serious camp potential, author Hiroumi Aoi settles for a pedestrian approach to the material, trapping his cast in a high-rise shopping center where death lurks around every corner. There are a few glimmers of imagination here and there, but the overall result lacks the visceral punch, humor, or sheer imagination of other entries in the Killer Fish genre.

The story begins in media res, with a shot of Hachiko — Shibuya’s most famous statue — stained in blood. We then cut to an image of a panting, wild-eyed teen staring incredulously at a monstrous goldfish feasting on a pedestrian in the middle of a busy street. “That day was the first time I ever saw someone die,” Hajime solemnly informs us, before a flashback reveals what led up to this gruesome scene.

I won’t lie: those opening pages are a tantalizing hook for a horror buff. Though Aoi doesn’t reveal where the goldfish came from, he sells the Fish-Gone-Wild concept by emphasizing the predators’ size, numbers, and blank-eyed stares, making us appreciate the sheer incongruity of Volkswagen-sized fish swarming through an urban landscape. The goldfish’s penchant for uttering intelligible phrases — “I’m home, mom,” one burbles — adds another layer of mystery to their existence: are they truly sentient or are they merely ghosts, back to haunt the owners that flushed them down the toilet?

Where Shibuya Goldfish falls short is the human dimension. Hajime is the only character who’s properly fleshed out, an earnest, slightly awkward high school student whose dreams of becoming a filmmaker are dashed by the catastrophe. The other characters are more placeholders than people, dropped into the story to generate conflict or provide useful information about goldfish behavior before dying. In recognition of their liminal status, Aoi only bestows names on a small fraction of the cast, one of whom — the beautiful, bitchy Chitose Fukakusa — is such a vile male fantasy that the introduction of two more competent, sincere female characters in chapters two and three barely erase the memory of Fukakusa’s manipulative behavior and panty flashes.

The other fundamental issue with Shibuya Goldfish is the artwork, which juxtaposes photo-realistic backgrounds and fish with generic character designs. The tension between these two modes of representation ends up robbing volume one’s creepiest scenes of their dramatic impact, as the full horror of what happens to several characters is muted by Aoi’s blandly rendered faces and bodies; the grotesque bodily deformations that make Junji Ito, Hideshi Hino, and Kanako Inuki’s work so arresting barely elicit a “yuck!” in Aoi’s hands. It’s a pity these moments don’t land with more oomph because Shibuya Goldfish flirts with an interesting idea: the notion that a pet as small, helpless, and disposable as a goldfish might be the downfall of humanity, punishing us for our reckless treatment of other living things. Perhaps Aoi will delve into the monsters’ origins in future volumes, but the so-so execution of these foundational chapters didn’t reel me in. Your mileage will vary.

SHIBUYA GOLDFISH, VOL. 1 • BY HIROUMI AOI • TRANSLATED BY KO RANSOM • YEN PRESS • 242 pp. • RATED OT (OLDER TEEN) FOR LANGUAGE, NUDITY, AND VIOLENCE

Filed Under: Manga, Manga Critic, REVIEWS Tagged With: Horror/Supernatural, Shibuya Goldfish, Shonen, yen press

Star Wars: Lost Stars, Vol. 1

May 22, 2018 by Katherine Dacey

Remember the good ol’ days when a new Star Wars movie took three years to make, and no one was certain that George Lucas was going to get around to Episodes I, II, and III? I miss those days; new installments felt like a cause for celebration and not a dutiful obligation, and the films were an irresistible mixture of bad acting, thrilling space battles, and earnest conversations about the Force. When I’ve felt a twinge of nostalgia for my childhood Star Wars experience, I’ve found the manga adaptations of the original trilogy much more satisfying than the current batch of Disneyfied films. So I was curious to see what an original Star Wars manga might look like: would it explore new territory, or simply recycle the same plot points, a la The Force Awakens, Rogue One, and The Last Jedi?

Turns out that Lost Stars is to Star Wars what Rosencrantz and Guildenstern Are Dead is to Hamlet, a retelling of an iconic story from the perspective of two peripheral characters. Many of the most famous moments from George Lucas’ original trilogy appear in Lost Stars — the capture of Princess Leia, the annihilation of Alderaan, the ice battle on Hoth — though the framing of these events is new, seen through the eyes of two young Imperial pilots: Thane Kyrell and Ciena Ree, both of whom enrolled in the Imperial Academy hoping for adventure and a better way of life.

The inclusion of these famous scenes is a double-edged sword; they provide a handy point of reference for the Star Wars greenhorn while simultaneously pandering to the hardcore fan by faithfully recreating iconic images, characters, and dialogue from A New Hope and The Empire Strikes Back. There’s a dot-the-i quality to them that suggests that Yusaku Komiyuma was more concerned with nailing down the original details than imagining how Thane or Ciena would perceive — or participate — in these events. The other problem with these scenes is that they’re more dramatically interesting than Komiyuma’s brisk but flavorless adaptation of Claudia Gray’s novel. The most thoughtful elements of Gray’s work — particularly the class politics on Thane and Ciena’s home planet Jelucan — are presented in a bald fashion that reads more like CliffNotes than honest-to-goodness fiction, while important scenes of character development are too compressed to give us a sense of who these star-crossed lovers really are. The net result is a comic that successfully bridges the aesthetic worlds of Shonen Jump and Star Wars without achieving its own distinct identity as a manga or a Star Wars story. Your mileage may vary.

Star Wars: Lost Stars, Vol. 1
Original Story by Claudia Gray
Art and Adaptation by Yusaku Komiyuma
Yen Press, 192 pp.
Rated T, for teens

Filed Under: Manga, Manga Critic, REVIEWS Tagged With: Claudia Gray, Lost Stars, Sci-Fi, star wars, yen press

Short Takes: Delicious in Dungeon and Golden Kamuy

April 16, 2018 by Katherine Dacey

Today’s reviews come to you courtesy of Patriot’s Day, my second favorite Massachusetts-only holiday. (The first is Evacuation Day, a thinly-disguised attempt to give Boston’s civil servants permission to skip work on St. Paddy’s.) For your consideration are volume four of D&D cooking extravaganza Delicious in Dungeon, and volumes three and four of everyone’s favorite backwoods culinary adventure Golden Kamuy. Looking back on food manga’s early history in the US, who could have predicted that readers would be feasting on such a wide array of titles in 2018, from Sweetness and Lightning and What Did You Eat Yesterday? to Giant Spider & Me: A Post-Apocalyptic Tale, Food Wars!! Shokugeki no Soma, and Toriko. Maybe the North American market is finally ready for an Iron Wok Jan renaissance…

Delicious in Dungeon, Vol. 4
Story and Art by Ryoko Kui
Translated by Taylor Engel
Yen Press, 192 pp.
Rated T, for Teens (13+)

If the first volume of Delicious in Dungeon was about assembling a posse, and the second and third about turning monsters into meals, then the fourth is about friendship — specifically, the strong emotional bond between Laois, Marcille, and Falin — and revenge, as the gang finally comes face-to-face with the Red Dragon. The showdown takes place inside a walled city whose narrow, maze-like streets give them a strategic advantage over their Godzilla-sized foe. And as exciting as the fight is, the real payoff is what follows, as Laois and Marcille discover that bringing Falin back from the dead isn’t a simple proposition. It’s in these moments that Ryoko Kui proves a more deft storyteller than we initially realized, effortlessly shifting gears from comedy to drama without mawkishness or cheap jokes. Instead, we’re allowed to contemplate the real horror of being eaten alive — as Falin was — and the real possibility of a character dying for good.

If I’ve made volume four sound like a bummer, rest assured it isn’t. Seshi gets his turn in the spotlight with a weaponized assortment of kitchen tools, while the rest of the gang endures its share of fumbles and miscommunications on the way to catching their dragon adversary. Though I suspect the next volume of Delicious in Dungeon will revert to a monster-of-the-week formula, that’s OK; Kui has firmly established her dramatic and culinary bonafides in volume four, leaving the door open for more character development in the future. Recommended.

Golden Kamuy, Vols. 3-4
Story and Art by Satoru Noda
Translated by Eiji Yasuda
VIZ Media
Rated M, for Mature (18+)

Midway through volume four of Golden Kamuy, Asirpa builds a fox trap in the woods. “Do foxes taste good?” Sugimoto inquires. “No, not really,” Asirpa replies. “Tanuki have more fat in them and taste a lot better.” With a twinkle in her eye, she then asks, “But Sugimoto, don’t you want to try eating a fox?” A mildly exasperated Sugimoto replies, “You know, I’m not out here to try all the delicacies in Hokkaido.”

There are two ways to read this exchange: as a tacit admission that the cooking elements of Golden Kamuy sometimes occupy more real estate than the battles, or a tacit admission that the series is more compelling as a study of Ainu culture than a bloody frontier adventure. I vote for the second interpretation, as the series’ frequent detours into the food, medicine, and mythology of the Ainu are fascinating, offering a window into a culture that has been largely hidden from Western view. Golden Kamuy is on weaker footing, however, when focusing on its secondary characters and subplots. None of the other gold-seekers are fleshed out as carefully as Asirpa and Sugimoto, despite Satoru Noda’s efforts to give each villain a unique motivation for wanting the treasure. The newest baddie — Kazuo Hemni — exemplifies this problem to a tee: though he’s been given a particularly grisly backstory to explain his murderous proclivities, he’s such a textbook sociopath that he barely rises above the preternaturally-calm-and-savage type.

The art, too, sometimes has a perfunctory quality; in several scenes, Noda’s use of a Photoshopped background doesn’t mesh well with the hand-drawn elements, resulting in an awkward collage. Noda’s use of perspective can also be a distraction. He has difficulty drawing bodies to scale, especially when he’s depicting Asirpa and her family, some of whom look more like Smurfs than people in their head-to-body ratio.

Still, the camaraderie between Asirpa and Sugimoto, and the well-staged action scenes more than compensate for the occasional roughness of the execution or flatness of the characterizations. Golden Kamuy continues to entertain, horrify, and educate in equal measure — something I can’t say for any other manly-man manga that’s currently being published in English. Recommended.

Filed Under: Manga, Manga Critic, REVIEWS Tagged With: Delicious in Dungeon, Golden Kamuy, Ryoko Kui, Satoru Noda, VIZ Signature, yen press

Silver Spoon, Vol. 1

March 25, 2018 by Katherine Dacey

The title of Hiromu Arakwa’s latest series is a pointed reference to Kansuke Naka’s The Silver Spoon: Memoir of a Japanese Boyhood. First serialized in the pages of the Asahi Shimbun in 1913, The Silver Spoon traced Naka’s journey from childhood to adolescence through a series of vignettes that recalled turn-of-the-century Tokyo in vivid detail, describing both the bustle of its modern neighborhoods and the rustic isolation of its western regions, a contrast underscored by one of the book’s most important events: Naka’s move to rural Tokyo. “For me to be born in the midst of Kanda was as inappropriate as for a kāppa to be hatched in a desert,” he declares, viewing the country as a place of rebirth.

Yuugo Hachiken, the fictional protagonist of Arakawa’s Silver Spoon, undertakes a similar journey, moving from Sapporo to the Hokkaido countryside, where he enrolls at at Ooezo Agricultural High. Though his peers chose the school for its curriculum, Hachiken chose it to escape the college prep grind — cram schools and high-stakes tests — and his parents, who seem indifferent to his misery. His competitive streak remains intact, however; he assumes that he’ll be the top student at Ezo AG, sizing up his classmates’ mastery of English and geometry with all the condescension of a prep school boy in a backwoods schoolhouse.

Hachiken’s path to redemption predictably begins with a rude awakening: there’s no spring break and no sleeping in at Ezo AG, where students rise at 4:00 am to muck stalls and harvest eggs. Adding insult to injury, his cosmopolitan prejudices are challenged by his peers, who are more ambitious, motivated, and knowledgable than he is; in one of the volume’s best scenes, Hachiken’s elation turns to despair when he overhears his classmates discussing the transformative effect of somatic cell cloning on the Japanese beef market. “Are they speaking in tongues!!?” he fumes, rivers of sweat pouring down his ashen face. “Are you guys smart or stupid? Make up your minds!!”

After a series of humiliating trials, Hachiken makes tentative steps towards fitting into the community and finding his purpose. His incentive for trying a little harder is, unsurprisingly, a girl — specifically Aki Mikage, a pragmatic, cheerful soul whose horse-wrangling skills, can-do attitude, and endless patience with dumb questions endear her to Hachiken. Though she’s instrumental in persuading Hachiken to join the equestrian club, her main role in volume one is to help Hachiken overcome his sentimental ideas about farm life, encouraging him to see the farm as a factory or business rather than a collection of cute animals.

This bracing dose of reality is one of the manga’s strengths, preventing the story from devolving into a string of sight gags and super-deformed characters screaming and flapping their arms at the sight of poop. Near the end of volume one, for example, Mikage invites Hachiken and fellow classmate Ichirou Komaba to the Ban’ei Racetrack to watch a draft horse pull, an outing that quickly turns somber when they stumble upon a horse funeral in progress. “Some souls are thrust into a cruel existence where there are only two options, life or death, simply because they happen to be born livestock,” Mikage’s uncle observes — a statement that makes a deep impression on Hachiken, who’s just beginning to realize that many of the piglets and chickens he’s raising will be on someone’s dinner table in a matter of months.

The racetrack episode also highlights Silver Spoon‘s other secret weapon: its terrific supporting cast. Though Hachiken, Komaba and Mikage’s more serious conversations dominate the chapter, one of the series’ most memorable personalities — Nakajima, the equestrian club supervisor — makes a cameo appearance as well. Nakajima exemplifies Arakawa’s gift for creating visually striking characters whose goofy, exaggerated appearances belie their true nature. He looks like a Bodhisattva but acts like a gambler, a tension that plays out almost entirely on his face. When riding a horse or encouraging Hachiken to join the equestrian club, for example, his eyes are half-open, framed by two semi-circular brows that suggest a meditative state, but when he visits the race track, the thrill of betting brings a maniacal gleam to his eyes, pulling his eyebrows into two sharp peaks. He even dresses the part of a Saratoga regular, trading his pristine riding outfit for a trenchcoat — collar popped, of course — and low-slung fedora.

As this comic interludes suggests, the twists and turns of Hachiken’s evolution from sullen teen to happy young man are dictated more by shonen manga convention than fidelity to Naka’s The Silver Spoon — there are 200% more jokes about cow teats and chicken anuses — but the sincerity with which Arakawa captures the emotional highs and lows of adolescence shows affinity with Naka’s writing. Hachiken’s mopey interior monologues and fumbling efforts to connect with his classmates are as authentic as Naka’s own reminiscences; both convey youthful angst without irony, embarrassment, or “the layered remembrances of adulthood” (Kosaka). And for readers more interested in laffs than literary references, there are plenty of those, too; Hachiken spends as much time hanging out with ornery ruminants as he does ruminating, all but ensuring a bumper crop of manure gags in volume two. Highly recommended.

Works Cited:

Arakawa, Hiromu. Silver Spoon, Vol. 1, translated by Amanda Haley, Yen Press, 2018.

Kosaka, Kris. “A misanthropic memoir from Meiji Era Tokyo.” The Japan Times, 26 Sep. 2015, https://www.japantimes.co.jp/culture/2015/09/26/books/misanthropic-memoir-meiji-era-tokyo/#.Wres_5PwY1g. Accessed 24 Mar. 2018.

Filed Under: Manga, Manga Critic, REVIEWS Tagged With: Agricultural Manga, Comedy, Hiromu Arakawa, Silver Spoon, yen press

Baccano!, Vol. 1

February 15, 2018 by Katherine Dacey

There are two things you need to know before you read this review. First, I’m a ride-or-die Godfather II fan, the kind of person who’s obsessively watched Robert DeNiro’s performance as the young Don Corleone more times than I can count. Second, I am not a Light Novel Person, despite my repeated efforts to embrace the format.

I disclose this information because Baccano! is a manga adaptation of a light novel series set in Prohibition-era New York, where rival families — one from Sicily, one from Naples — run guns, booze, and card games. That meant there was a 50% chance I’d love this series, since the premise screams “Manga Godfather!”, and a 50% chance I’d hate Baccano!, since the manga was conceived as a tie-in product for the novels’ hardcore fans. What I didn’t expect, however, was just how inept the adaptation would be; I assumed that my objections would be to content or characterization, not a sloppy, hole-filled (holy?) narrative. Shinta Fujimoto’s storytelling, however, is serviceable at best and amateurish at worst, cramming too many events and characters into volume one. The result is a jumbled mess of introductions, reunions, and exposition masquerading as conversation; I spent as much time backtracking two or three pages as I did moving forward, relying on the Wikipedia to demystify poorly explained plot twists, not the least of which is that some characters are immortal. 

Superficially, the artwork seems more polished than the narrative, but a close examination reveals just how perfunctory Fujimoto and Katsumi Enami’s character designs really are. The Martillos and Gandors are so blandly drawn that nothing about them reveals about the characters’ ethnicity, social standing, or profession, let alone the time period in which the story unfolds. The same is true for the physical environment. A few establishing shots depict fire escapes and brick buildings, but Fujimoto seldom provides much in the way of period detail, nor does he convey just how densely settled Little Italy was in the 1920s.

His lazy world-building is most evident in chapters two and three, when Firo Prochainezo, a foot soldier in the Martillo Camorra, tracks an assassin through the tumult of the San Gennaro Festival in much the same fashion as Don Corleone pursues Don Fanucci in The Godfather II. In Coppola’s hands, these scenes are bursting with the activity of brass bands and puppeteers re-enacting San Gennaro’s martyrdom, a vibrant pageant of Sicilian Catholic tradition. In Fujimoto’s version, however, the festival looks about as exciting as a high school pep band rehearsal, with a few token shots of musicians and festival goers. Worse still, Fujimoto has difficulty making these scenes an organic part of the story, inserting them into a potentially suspenseful cat-and-mouse game that unfolds in the alleyways of … well, it’s supposed to be Little Italy, but honestly, it looks as much like Sesame Street as any real city.

About the best I can say for Baccano! is that it clocks in at a mere 160 pages; anything longer would seem as eternal as the characters themselves. I know I’m not the intended audience for this manga, but the series’ die-hard fans — those who read the novels and watched the anime — surely deserve a more artful tie-in than this disastro totale.

BACCANO!, VOL. 1 • ORIGINAL STORY BY RYOHGO NARITA, ART BY SHINTA FUJIMOTO, CHARACTER DESIGN BY KATSUMI ENAMI • TRANSLATION BY TAYLOR ENGEL • YEN PRESS • 160 pp. • RATED T, FOR TEEN (LANGUAGE, VIOLENCE)

Filed Under: Manga, Manga Critic, REVIEWS Tagged With: Baccano, Gangster Manga, yen press

A Polar Bear in Love, Vol. 1

December 5, 2017 by Katherine Dacey

Don’t be fooled by the cute cover: A Polar Bear in Love is neither gag strip nor conventional rom-com about an improbable couple overcoming their differences. It’s a fitfully amusing, sometimes melancholy reflection on what it’s like to fall in love for the first time, filled with the awkward moments and misunderstandings that all dating newbies experience.

The set-up is simple: Polar Bear falls head-over-paws for Lil’ Seal. Lil’ Seal, for his part, is understandably terrified by Polar Bear’s declaration of love and suffers violent tremors and visions of his imminent demise. Author Koromo complicates this one-joke premise, however, by revealing that both Polar Bear and Lil’ Seal are male, and that neither of them are old enough to understand what it means to be in an adult relationship. Polar Bear, for example, labors under the impression that it’s normal for people to eat their loved ones. While that sounds like a cutesy, kids-believe-the-darndest-things punchline, Polar Bear’s belief is rooted in a fundamental law of the Arctic: the strong eat the weak. His own experiences with love, loss, and scavenging tug — OK, yank — on the heartstrings in an unexpected way, revealing the extent to which his carnivorous instincts are complicated by his desire for friendship.

The art, too, is deceptively minimalist. Both Polar Bear and Lil’ Seal are rendered as thick outlines against a wintery landscape, an artistic decision that allows Koromo to deform her characters for maximum humorous effect, but also underscores the fact that their white fur coats are intended to camouflage them from one another. Though the characters’ conversations are distinctively human, their physical movements are not; even when Polar Bear clasps Lil’ Seal to his chest in a tender embrace — a seemingly anthropomorphic moment — Koromo poses Polar Bear firmly on his haunches, capturing the muscular weight of his enormous hind quarters, and emphasizing the disparity between his size and Lil’ Seal’s.

But is it good, you ask? I’m not sure. There’s a brisk efficiency in Koromo’s artwork and a few delightfully absurd moments that illustrate the major gap between what Polar Bear says and what Lil’ Seal hears — an apt metaphor for what happens when two people try sorting out their feelings for one another. The story never finds a consistent rhythm or tone, however, lurching between somber reflections on arctic survival and antic scenes of Polar Bear glomping Lil’ Seal. The same is true of the characters; in some scenes, their chatter pegs them as worldly seven- or eight-year-olds, while other conversations make them seem like jejune high schoolers.

What I can say, however, is that I was genuinely surprised by A Polar Bear in Love. The manga didn’t follow any obvious formula, and wasn’t afraid to explore dark or weird emotional terrain in the service of character development. I wish I’d laughed more, or found the narrative less circular, but I won’t lie: a few scenes made me sniffle and feel protective of Polar Bear, despite his penchant for over-the-top pronouncements and bone-crushing hugs. His sincerity carried me past volume one’s weaker moments, and made me curious about what’s next for him and his harp seal pal.

A POLAR BEAR IN LOVE, VOL. 1 • STORY AND ART BY KOROMO • TRANSLATED BY TAYLOR ENGEL • YEN PRESS • 160 pp. • RATED A, FOR ALL AGES

Filed Under: Manga, Manga Critic, REVIEWS Tagged With: Comedy, Koromo, Polar Bear, yen press

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