26 July 2013 2 Comments

Library Love, Part 16

Support manga, support your library!

Here’s what I’ve been reading:

Basara, Volumes 1-5 by Yumi Tamura. After reading only the first five volumes of Basara, I am already convinced that I want to own the entire series. Unfortunately, parts of it are tragically out of print. What’s also unfortunate? My library only has the first five volumes. Basara might be difficult to find but I think it’s worth tracking down. Set in a post-apocalyptic Japan, Basara follows a young woman named Sarasa. She hides the fact that her twin brother Tatara, the “child of destiny” prophesied to save their people from tyrannical imperial rule, has died by taking his place. So far, Basara is a quickly paced series featuring complex characters (including kick-ass women) and a fair amount of violence and tragedy for good measure.

Kaze Hikaru, Volumes 1-3 by Taeko Watanabe. I enjoy a good period manga and I’ve recently developed a particular interest in the Shinsengumi, so it was about time I gave Kaze Hikaru a try. (Plus, it has cross-dressing!) The series was Watanabe’s first foray into historical manga and she put a ton of research and reference work into the story and art. Kaze Hikaru follows Tominaga Sei, a young woman who has disguised herself as a boy in order to join the Mibu-Roshi which will later become the Shinsengumi. What she lacks in skill she makes up for in enthusiasm; for personal reasons, she is determined to become a great swordsman. Like all of the Shinsengumi manga that I’ve read, there are a lot of characters to keep track of in Kaze Hikaru. But I am enjoying Watanabe’s take on the era.

Nana, Volumes 13-15 by Ai Yazawa. I am still absolutely loving this series. (In fact, I finally caved and purchased an entire set. It’s just that good.) The characters and their relationships continue to grow and evolve as the series progresses. Some of them have even closer connections than I initially realized—the lives of the members of Trapnest and the Black Stones all intertwine and have been for quite some time now. Trust issues and jealousy show just how tenuous a relationship can be even when people are deeply in love. Since the beginning the narration of Nana has been somewhat ominous, implying some sort of impending tragic event without yet revealing what has happened. At this point, I’m starting to really worry.

Saturn Apartments, Volumes 3-6 by Hisae Iwaoka. It’s been a while since I’ve read any Saturn Apartments; I had forgotten how much I enjoy this quieter science fiction slice-of-life tale. At first the series seems to be fairly episodic, but as the manga develops an over-arching plot is established. Mitsu continues his training as a window washer of the ring system—a dangerous job, but one that he has come to love. Through his work the likable young man has made many connections and friends. At the same time, the tension between the working class of the lower levels and the upper class residents continues to increase. The sixth volume of Saturn Apartments is particularly excellent. I’m looking forward to seeing how Iwaoka brings everything to a close.

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24 July 2013 Leave a Comment

Jazz Journeys to Japan: The Heart Within

Author: William Minor
Publisher: University of Michigan Press
ISBN: 9780472113453
Released: January 2004

Jazz Journeys to Japan: The Heart Within, written by William Minor and published by the University of Michigan Press in 2004 as part of its Jazz Perspectives series, is one of the very few major works in English that focuses on jazz in Japan. Although there are many articles and dissertations that address the subject, the only other book that I know of that is specifically devoted to Japanese jazz is E. Taylor Atkins’ Blue Nippon: Authenticating Jazz in Japan. Because jazz is such a popular genre of music in Japan I’m a little surprised that more hasn’t been written about it. I myself have a background in music and an interest in jazz. Considering that I also have an interest in Japan, it was only a matter of time before I would seek out material combining the two. I’ve had Jazz Journeys to Japan sitting on my shelf for a couple of years now; the release of the jazz-inundated anime series Kids on the Slope provided the final push I needed to get around to reading it.

Jazz is believed to have been introduced to Japan as early as 1921. It’s general appeal increased until World War II when the music was banned in 1943 due to its association with Western culture. Interest in jazz saw a resurgence during the American occupation following the war. Since then, jazz has continued to be an influential genre in Japan. Jazz Journeys to Japan is the result of six years worth of research and writing. During that period, Minor traveled to Japan multiple times seeking out, interviewing, and listening to Japanese jazz musicians, their fans, and others involved in the music industry. Minor, a veteran jazz writer and journalist, wanted not only to discover but to experience just what it was that made Japan’s jazz and jazz culture unique. While in Japan he attended festivals, clubs, studios, and concerts. Minor made a point to find Japanese-influenced and inspired artists outside of Japan as well.

Jazz Journeys to Japan is a mix of travel memoir, interviews, history, and music criticism. The individual chapters, some of which were previously published before being collected in the book, are short and easily digestible. Typically a chapter focuses on specific musicians, topics, or themes and doesn’t rely too much on what has come before or after it. This makes Jazz Journeys to Japan fairly easy to pick up and put back down as time or interest permits. Minor does assume that the reader has at least some passing familiarity with jazz music and prominent jazz musicians—Jazz Journeys to Japan makes frequent references to songs and artists without going into much detail about jazz standards or more well-known performers of the genre. There are a lot of names and titles to keep track of while reading Jazz Journeys to Japan.

Sadly, my overall enjoyment of Jazz Journeys to Japan was hindered by Minor’s writing style which I personally found to be grating; he had a particularly annoying habit of unnecessarily inserting Japanese words and phrases into the text. I also found that I was much less interested in Minor’s travelogue and personal experiences than I was in the history of jazz in Japan and the musicians themselves. The best parts of Jazz Journeys to Japan were those that focused on the music and the artists, allowing them to have their own say. It was also fascinating to read about how Japanese aesthetics in traditional art, poetry, and music have influenced Japanese jazz culture. Also extremely valuable was Minor’s inclusion of a select discography. There are many musicians in Jazz Journeys to Japan whose music I will be happily seeking out.

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22 July 2013 Leave a Comment

My Week in Manga: July 15-July 21, 2013

My News and Reviews

Last week I posted two in-depth manga reviews here at Experiments in Manga. The first review was for Hiroaki Samura’s Blade of the Immortal, Volume 23: Scarlet Swords. Now that Manji has made his escape from the dungeons under Edō Castle the series has started to focus a bit more on the Ittō-ryū once again, which I’m happy to see. My second review last week was my contribution to the Yun Kouga Manga Moveable Feast. I took a closer look at Viz Media’s new release of Kouga’s Loveless. I had previously read Loveless when Tokyopop published the first eight volumes years ago, but Viz’s first omnibus quickly reminded me why I find the manga so peculiarly compelling.

Last week was also the San Diego Comic-Con. Seeing as it’s clear across the country from me and it’s unlikely that I’d ever be able to handle such a huge event, I wasn’t in attendance. However, I did pay attention to some of the news and announcements coming out of SDCC. I was most interested in Haikasoru’s plans for a graphic novel adaptation of All You Need Is Kill (I reviewed the original a few years ago), a new translation of Battle Royale (I reviewed the previous translation a few years ago, too), and a collection of essays on Battle Royale. In other news: Viz is relaunching the Viz Kids imprint as Perfect Square; Kodansha is adding more shoujo titles to its catalog, including some Del Rey license rescues; and Naoki Urasawa’s 20th Century Boys won its second Eisner Award this year.

Oh! And the next Manga Moveable Feast will soon be upon us! Khursten of Otaku Champloo is hosting August’s Feast early in the month in order to coincide 8/01 (a.k.a. “yaoi day.”) Khursten’s calling it a fujojo fiyaysta and the Feast will be focusing on boys’ love and yaoi. So, join us from August 1 to August 10 for a good time, giveaways, and more!

Quick Takes

Honeydew Syndrome, Volumes 1-2 by New Shoe. I thoroughly enjoyed Honeydew Syndrome, particularly it’s quirky and true-to-life characters. Initially released as a webcomic, the boys’ love series was later collected in print in two volumes with additional bonus content. The first volume focuses on the somewhat awkward relationship between Metis and Josh which only gets its start after Josh hauls out and punches Metis in the face. The second volume partly overlaps with the first—some of the same events are seen from different perspectives—and focuses on their friends. Honeydew Syndrome doesn’t really have a driving plot; instead, it’s much more about relationships (and not just the romantic ones.)

Saiyuki Reload, Volumes 1-3 by Kazuya Minekura. Though the manga changed names, magazines, and demographics, Saiyuki Reload is a direct followup to Minekura’s Saiyuki. While I enjoyed the slightly ridiculous Saiyuki, for some reason Saiyuki Reload doesn’t seem to be clicking as well with me. Despite a few flashbacks delving into Sanzo’s past, these early volumes just don’t feel like they’re going anywhere with either the story or the characters. It’s as if Sanzo and his crew are simply playing their previously established roles; the character development seems to be missing. However, the artwork in Saiyuki Reload is more polished than that in Saiyuki. (It is a more recent series after all.) The action sequences tend to be clearer and easier to follow, too.

Sayonara, Zetsubou-Sensei: The Power of Negative Thinking, Volumes 9-10 by Koji Kumeta. Sayonara, Zetsubou-Sensei was originally released in English by Del Rey, but it is one of the series that Kodansha now continues to publish. It’s a slow seller—there hasn’t been a volume released in over a year—but I can understand why. The series tends to be episodic, has a very specific sense of humor, and the sheer number of cultural references it uses makes the series challenging to translate and adapt. Despite the fact that I often find Sayonara, Zetsubou-Sensei to be hilarious in a darkly absurd way, I can only read a volume or two at a time without it feeling like a chore. But I do like the series and am glad that it’s available.

Here Is Greenwood directed by Tomomi Mochizuki. Based on the shoujo manga series by Yukie Nasu, Here Is Greenwood is a six-episode OVA. Although it is a mix of strict adaptation, new material, and slight re-imaginings of the stories in the original, the anime stays very true to the tone of the manga. I read and enjoyed Here Is Greenwood and I enjoyed the anime as well, but I don’t think that it will hold much appeal to those who aren’t already familiar with the characters. Here Is Greenwood is fairly episodic but the stories all revolve around the perpetually stressed-out high school student Kazuya Hasukawa, his oddball dorm and class mates, and the often absurd situations they find themselves in. The series is quirky and funny and made me laugh on several occasions.

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19 July 2013 Leave a Comment

Loveless, Omnibus 1

Creator: Yun Kouga
U.S. publisher: Viz Media
ISBN: 9781421549903
Released: October 2012
Original release: 2002-2003

I initially read Yun Kouga’s manga series Loveless after it was released in English by Tokyopop. I was surprised by how much I liked it, finding the story to be oddly compelling and engrossing if occasionally confusing. Tokyopop only released the first eight volumes of the ongoing series and so I was exceedingly happy when Viz Media rescued the license. The quality of Viz’s release is much better than Tokyopop’s, as well. Viz re-released the first eight volumes as two-volume omnibuses based on the special limited edition of Loveless published in Japan. The first omnibus, released in 2012, collects the first two volumes of Loveless as well as additional material previously unavailable in English. In Japan, the contents were released between 2002 and 2003. Since July 2013’s Manga Moveable Feast focused on Yun Kouga and her work, it was the perfect opportunity for me to revisit Loveless.

Ritsuka Aoyagi is a new student at Yano Jonan Elementary School. Though he can’t be bothered with his classmates, the withdrawn sixth grader does his best to at least put up a good front for his teachers. At such a young age, Ritsuka has already been through a lot. His older brother Seimei, who he adored, was brutally murdered and he suffers from physical, mental, and emotional abuse at the hands of his mother. Even Ritsuka’s past is obscured—his memories and personality from two years ago are lost, the amnesia brought on by what is assumed to be some sort of trauma. Ritsuka is alone and has nothing that he can claim as his own until he is approached by Soubi Agatsuma, a college student with a mysterious connection to Seimei. For never having met before, Soubi shows an unexpected and disconcerting level of devotion and affection towards Ritsuka, something the younger boy desperately needs but is hesitant to accept.

One of the most peculiar things about Loveless is apparent within the first few pages: many characters have cat ears and tails. Later it is revealed that this is a physical sign that those individuals haven’t had sex. It’s an admittedly strange addition to the manga but Kouga uses it quite well. The presence or absence of ears and tails impacts characters’ interactions and relationships, how they think about and act towards one another. The cat ears and tails also serve another purpose in Loveless, allowing many of Kouga’s characters to be particularly expressive. Tails bush out when they’re startled; ears fold back when they’re upset or perk up when they’re attentive. Actually, in general I find Kouga’s artwork to be beautifully expressive and emotive. It creates a mood and atmosphere that captures the story’s darkness, intimacy, and barely subdued sexuality exceptionally well without being overwhelmingly oppressive.

The beginning of Loveless is a story of intense yearning and loneliness with characters who have been broken, damaged, and twisted. But even when they despair they still cling to hope. Ritsuka has trouble accepting himself and difficulty trusting others; the attention he receives from Soubi is both welcomed and feared. Loveless is also a story about the power of words. In part because of his association with Soubi, Ritsuka is pulled into a world where battles are waged with words and spells are cast that can cause considerable pain and physical damage. Whether he realizes it or not, Ritsuka is already quite familiar with the even more insidious psychological agony caused by words uttered in everyday contexts—such as when his mother continually denies that he is even her son. The first omnibus of Loveless raises more questions than it provides answers, but it does establish an intriguing tale and characters. Even having read it before, I still find Loveless to be a strangely enthralling and compelling manga.

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17 July 2013 Leave a Comment

Blade of the Immortal, Volume 23: Scarlet Swords

Creator: Hiroaki Samura
U.S. publisher: Dark Horse
ISBN: 9781595826718
Released: January 2011
Original release: 2007
Awards: Eisner Award, Japan Media Arts Award

Scarlet Swords is the twenty-third volume in the English-language release of Hiroaki Samura’s manga series Blade of the Immortal. Published in 2011 by Dark Horse Comics, Scarlet Swords collects the same material as the twenty-second volume in the original Japanese edition of the series, which was released in 2007. Following Footsteps, Scarlet Swords is an early volume in the fifth and final major story arc in Blade of the Immortal. Blade of the Immortal was one of the first manga series that I began reading and collecting and it continues to be one of my personal favorites. The series has been well received both in Japan and abroad. In 1998 Blade of the Immortal earned Samura a Japan Media Arts Award. The series went on to win an Eisner Award in 2000 and has been the recipient of several other honors since then as well.

Time is quickly running out for Habaki Kagimura and the Rokki-dan. Anotsu Kagehisa and the Ittō-ryū have been banished from Edō and must leave the city within days else forfeit their lives. Should the Ittō-ryū make their escape, Kagimura and the Rokki-dan will lose their lives instead. Kagimura has been ordered to commit seppuku in atonement for the debacles surrounding his previous attempts to annihilate the Ittō-ryū and his failed investigation into immortality. The Rokki-dan are a group of death row felons who have been given a chance to redeem themselves if they can wipe out the Ittō-ryū and its leader, but they have been forbidden to leave the city; they must find and destroy the Ittō-ryū before the rogue sword school leaves Edō. One thing is certain: Anotsu and the Ittō-ryū will not make it easy for them.

Scarlet Swords is a volume of journeys and farewells. The Rokki-dan is desperate in its pursuit of the members of the Ittō-ryū, resorting to torture and other dubious means in the search for clues as to the group’s whereabouts. The Ittō-ryū are prepared for discovery and have even planned for it; perhaps in part due to the exceptional leadership of Anotsu, the Ittō-ryū frequently shows extraordinary forethought. And the Rokki-dan isn’t the only group that the Ittō-ryū needs to worry about—Rin and Manji are still in pursuit of revenge and some of the members of the disbanded Mugai-ryū, the predecessors of the Rokki-dan, are ready to support Kagimura. As the Ittō-ryū swordsmen prepare to leave Edō for the port in Hitachi, so do those who would hunt them down. Goodbyes are said and in some cases incredible sacrifices are made. The journey to Hitachi will be an eventful one for all who are involved.

As Anotsu points out to Rin early on in Scarlet Swords, only two active members of the Ittō-ryū remain from when her parents were brutally killed two years ago—Anotsu himself and his current second-in-command Magatsu Taito. Rin’s relationship with Anotsu has several complicating factors and she has even made friends with some of the newer Ittō-ryū members, but she still hasn’t forgiven the deaths of her parents nor does she approve of the Ittō-ryū’s methods. In the beginning of Blade of the Immortal, the Ittō-ryū was clearly set up as villainous, but as the manga progresses the morality is muddled. The sword school may be extreme, but its members maintain their own sense of honor as they fight against society’s injustices. I appreciate the development of the Ittō-ryū in Blade of the Immortal and look forward to seeing how the group continues to change and evolve in the next volume, Massacre.

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