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26 August 2011 4 Comments

Blade of the Immortal, Volume 6: Dark Shadows

Creator: Hiroaki Samura
U.S. publisher: Dark Horse
ISBN: 9781569714690
Released: September 2000
Original release: 1996
Awards: Eisner Award, Japan Media Arts Award

Dark Shadows is the sixth volume of Hiroaki Samura’s manga series Blade of the Immortal as published by Dark Horse. The English volumes and the Japanese volumes collect slightly different chapters and so Dark Shadows is actually most closely equivalent to the fifth volume published in Japan and released in 1996. Dark Shadows was published in 2000, the same year that Blade of the Immortal won an Eisner Award. In 1997 the series also won a Japan Media Arts Award. Blade of the Immortal was one of my first manga series and it remains one of my favorites. On Silent Wings II, the volume that immediately precedes Dark Shadows, ends the first major story arc of Blade of the Immortal. Dark Shadows begins the next arc, introducing new characters and new complications to the story.

The Ittō-ryū continues to dominate the other dōjō in Edo, ultimately catching the eye of the shogunate itself. But the pressure applied by the shogunate isn’t the only thing that Anotsu, the charismatic leader of the Ittō-ryū, has to worry about. A newly formed sword school is bent on the destruction of the Ittō-ryū. Using methods as ruthless as the Ittō-ryū’s own, they have been steadily taking out Anotsu’s leading swordsmen. Rin, too, has become more confident in her decision to kill Anotsu in revenge for her parents’ murder. She continues to train with Manji to improve her swordsmanship. The confrontations between Manji and the members of the Ittō-ryū have brought him to the attention of the new sword school, as well. They would like him to join them in their fight against Anotsu and the Ittō-ryū.

One of the things that Samura does exceptionally well in Blade of the Immortal is establishing moral ambiguity in his characters. No one is truly good or bad—the “bad guys” have honorable qualities and the “good guys” have faults. It all depends on the perspective of the individual characters. A good example of this in Dark Shadows is Magatsu, one of the only members of the Ittō-ryū to survive an encounter with Manji. He’s more than willing to cut down other swordsmen, usually after being provoked, but maintains his own code of honor along with his grudges. Throughout Blade of the Immortal, Magatsu is shown to be one of the more decent characters. On the other hand, Dark Shadows see the introduction of Shira, a member of the swords school fighting against the Ittō-ryū. In his case, he is extremely cruel and even sadistic in his methods. He’s made his living killing others for money and has come to enjoy it.

Up until this point, much of Blade of the Immortal has focused on Rin and Manji and their journey. But they don’t even appear until the final half of Dark Shadows. Instead, Samura takes the opportunity to explore the Ittō-ryū more deeply. Magatsu in particular is developed as an important character. Dark Shadows also introduces new and very dangerous players to the story. The volume downplays some of the more fantastical elements of the story, but that may just be because Manji wasn’t involved in any of the fights. However, there’s no question that Blade of the Immortal remains a very violent series. Dark Shadows marks an excellent start to the new story arc and I look forward to seeing how things continue to develop in the next volume, Heart of Darkness.

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17 August 2011 4 Comments

Ōoku: The Inner Chambers, Volume 3

Creator: Fumi Yoshinaga
U.S. publisher: Viz Media
ISBN: 9781421527499
Released: April 2010
Original release: 2007
Awards: Japan Media Arts Award, Sense of Gender Award, Shogakukan Manga Award, Tezuka Osamu Cultural Prize

Because Fumi Yoshinaga is such a skilled creator, it’s difficult for me to choose a favorite among her works but one of her most recent series, Ōoku: The Inner Chambers is definitely one of the major contenders. It is also her most awarded series so far, having won a Sense of Gender Award, a Japan Media Arts Award, an Osamu Tezuka Cultural Prize, and most recently a 2010 Shogakukan Manga Award, in addition to being nominated for many other honors. Ōoku is currently up to seven volumes in Japan; the most recent volume to be published in English being the sixth. The third volume of Ōoku was published in Japan in 2007 and was released in English under Viz Media’s Signature line in 2010. Because Ōoku is one of my favorite manga series, and not just one of my favorite Yoshinaga works, I do intend to review each volume. The fact that August 2011’s Manga Moveable Feast features Fumi Yoshinaga doesn’t hurt either.

The Redface Pox continues to spread across Japan and more and more men are dying of the disease. Even the shogunate isn’t immune, but the death of Japan’s military leader has been kept a closely guarded secret. His daughter Chie is the only person remaining who can carry on the Tokugawa bloodline. Lady Kasuga is determined that Chie will bear a male heir and will stop at nothing to ensure that that happens. Chie and her chosen suitor Arikoto, who was initially brought to the Inner Chambers against his will, have managed to find some happiness together in these troubled times. However, their happiness is short lived when Chie fails to conceive. Although Kasuga’s power over them and the rest of the Inner Chambers is beginning to slip, she forces them to consider the fate of peace in Japan against their own happiness and desires.

The third volume of Ōoku begins about a year after the end of the second volume and continues the story for several more years. Some of the most noticeable things in the third volume are the changes and developments in the characters themselves, the Inner Chambers, and Japanese society. Lady Chie, who once was prone to violent outbursts, has matured greatly, much thanks to the presence of Arikoto. She has also shown herself to be quite keen and more than capable to act as the leader of state, much to the surprise of some of the senior ministers. Arikoto’s presence has also begun to change the nature of the Inner Chambers as he brings in aristocratic influences and is accepted by the other men there. Arikoto, as always, retains his dignity even in the face of tragedy; only Lady Chie and his attendant Gyokuei are privy to what he hides from others. And speaking of Gyokuei, he also has grown from a boy into a young man.

The characters are not the only things to change in the third volume of Ōoku; the society in which they live is also slowly developing into the Japan seen in the first volume of the series. While women, especially those in the upper classes, are still subject to their expected gender roles, the social system keeping them there is beginning to break down. Out of necessity, they will have to take on the work and leadership positions once reserved only for men, but at this point in the story it is still considered a temporary measure. One of the most interesting things for me, as someone with a particular interest in the Tokugawa period, is that with all of the changes Yoshinaga has made to history in Ōoku, some things remains the same, such as Japan’s seclusion policies, but for drastically different reasons. Ōoku fascinates and engages me on multiple levels which is one of the reasons I like the series so well.

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13 May 2011 Leave a Comment

Vagabond, Omnibus 1

Creator: Takehiko Inoue
U.S. publisher: Viz Media
ISBN: 9781421520544
Released: September 2008
Original run: 1998-ongoing (Weekly Morning)
Awards: Japan Media Arts Award, Kodansha Manga Award, Tezuka Osamu Cultural Prize

Takehiko Inoue’s Vagabond is a series I have been looking forward to starting for quite some time now, but I promised myself that I would read Eiji Yoshikawa’s epic historical novel Musashi first since the manga is loosely based on that work. Now that I have read Musashi, nothing is holding me back from reading Vagabond. Vagabond is a popular and highly regarded series in Japan, winning both the Japan Media Arts Grand Prize and the Kodansha Manga Award in 2000 as well as the 2002 Tezuka Osamu Cultural Prize. The manga began serialization in 1998 and although it is currently on indefinite hiatus it is up to thirty-three volumes. Viz Media began publication of the English translation in individual volumes in 2007 as part of their Signature line. In 2008, they began releasing the series in an omnibus edition, each collecting three volumes of the original manga along with a bit of additional bonus material. It’s a nice format for someone just starting to read Vagabond as it makes the long series a little easier on the pocketbook. (We do miss out on some of the nice cover art, though.)

Takezō Shinmen and his best friend Matahachi Hon’iden left their home to make a name for themselves as warriors and samurai. Instead, the young men are put to work clearing roads for the army. After the Battle of Sekigahara they find themselves alive but seriously wounded and, perhaps even worse, on the losing side. Shamed, Takezō and Matahachi begin their journey home. Matahachi is from a good family and has a fiancée waiting for him. Takezō on the other hand has nothing but bad memories and is disliked and feared by most of the village. Pursued by the authorities and having killed many in the process, his homecoming is less than welcome and he goes into hiding in the nearby mountains. It isn’t until the monk Takuan Sōhō, close friend of the local lord, becomes involved in the search for Takezō that any progress is made quelling the violent youth.

Inoue is a phenomenal artist and storyteller. Although Vagabond is based on Yoshikawa’s Musashi, Inoue has made the story his own. While the core elements remains the same and some scenes have been taken directly from the novel unchanged, Inoue isn’t afraid to make changes to the story’s pacing, characters, and plot to better suit his medium. And of course, it is always different seeing something visually presented rather than only reading about it. I adore Inoue’s illustrations. Using a realistic style and beautiful figure work, he brings the characters of Vagabond to life and quite a few of them to their death as well. Vagabond is a very bloody, graphic, and violent work. Throughout the manga, Inoue uses interesting and dramatic points of perspective for his artwork. And beginning in the second volume he begins to incorporate more traditional looking ink brushstrokes to emphasize certain people and panels.

Each of the characters in Vagabond, whether primary or secondary, have unique designs and personalities and are easily distinguished from one another. And Takezō? Holy hell is he scary; completely deserving to be called a demon by the others. He is incredibly strong but extremely undisciplined as a younger man. He doesn’t hesitate at all to kill another person, sometimes even delighting in it. Even after the three year break between volumes two and three he seems incapable of restraint. While he does appear to have gained more control and focus, Takezō (now going by the name Miyamoto Musashi) still lacks in maturity. I do wonder if Inoue will explain what happened in those three years or if he’ll just let things stand as they are. I also want to know what happened to the characters who don’t reappear in the third volume. However, I am confident that that will be revealed in subsequent volumes. Vagabond is definitely a series I will be following to its end; I look forward to experiencing more of Inoue’s fantastic artwork and storytelling.

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16 March 2011 1 Comment

Blade of the Immortal, Volume 5: On Silent Wings II

Creator: Hiroaki Samura
U.S. publisher: Dark Horse
ISBN: 9781569714447
Released: March 2000
Original release: 1995
Awards: Eisner Award, Japan Media Arts Award

Hiroaki Samura’s Blade of the Immortal was one of the first manga series that I began reading and remains one of my favorites. I love the depth of Samura’s characters, find the story compelling if a bit strange at times, and absolutely adore his artwork. The fifth volume, On Silent Wings II, is closely tied to the fourth volume, On Silent Wings, as the title suggests. The collected chapters were originally published in Japan in 1995. In 2000, Dark Horse released the English edition. Blade of the Immortal has been honored with a number of awards, including a Japan Media Arts award in 1997 and an Eisner Award for Best U.S. Edition of Foreign Material in 2000. The more volumes of Blade of the Immortal that I read, the more I like the series, and so I was looking forward to reading On Silent Wings II.

Two years past, Rin’s parents were murdered and her mother brutally raped before her eyes by a group from a rogue sword school known as the Ittō-ryū. Seeking revenge, she hired Manji as a body guard and with his aid, many of the Ittō-ryū have been slain or severely injured. When they happen upon Araya—one of the members—at a festival working as a maker of bizarre masks, Rin has a decision to make. Already doubting herself after an encounter with Anotsu, the leader of the Ittō-ryū, Rin realizes that even those who commit terrible deed have those who love them. Araya has hidden his past from his only son and is raising him alone; Rin is reluctant to put his son through the same suffering that she herself experienced. Still, she is forced into a confrontation with Araya that very well may cost her her life is she isn’t willing to take his.

The two On Silent Wings volumes of Blade of the Immortal have shown significant character development of Rin as she continues to grow and mature as a person. She isn’t as naïve as she once was and realizes the circumstances surrounding her parents murders are complicated. She struggles with her conflicting emotions, wanting revenge while also wanting to see an end to the cycle of hate and violence. But even that desire is extremely optimistic and unlikely to come about unless the society that Rin lives in also changes. Rin is still in the process of comprehending and coming to terms with this. Manji serves not only as her body guard, but also as an emotional support simply by being their and allowing her to work these things out for herself. He is much more knowledgeable about the world and is familiar with the darker aspects of life that Rin has only glimpsed so far. Manji cares about Rin, not just because he has been hired to, and I enjoy watching their relationship develop and deepen.

As with the previous volumes of Blade of the Immortal, I can’t help but be impressed by Samura’s artwork. However, because of the method used to flip the manga to read from left to right, some inconsistencies are introduced and occasionally the flow of panels can be awkward. Fortunately, this doesn’t detract too much from the overall effect of the artwork. Samura continues to improve as an artist which can particularly be seen in his fight scenes. They are not only creative and interesting, but also easier to follow than in previous volumes. Moments of particular importance and impact earn gorgeous, full page spreads. On Silent Wings II is not a particularly good place to jump into Blade of the Immortal, especially considering how closely connected it is to the previous volume. Still, it is a great entry in the series with important character and plot developments as well as an opportunity for Manji to show off his badassery. I’ll definitely be reading the sixth volume, Dark Shadows.

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7 January 2011 Leave a Comment

Ōoku: The Inner Chambers, Volume 2

Creator: Fumi Yoshinaga
U.S. publisher: Viz Media
ISBN: 9781421527482
Released: December 2009
Original release: 2006
Awards: James Tiptree Jr. Award, Japan Media Arts Award, Sense of Gender Award, Tezuka Osamu Cultural Prize

The second volume of Fumi Yoshinaga’s Ōoku: The Inner Chambers, originally published in Japan in 2006, was released in an English edition by Viz Media’s Signature imprint in 2009. That same year the series won the Tezuka Osamu Cultural Prize and the first two volumes published by Viz received the year’s James Tiptree Jr. Award. Ōoku has also been honored with a Japan Media Arts Award and a Sense of Gender Award. I read the first volume of Yoshinaga’s gender reversing alternative history of the Edo period and quite enjoyed it. Despite some unfortunate decisions made with the English translation, I was very much looking forward to reading the second volume of Ōoku. The series has earned a fair amount of critical acclaim with which I agree and I think the second volume is an even stronger work than the first.

What was once thought to be a localized problem, the Redface Pox has steadily become a more widespread epidemic, reaching even Edo. The disease affects men, particularly young men, and due to its high mortality rate the male population has been decreased to almost half of what it once was. When the Shogun unexpectedly falls victim to the illness, those closest to him are determined to keep it a secret, supposedly for the sake of the stability of the government and country although there are also other more personal motivations involved. Arikoto, a young nobleman known for his devotion as well as his beauty, had been recently appointed as the Abbot of Keiko-in when he is swept up in the political machinations of those representing the shogunate. He unwillingly gives up his religious vows to lead a secular life and is forced to enter the Inner Chambers. There he learns the shogunate’s secret and is confronted with the realization that he is not the only one to have been placed in an unwanted and desperate situation.

I did not anticipate how intense, violent, and brutal the second volume of Ōoku was going to be. The Edo period tends to be romanticized in historical fiction, but Yoshinaga doesn’t shy away from some of the more unsavory aspects of the era’s society. The main story in the second volume takes place a few decades after the establishment of the Tokugawa shogunate. Although the regime’s power has a firm foundation by this point, there is still some reluctance and class strife among the people. And in Ōoku’s version of history, they also have to deal with a devastating plague on top of the already existing political and clan turmoil. Particularly evident in the second volume of Ōoku is the class conflict between the nobility and samurai. Because of the helpful notes included in the Viz edition, it is not necessary to be well-versed in Japanese history, but not everything is explained in depth. Those who are already familiar with the Edo period and culture will probably get even more out of reading Ōoku than those who are not.

The second volume of Ōoku can be read completely separate from the first. However, there are still significant connections between the two: O-Man, who is only briefly mentioned in passing the first volume, plays a prominent role and the origins of many of the Inner Chamber’s customs and traditions, some of them quite troubling, are revealed. I still find the English translation, a sort of “Fakespearian” English, to be awkward and distracting although I do understand why and how it is being used to indicate the varying levels of formality in speech. The characters in Ōoku are forced to deal with terrible and unfortunate circumstances. They don’t always face their fates well and they don’t always make the best decisions, but they do what they can to bear the unbearable. While I enjoyed the first volume of Ōoku, I personally found the second to be even better and incredibly good. It is not always an easy read, and it can be emotionally draining as well powerful, but it is excellent.

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