31 March 2013 Leave a Comment

The Infernal Devices, Volume 1: Clockwork Angel

Creator: HyeKyung Baek
Original story: Cassandra Clare
Publisher: Yen Press
ISBN: 9780316200981
Released: October 2012

The Infernal Devices is a three-volume series of novels written by Cassandra Clare as a sort of prequel to her popular and longer series The Mortal Instruments. Now, I actually haven’t read either series myself, but because of their popularity and the fact that my youngest sister and some of my close acquaintances devour the novels, I am not entirely unfamiliar with them. I took notice when Yen Press announced that The Infernal Devices had been selected to receive a manga-style graphic novel adaptation. Manhwa artist HyeKyung Baek is adapting and illustrating The Infernal Devices for Yen Press. I’m not familiar with Baek’s previous work, but Yen Press has published her series Bring It On! and she is also working on Yen Press’ Gossip Girl adaptations. Clockwork Angel, the first volume of The Infernal Devices graphic novels which adapts the first novel of the original trilogy, was released in 2012.

After the death of the aunt who was looking after her, Tessa Gray leaves New York to join her brother Nathaniel in London. Upon her arrival she is almost immediately abducted. While being held captive by the Dark sisters, Tessa learns something she never knew about herself—she’s a shape-changer and not quite human. Suddenly, she’s thrust into a supernatural world of vampires, warlocks, and werewolves. And then there are the Shadowhunters—the Nephilim—who fight against the demonic forces that exist in the world. The Shadowhunters have taken a great interest in Tessa, as well, and take her in after rescuing her. She becomes particularly close with two young Shadowhunters, but Will and Jem both hide their own secrets. Tess isn’t the only one having a hard time in London, either; her brother has also disappeared. The only family she has left, Tessa will do everything she can to find him.

Since I haven’t read the original Clockwork Angel, I can’t really comment on how the graphic novel compares or even works as an adaptation. However, I do get the impression that readers who are already familiar with The Infernal Devices novels will be able to appreciate the graphic novel more than those who are not. Despite the often text-heavy adaptation, the magic system and mythology of Clockwork Angel is never thoroughly explained, which left me somewhat confused in places. The storytelling is a bit uneven as well, most likely the result of trying to incorporate too much of the original volume into a single graphic novel. But one of the things that frustrated me the most was that part of the reasoning behind the nefarious plots and schemes in Clockwork Angel was something that wasn’t even hinted at until it was reveled during the climatic final battle. The complete lack of lead-up irked me immensely.

But not all is bad in the Clockwork Angel graphic novel adaptation. I particularly appreciated the clever uses of Tessa’s shape-changing abilities. The graphic novel might be a little heavy on the dialogue, but there are some great one-liners, too. (However, the humor sometimes feels a bit out of place in what is predominantly a dark story.) At this point I’m not entirely convinced by the potential romance between Tessa and Will, but they do have some of the more interesting character interactions. Jem and Tessa have some great moments, too. But to be honest, Jem and Will’s stories interest me much more than Tessa’s. While some of Jem’s secrets have been revealed in Clockwork Angel, Will is still something of an enigma. I can’t say that the Clockwork Angel graphic novel has inspired me to seek out future volumes or even the original novels, but I am left intensely curious about Will. The graphic novel is choppy, but Clockwork Angel can be engaging and it ends with quite a hook.

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29 March 2013 Leave a Comment

Vagabond, Omnibus 3

Creator: Takehiko Inoue
U.S. publisher: Viz Media
ISBN: 9781421522456
Released: April 2009
Original release: 2000-2001
Awards: Japan Media Arts Award, Kodansha Manga Award, Tezuka Osamu Cultural Prize

The third volume in Viz Media’s omnibus release of Takehiko Inoue’s manga series Vagabond collects the seventh, eighth, and ninth volumes of the original edition. Those volumes were initially published in Japan between 2000 and 2001 and then in English by Viz Media between 2003 and 2004. The third omnibus was released by Viz Media in 2009. Inoue’s Vagabond is based on Eiji Yoshikawa’s epic historical novel Musashi, which is a retelling of the life of the legendary swordsman Miyamoto Musashi. In addition to being an extraordinary adaptation, Vagabond has also earned Inoue a Japan Media Arts Award, a Kodansha Manga Award, and a Tezuka Osamu Cultural Prize among other honors. Because March 2013’s Manga Moveable Feast celebrates historical manga, I thought it was the perfect opportunity to dig into Vagabond again.

Along his journey to determine and prove his worth as a swordsman, Musashi confronted Inshun, the second-generation master of the Hōzōin spear technique. Musashi nearly lost his life in the resulting encounter and was forced to retreat. Ashamed that he ran away from the battle, Musashi has been developing his mind and body in the nearby mountains. Surprisingly enough, he is training under the guidance of In’ei, Inshun’s master. Musashi struggles to conquer the fear that the battle with Inshun has instilled in him. As for Inshun, never before having the opportunity to experience mortal combat, he looks forward to the chance to fight Musashi again. Although their goals may be similar, both young men have their own reasons for seeking to become stronger and more powerful.

One of the prominent themes in this particular omnibus of Vagabond is fear and, more specifically, how the characters deal with that fear. Both Musashi and Inshun have their own personal demons to face, but they confront their fears in very different ways. Musashi tends to approach things head on while Inshun subconsciously attempts to bury much of his past. These differences not only influence their personalities, but their martial abilities and fighting styles, as well. Becoming a skilled fighter and following the way of the sword isn’t just about brute strength, a lesson that Musashi is still trying to learn and master. Strategy, awareness, and mental clarity and preparedness are also extremely important. For a fighter, a strong mind is just as crucial as a strong body, especially when dealing with matters of life and death.

Another point that is emphasized through Inshun and Musashi’s conflict is the need to be able to see and understand not only the details of a situation but also that situation as a whole. This is something that is reflected nicely in Inoue’s artwork. In Vagabond, Inoue uses a detailed, realistic style which works superbly with the story’s realistic approach to traditional martial arts. I love the attention that Inoue devotes to the characters’ physical presences—their feet, stances, and grounding. At the same time he conveys the intensity of their mental and emotional states through their facial expressions, eyes, and demeanor. Inoue’s focus on these and other details doesn’t overwhelm the larger picture; instead, it enhances it. Vagabond is a great adaptation but the cohesive vision that Inoue brings to both the story and the art makes it a marvelous work in its own right. I certainly look forward to reading more.

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27 March 2013 6 Comments

Manga Giveaway: Historical Manga Giveaway (Onward Towards Our Noble Deaths)

March has been a rough month for me at work and elsewhere, so I’ll be a little relieved once it’s finally over. But what’s really great about March nearing its end? The time has come for the monthly manga giveaway here at Experiments in Manga! To coincide with March’s Manga Moveable Feast, which focuses on historical manga, this month I will be giving away a new copy of Shigeru Mizuki’s semi-autobiographical, award-winning work Onward Towards Our Noble Deaths as published by Drawn and Quarterly. As always, the giveaway is open worldwide!

Because historical manga is such a broad topic, Khursten, the host for this month’s Feast, has come up with three broad categories of historical manga to help participants focus: autobiographies and biographies (which is fairly straightforward), historical retellings and reimaginings (“stories that have some historical basis”), and period pieces (stories that “try to capture the culture and the ‘spirit’ of the period they wish to portray.”) It’s probably not too surprising, but I enjoy reading manga from all of these categories. Onward Towards Our Noble Deaths, although fictionalized, is an example of the first category. As for retellings, I’m particularly fond of Takehiko Inoue’s Vagabond (which itself is based on a historical novel) and Osamu Tezuka’s Message to Adolf. I’ve previously professed a love for “samurai manga” (series like Satsuma Gishiden and so on) which often amount, at least in part, to Edo era period pieces.

So, you may be wondering, how can you win Onward Towards Our Noble Deaths?

1) In the comments below, tell me about your favorite historical manga. If you don’t have a favorite, or have never read historical manga, you can mention that.
2) For a second entry, simply name a historical manga that hasn’t been mentioned yet by me or by someone else.
3) If you’re on Twitter, you can earn a bonus entry by tweeting about the contest. Make sure to include a link to this post and @PhoenixTerran (that’s me).

It’s as easy as that! Each person can earn up to three entries for this giveaway. You have one week to submit your comments. If you have trouble leaving comments (Blogger sometimes has issues), or if you would prefer, you can e-mail me your entries at phoenixterran(at)gmail(dot)com. I will then post the comment in your name. The winner will be randomly selected and announced on April 3, 2013. Good luck to you all!

VERY IMPORTANT: Include some way that I can contact you. This can be an e-mail address, link to your website, Twitter username, or whatever. If I can’t figure out how to get a hold of you and you win, I’ll just draw another name.

Contest winner announced—Manga Giveaway: Historical Manga Winner

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25 March 2013 Leave a Comment

My Week in Manga: March 18-March 24, 2013

My News and Reviews

Last week I posted two reviews. The first was for Jeff Backhaus’ debut novel Hikikomori and the Rental Sister. It’s sort-of-kind-of like an American version of Welcome to the N.H.K., but without the humor. Overall, I found it to be an absorbing read. The second review I posted last week was for Fantagraphics’ release of The Heart of Thomas by Moto Hagio. It’s a historically influential manga, but even today it’s still a fantastic read. I loved it and am thrilled that it’s available in English.

On the topic of important and classic manga, the latest Reverse Thieves’ Speakeasy podcast features Old Fashioned, Classic Manga in English—what’s been previously published, and what they’d love to see released. If you give it a listen, do be prepared for some very fast talking. They also hope to have more manga-centric episodes in the future.

Elsewhere online: Jason Thompson posted A Quick and Dirty History of Manga in the US as part of his House of 1000 Manga column. Michael Gombos, the director of Asian licensing at Dark Horse takes a look at Blade of the Immortal at the Dark Horse blog. And over at Hyakumonogatari Kaidankai, Zack Davisson talks a bit about Mizuki Shigeru’s Showa 1926-1939: A History of Japan which he is translating for Drawn & Quarterly.

Speaking of historical manga, this week is the History Manga Moveable Feast, hosted by Khursten at Otaku Champloo! Khursten has a post to get things started. As part of my contribution to the Feast, all of the quick takes below feature historical manga of some sort or another. Later this week I’ll also be posting a review of the third omnibus of Vagabond, by Takehiko Inoue. This month’s manga giveaway will most likely feature historical manga as well.

Quick Takes

The Legend of Kamui, Issues 14-37 by Sanpei Shirato. In 1987 and 1988, Viz and Eclipse published thirty-seven issues of an edited version of Shirato’s Kamui Gaiden. The first thirteen issues were subsequently released in two trade volumes. The remaining issues, making up the “The Sword Wind” story arc, were never collected. I’m very glad that I was able to track them down. Shirato’s artwork in The Legend of Kamui is marvelous with dynamic fight sequences and beautiful landscapes. Because of how the series was edited, occasionally the story can be a bit disorienting as it jumps around. Kamui almost becomes a side character in his own series during “The Sword Wind” as much of the story follows Utsuse, one of his pursuers.

Onward Towards Our Noble Deaths by Shigeru Mizuki. Onward Towards Our Noble Deaths was the first manga by Mizuki to be released in English, earning an Eisner award in the process. The story, about a Japanese infantry unit during World War II, is semi-autobiographical in nature. The manga actually starts out rather lighthearted and humorous, but things get very real, very fast. In the end there really isn’t anything funny about the devastating consequences of war. The artwork reflects this as well. Mizuki often uses cartoonish illustrations, but when he really wants to drive a point home he can easily slip into a more realistic style. The shifts in tone and style are extremely effective in conveying Mizuki’s anti-war message.

Rurouni Kenshin, Omnibus 9 (equivalent to volumes 25-28) by Nobuhiro Watsuki. After a brief detour following Sanosuke, the ninth and final omnibus volume in Rurouni Kenshin provides a very satisfying conclusion and epilogue to the series. The omnibus begins when the characters are at their lowest, making their final rally even more compelling. Kenshin and his allies come together one last time like never before. Every fighter (except, unfortunately, for the women), gets the opportunity to show off his stuff during his own final boss battle. Watsuki mentions at one point that Enishi is the complete opposite of Shishio, the previous arc’s antagonist. Personally, I much preferred Enishi and this final arc. 

Wild Rock by Kazusa Takashima. Wild Rock was actually one of the first boys’ love manga that I ever read and I’m still rather fond of it. The story, while surprisingly sweet, is a fairly simplistic variation on the theme of star-crossed lovers from feuding families; what really sets Wild Rock apart is its prehistoric setting. Granted, it’s a very clean, pretty, and pleasant version of prehistory. But, hey, attractive guys in loincloths! The first story focuses on Yuuen and Emba. Their respective tribes are fighting over hunting ground, but the two young men end up falling in love after Emba saves Yuuen’s life. The second story is actually a flashback featuring their fathers as young men. Wild Rock may not be a particularly believable or deep manga, but it has nice art and I do enjoy it.

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22 March 2013 1 Comment

The Heart of Thomas

Creator: Moto Hagio
U.S. publisher: Fantagraphics Books
ISBN: 9781606995518
Released: December 2012
Original release: 1975

I was absolutely thrilled when it was announced that Fantagraphics would be releasing Moto Hagio’s manga The Heart of Thomas in English. The resulting volume is a massive tome—a gorgeous, oversized hardcover with over five hundred pages. The Heart of Thomas was originally published in Japan in three volumes in 1975, however the English-language edition appears to be based on a single-volume release published in 1995. Fantagraphics’ 2012 release of The Heart of Thomas also includes an excellent introduction by the manga’s translator Matt Thorn which explores the history and influence of Hagio and The Heart of Thomas. The manga was at least partly inspired by Jean Delannoy’s film Les amitiés particulières. In addition to being an exceptionally influential work for shoujo manga in general, The Heart of Thomas would also become one of the precursors to the the entire boys’ love genre.

The students and faculty of Schloterbach, a boys’ boarding school in Germany, were shocked to learn of the unexpected death of Thomas Werner, one of the most adored and beloved students at the school. His death is at first assumed to be an accident, but then Juli, an upperclassman with whom Thomas was in love, receives what seems to be a suicide note from the younger boy. Juli and Oskar, his roommate and friend, choose to keep the letter a secret. After a few week pass, Juli and the others are able to begin to move on from the tragedy but the school is thrown into turmoil once again when a new transfer student arrives. Erich, although he has a feistier personality, looks remarkably similar to Thomas; he is a constant reminder to the others of the other boy. While Erich struggles to be seen as his own person, Juli continues to be haunted by Thoams’ death, and Oskar becomes the keeper of more secrets than the others know.

Although The Heart of Thomas certainly has a plot, the manga is much more about the characters themselves, their inner turmoils, and their relationships with one another. The main characters have a tremendous amount of depth that is slowly revealed page by page and layer by layer. The further the readers delve into The Heart of Thomas the better their understanding of Juli, Erich, Oskar, and Thomas as complete persons becomes. Even the secondary characters have a distinct feel to them and distinguishable looks and personalities. They all have their good points and bad. I was very impressed by the characterization in The Heart of Thomas. The young men are all struggling towards self-awareness, self-forgiveness, and self-acceptance, each fighting against their own personal loneliness.

While there may not be a lot of action in The Heart of Thomas, there is still plenty of drama to be found within its pages. Schloterbach is its own microcosm, a part of the larger world but at the same time subject to its own rules. There, rumours can be just as damning as the truth and the truth can be all that it takes to destroy a person or to save them. The boys at the boarding school are just that, boys. But their trials and tragedies are no less because of it. Many of them are on the cusp of adulthood and some of them have had to grow up far too quickly. At times Hagio seems to be a little heavy-handed with the religious symbolism and metaphors, but by the end of The Heart of Thomas it is clear why they are included. The Heart of Thomas is a historically significant and important work, but nearly forty years after it first appeared it still remains a remarkable piece of literature.

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