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30 April 2016 2 Comments

After School Nightmare, Volume 9

After School Nightmare, Volume 9Creator: Setona Mizushiro
U.S. publisher: Go! Comi
ISBN: 9781933617701
Released: November 2008
Original release: 2007

After School Nightmare is a ten-volume manga series by Setona Mizushiro. Darkly psychological with elements of horror as well as social commentary, After School Nightmare can at times be a deeply troubling and challenging read while still being engrossing and oddly compelling. I first started reading the series several years ago, but have only recently been able to bring myself to read beyond the first few volumes of the manga, largely because I did find it so disconcerting and hard-hitting. Granted, the dark, anxiety-ridden atmosphere which makes the After School Nightmare so intimidating to approach is also what makes the story particularly effective and is an aspect to the manga that I can appreciate. After School Nightmare, Volume 9 was first published in Japan in 2007. The English-language edition of the volume was released in 2008 by Go! Comi. Sadly, the entire series has now gone out of print and is becoming more difficult to find.

One by one the students participating in the special after school class which forces them to share their literal nightmares with one another are graduating and disappearing, leaving only a vague memory of their existence behind. Though at times vicious and cruel, the dreams are intended to allow the students to work through their personal traumas, crises, and fears so that they can let go and move on from their troubled pasts. However, the violence and turmoil they experience within the dreams frequently spills over into their waking lives and graduating doesn’t necessarily guarantee a peaceful resolution. Koichiro in particular has reached his breaking point. He is ruthless in his determination to graduate and leave his overbearing and abusive father behind along with his carefully crafted public persona. Triggered by outside events, the nightmare Koichiro brings down upon the other students as he tries to free himself turns into a shockingly brutal and bloody rampage, signalling the beginning of the end for himself and for those who still remain.

After School Nightmare, Volume 9, page 29A few questions still remain, but for the most part Koichiro’s character arc is resolved in After School Nightmare, Volume 9. Like so many of the other characters’ stories, Koichiro’s is a tragic one and it is heartwrenching to see it play out. The culmination of his anger, pain, and suffering has a direct and devastating impact on the others, ending with a violent attack on Mashiro, the portrayal of which has blatant parallels to a sexual assault. Koichiro was at one point the most stable and seemingly well-adjusted character in the series, so to see such a drastic shift in his outward attitude and behavior is especially startling. He isn’t the only character to have significantly changed over the course of After School Nightmare, though. However, for some the process, while still being extraordinarily difficult, has ultimately been more positive. Just as the dreams have led Koichiro to abandon his self-restraint, they have also allowed Mashiro the freedom to begin to come to terms with his fluid gender identity and the fact that he may feel more comfortable as a girl. Compared to the beginning of the series, Mashiro has greatly matured.

After School Nightmare, Volume 9 has a fair number of major plot twists, surprising reveals, and crucial story developments, many of which call into question everything that has come before in the manga. Some of these things have been foreshadowed and are not entirely surprising but there is still some disorientation as they are revealed to be not quite what they initially seemed. Koichiro dominates the first few chapters of the ninth volume but from there the focus of the manga turns toward Sou as more of his backstory is explored. An explanation of a past that he has not entirely dealt with yet and that has been incredibly damaging both emotionally and psychologically is finally given. After School Nightmare was never a light series, but the ninth volume is a particularly heavy and dramatic one. Considering the very final scene which challenges many of the assumptions that I had made regarding the series, I am very curious to see where Mizushiro takes the story in the final volume. After School Nightmare has been a dark and twisting journey and I have no idea how it will end; I’m almost a little frightened to find out.

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21 April 2016 1 Comment

The Inugami Clan

The Inugami ClanAuthor: Seishi Yokomizo
Translator: Yumiko Yamazaki
U.S. publisher: ICG Muse
ISBN: 9784925080767
Released: July 2003
Original release: 1951

The Inugami Clan is one of Seishi Yokomizo’s most well-known works and is currently the only novel by the popular and prolific author of mystery and detective fiction to have been translated into English. Yokomizo completed The Inugami Clan in 1951. Yumiko Yamazaki’s English translation was published twice—first by ICG Muse 2003 and then again by Stone Bridge Press in 2007—but sadly both editions have since gone out of print. The Inugami Clan is one of many stories by Yokomizo which features the eccentric private investigator Kosuke Kindaichi, perhaps the author’s most notable, popular, and memorable character. (It’s interesting to note that the manga series Kindaichi Case Files is in part inspired by Yokomizo’s detective Kindaichi.) Like a number of Yokomizo’s other works, The Inugami Clan served as the basis for a live-action adaptation—director Kon Ichikawa’s award-winning film The Inugamis was released in 1976 and then remade again in 2006.

Sahei Inugami began his life as a poor and homeless orphan. He drifted from place to place until, at the age of seventeen, he was taken in by Daini Nonomiya, a Shinto priest at a shrine near Lake Nasu, and his wife. But by the end of his life, Sahei had become a wealthy and respected businessman, as well as the head of a dysfunctional family with very little love lost among its members. Sahei died in the mid-1940s, leaving behind a last will and testament that triggered a series of ghastly murders. One after another, people closely associated with Sahei began dying and the number of his potential heirs dwindled. Because of the strange and stained circumstances surrounding Sahei’s demise a private detective, Kosuke Kindaichi, was called to Nasu to investigate. However, his presence does little to stop the unfolding calamity until he delves more deeply into the closely kept secrets and hidden pasts of Sahei and the rest of the Inugamis.

I found The Inugami Clan to be an extraordinarily satisfying mystery. From the very beginning of the novel, Yokomizo provides the hints and clues needed to solve case, giving readers the opportunity to come to their own conclusions should they choose. There are many surprises as the story twists and turns, but everything falls beautifully into place by the end in a way that, although unexpected and arguably unbelievable, feels natural rather than forced. The already troubled relationships among the various members of the Inugami family along with the execution of Sahei’s peculiar will present numerous scenarios in which any one of the Inugamis could have a convincing motive to carry out the murders as well as the opportunity to act upon their ill intentions. Coincidences and deliberate actions come together to form a deadly situation where very few of the Inugamis can claim to be completely innocent. And so it is left to Kindaichi, and by proxy the reader, to piece together the facts and untangle an elaborate knot of passion, loyalty, and betrayal in order to deduce the culprit’s identity.

The Inugami Clan works so well as a novel and as a mystery because of Yokomizo’s close attention to the intricacies and complexities of human and familial relationships—people don’t always behave logically or act rationally when the lives and happiness of the ones who they love are at stake. As Kindaichi investigates the Inugami family and the murders it is revealed that everything that has happened can ultimately be traced back to the homosexual relationship rumored to have existed between Sahei and Daini; their closeness and intimacy has grave, unintended consequences decades later. A subtle thread of eroticism pervades The Inugami Clan, love and sexuality being a key part of the plot without necessarily being obvious. That combined with the dramatic scandals and dysfunction of the Inugamis as well as the bizarre and grotesque nature of the murders makes The Ingumai Clan both thrilling and engaging if at times somewhat outrageous. However, the novel’s popularity is completely understandable; I only wish that more of Yokomizo’s work would be translated.

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14 April 2016 1 Comment

Midnight Stranger, Volume 1

Midnight Stranger, Volume 1Creator: Bohra Naono
U.S. publisher: Viz Media
ISBN: 9781421579689
Released: April 2016
Original release: 2013

Midnight Stranger is the third boys’ love manga and the first series by Bohra Naono to be released in English. Naono’s first manga to be translated was Yokai’s Hunger which was initially released in print by Media Blasters but is now available digitally through Sublime Manga, the boys’ love line associated with Viz Media. Sublime also released Naono’s second manga in translation, Three Wolves Mountain, which along with Norikazu Akira’s Honey Darling was actually one of the publishers’ debut titles. Midnight Stranger is a short, two-volume series, the first of which was published in Japan in 2013. In English, Midnight Stranger, Volume 1 was released by Sublime in 2016. Like Naono’s other translated manga, Midnight Stranger has strong supernatural elements which can be fun but rather peculiar, a fair amount of comedy, and Naono’s penchant for older men. I’ve enjoyed Naono’s work in the past, so I was very glad to have the opportunity to receive a copy of the first volume of Midnight Stranger for review.

Midnight Stranger, Volume 1 contains two major storylines which aren’t directly related to each other but which could conceivably take place in the same setting. The volume opens with the titular “Midnight Stranger” and its followup chapter “Love-Hate” which are about Roitschaggata, a minor goat spirit, and Xiuhtecuhtli, an old and powerful god of fire. (The two are also the focus of the volume’s bonus chapter, “The Point of a Day Off.”) Centuries ago, due to the ugliness of his original form, Roi was mistaken for a monster rather than the benevolent spirit of healing that he is. He was nearly burned alive by a mob of humans, but was saved and granted more appealing looks by Xiu. The two of them now live together in modern-day Japan—Roi utterly devoted to his god, and Xiu oddly fond and possessive of his adoring servant. The second storyline collected in Midnight Stranger, and the basis for the four-panel comics included at the volume’s end, is “Hollow Romance,” a manga about a seemingly innocent young man named Takara Mori who is both more and less than he seems and the literal demons surrounding him.

Midnight Stranger, Volume 1, page 25Although I’ve somewhat come to expect it from Naono’s manga, the supernatural aspects of Midnight Stranger are all over the place and the worldbuilding isn’t necessarily cohesive. Xiu is based on an Aztec deity, Roi I believe is inspired by Swiss traditions, “Hollow Romance” incorporates Nordic legends, and there is a variety of other mythological beings present in the manga as well. It’s never really explicitly explained why all of these deities, demons, spirits, and legends from vastly different cultures and geographies are interacting with one another, but clearly in Midnight Stranger gods and beliefs aren’t restricted by countries or borders. The unexpected combinations, while seemingly haphazard, can be surprisingly entertaining, though. But while Naono has taken inspiration from multiples sources, which is something that I enjoy about her work, her interpretations are very much her own and frequently very little of the original tales remain. Xiu, for example, retains his name and has an appropriately fiery temper and flashy personality, but otherwise his connection to Mesoamerica is largely nonexistent.

Humor is also prominent in Midnight Stranger, though in tone the manga does shift between comedic and ominous. Granted, there is plenty to find amusing or ridiculous in Midnight Stranger, such as Xiu making his living in the mortal world as an idol or Roi gaining a young boy he cured as a best friend and confidant. Roi is actually the source of quite a bit of the humor in Midnight Stranger. He has a complex about his appearance, not realizing how adorable his new goat form is or how attractive he is as a human. He’s also apparently a little slow in recognizing that Xiu has feelings for him—readers aren’t privy to the hundreds of years of the extremely tedious evolution of their relationship, just the time period in which Roi finally figures it out and the heated sex that follows. Whereas Roi and Xiu’s story becomes more comedic as it progresses, Naono takes the opposite approach with “Hollow Romance” which becomes increasingly darker and grotesque, all while still maintaining a sense of humor. I particularly liked “Hollow Romance,” but I am curious to see what lies in store for Roi and Xiu in the next volume of Midnight Stranger.

Thank you to Viz Media for providing a copy of Midnight Stranger, Volume 1 for review.

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8 April 2016 4 Comments

Princess Jellyfish, Omnibus 1

Princess Jellyfish, Omnibus 1Creator: Akiko Higashimura
U.S. publisher: Kodansha
ISBN: 9781632362285
Released: March 2016
Original release: 2009
Awards: Kodansha Manga Award

Akiko Higashimura’s Kodansha Manga Award-winning Princess Jellyfish wasn’t a manga series that I expected would be licensed for an English-language release. Anecdotally, josei manga hasn’t historically done particularly well in the North American market. And on top of that, Princess Jellyfish is a longer series, currently ongoing at more than fifteen volumes, which can also make licensing prohibitive. When Kodansha Comics announced that it would be publishing Princess Jellyfish in print in English, fulfilling the hopes of many fans, I was thrilled. My knowledge of Princess Jellyfish stems from the 2010 anime adaptation directed by Takahiro Omori which I thoroughly enjoyed. However, as the anime only adapted a small portion of the series, it left me wanting more, so I am very excited to see the original Princess Jellyfish manga available in translation. Kodansha’s release of the series is an omnibus edition with a larger trim size and color pages included. The first omnibus, published in 2016, collects the first two volumes of the series as released in Japan in 2009.

Tsukimi is the youngest resident of Amamizukan in Tokyo, a communal apartment building catering to a particular type of woman who is completely and utterly devoted to her specific interests despite societal expectations—the fujoshi. Chieko, the manager of Amamizukan, collects traditional Japanese dolls and kimono. Mayaya is obsessed with Romance of the Three Kingdoms. Jiji has an intense appreciation for older, distinguished gentleman. Banba is fixated on trains. Mejiro is a reclusive boys’ love mangaka. And as for Tsukimi, ever since her mother took her to an aquarium as a child, she has adored jellyfish. Tsukimi’s love of jellyfish is one of her remaining ties to her mother who died of illness many years ago. It’s also that passion that leads to her chance encounter with Kuranosuke, the illegitimate son of a prominent politician who she initially assumes is a stylish and fashionable young woman due to the way he was dressed at the time. Their meeting will not only have a great impact on Tsukimi, but on everyone living at Amamizukan.

Princess Jellyfish, Omnibus 1, page 227Like the residents of Amamizukan, Kuranosuke goes against society’s set roles and expectations, but in his case he’s doing it deliberately rather than it being an unintentional side effect of an obsession. Princess Jellyfish plays with the notions of outward appearance and self-expression in some really interesting and satisfying ways. I’m generally skeptical of stories that put an emphasis on beauty and looks or that make use of dramatic makeovers (for various reasons, Tsukimi and the rest of the Amamizukan fujoshi become targets of Kuranosuke’s enthusiasm for fashion and makeup), but Princess Jellyfish is a series that recognizes that a person’s appearance is only one part of an extremely complicated whole and that attractiveness is much more than skin deep. It also recognizes that there is tremendous power in someone being able to influence other people’s perceptions of who they are and that first impressions are often rightly or wrongly based on what can be visibly seen. Kuranosuke understands this and uses that knowledge to his advantage, as does the series antagonist Inari—a woman paving the way to the demolition of Amamizukan to make way for new urban development. Through blackmail and her own sex appeal, she leverages the importance placed on appearances and society’s inherent sexist prejudices for her own benefit, often finding the circumstances to be distasteful but the feeling of being in control of them intoxicating.

While it is the impetus for much of the story’s forward movement in the first omnibus, the threat of losing Amamizukan is only one of many intertwined plot threads in Princess Jellyfish. Tsukimi’s maturation as she continues to deal with the pain of her mother’s death and begins to fall in love for the first time is very important to the series as is Kuranosuke’s complicated family history and relationships. Although Kuranosuke is heterosexual, considering his custom of dressing as a woman his presence in the manga brings additional elements of queerness and gender fluidity to the series which I especially enjoy. (Also worth mentioning: the Princess Jellyfish translation notes are very thorough and valuable in explaining some of the nuances of Japanese word usage and terminology in regards to various gender and queer identities, which can be quite different from their Western counterparts.) Princess Jellyfish incorporates a fair amount of comedy which is one of the reasons the manga has such charm. But while Kuronosuke’s fashion choices and gender performance can result in humorous situations, the series treats him as a person and not as a joke, which I greatly appreciate. In fact, Princess Jellyfish has an entire cast full of wonderful characters which is perhaps the series’ greatest strength.

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1 April 2016 2 Comments

The Autobiography of Yukichi Fukuzawa

The Autobiography of Yukichi FukuzawaAuthor: Yukichi Fukuzawa
Translator: Eiichi Kiyooka
U.S. publisher: Columbia University Press
ISBN: 9780231139878
Released: January 2007
Original release: 1897

Yukichi Fukuzawa—scholar, translator, author, and educator, among many other things—is one of Japan’s most influential historical figures of the modern era, helping to shape the country as it is known today. As the founder of Keio University whose writings continue to be taught and whose likeness appears on the 10,000 yen banknote, there are very few Japanese to whom Fukuzawa is entirely unknown. Fukuzawa’s life was recently brought to my attention while reading Minae Mizumura’s The Fall of Language in the Age of English which discussed some of his influence and included excerpts of his autobiography. Intrigued by this, I decided to read the work in its entirety. The Autobiography of Yukichi Fukuzawa was originally dictated by Fukuzawa in 1897. The first English translation by Eiichi Kiyooka, Fukuzawa’s grandson, appeared in 1934 and was later revised in 1960. Many editions of The Autobiography of Yukichi Fukuzawa have been released in English, but the most recent was published in 2007 by Columbia University Press.

The Autobiography of Yukichi Fukuzawa originated from a request by a foreigner interested in Fukuzawa’s account of the time period leading up to and surrounding the Meiji Restoration in 1868. Fukuzawa narrated the story of his life fairly informally in 1897 and soon after edited, annotated, and published the transcribed manuscript. He intended to write a more formal and comprehensive companion volume, but he died in 1901 before it was completed. The Autobiography of Yukichi Fukuzawa begins with Fukuzawa’s childhood and follows his life into his old age. Fukuzawa was born in 1835 in Osaka into a samurai family originally from Nakatsu, where he grew up. From an early age, Fukuzawa showed interest in Western learning, first studying Dutch (at the time the only foreign influence permitted within Japan) and the eventually English. He was very passionate about language as a tool to access new knowledge and understanding, and he served on multiple missions to America and Europe as an interpreter and translator. But his interest in the West also put him in danger during a time when anti-foreign sentiment was rampant in Japan.

The various editions of The Autobiography of Yukichi Fukuzawa available in English are primarily distinguished by the accompanying materials included to supplement Fukuzawa’s main text. The most recent release from Columbia University Press offers several useful additions, some of which were available in previous editions or which were published elsewhere. Albert Craig, an academic and historian whose work focuses on Japan, provides the volume’s foreword as well as its lengthy afterword “Fukuzawa Yukichi: The Philosophical Foundations of Meiji Nationalism.” Originally published in 1968 in the the volume Political Development in Modern Japan, the afterword places Fukuzawa and his ideals into greater historical and political context. Also included in Columbia’s recent edition of The Autobiography of Yukichi Fukuzawa are two appendices—a chronological table outlining the events in Fukuzawa’s life and in world history and a translation of Fukuzawa’s influential essay “Encouragement of Learning”—as well as copious notes and an index.

The Autobiography of Yukichi Fukuzawa is a surprisingly engaging, entertaining, and even humorous work. In his autobiography, Fukuzawa comes across as very amicable, down-to-earth, and forward-thinking. I particularly enjoyed Fukuzawa’s invigorating account of his experiences as a young man who was devoted to his studies, but who would also willingly participate in the revelry, antics, and pranks of his fellow students. Speaking of how drunken “nudeness brings many adventures” and such other things greatly humanizes a person primarily known for his impressive accomplishments. As Fukuzawa matured, he played a pivotal role in the development of the Japanese education system. While he introduced many Western concept and ideas in his pursuit of knowledge, at heart Fukuzawa was a nationalist who abhorred the violent methods of many of his contemporaries. The Autobiography of Yukichi Fukuzawa provides not only a fascinating look into the life of Fukuzawa, it provides a glimpse into a particularly tumultuous and transformative period of time in Japan’s history.

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