Blade of the Immortal, Volume 22: Footsteps

Creator: Hiroaki Samura
U.S. publisher: Dark Horse
ISBN: 9781595824431
Released: January 2010
Original release: 2007
Awards: Eisner Award, Japan Media Arts Award

Footsteps is the twenty-second volume in the English-language release of Hiroaki Samura’s manga series Blade of the of Immortal. The volume was published by Dark Horse in 2010. Because of the difference in how the various chapters of Blade of the Immortal have been collected for the English-language edition, Footsteps is actually equivalent to the twenty-first volume of the original Japanese release published in 2007. Blade of the Immortal is a long-running series, having first begun serialization in 1993. Over the course of its publication it has won several awards, including a Japan Media Arts Award and an Eisner Award. It also happens to be a series of which I am particularly fond. Footsteps marks the beginning of the fifth and final major story arc in Blade of the Immortal.

After staging a successful prison break, setting free hundreds of captives from the hidden dungeons underneath Edō Castle and rescuing them from the fate of becoming the human test subjects of cruel immortality experiments, Rin has finally been reunited with Manji. The two have been separated for quite some time. Manji, despite his near-immortality, is a little worse for wear from his time spent in the dungeons and is currently missing his left arm. Isaku and Dōa, two members of the Ittō-ryū who were also involved in the raid on Edō Castle, were able to escape as well. However, their involvement has brought the Ittō-ryū back under the intense scrutiny of the shogunate. Nearly wiped out when the bakufu betrayed them, the few remaining Ittō-ryū members have been working in the shadows readying their revenge. They may have been forced out into the open sooner than planned, but the Ittō-ryū is still prepared to face the authorities head on.

Although I did enjoy the previous storyline, I am glad that the series is moving on from the dungeons and experiments and beginning to cover some new ground. Footsteps is an excellent volume in general, but particularly as the opening to the final story arc. The volume establishes where nearly all of the major players in Blade of the Immortal are after the fallout from the prison break. The focus turns from Rin and Manji (although they do have some absolutely wonderful scenes together) to the Ittō-ryū, which was largely though not entirely ignored during the previous arc. Anotsu, the highly capable leader of the Ittō-ryū, is gathering his forces and the Ittō-ryū is gaining new members and strength. For better and worse the Ittō-ryū has left a strong impression on other sword schools. Anotsu faces Habaki Kagimura, who has proven to be a worthy opponent, and the newly formed Rokki-dan—a group of death row felons hand-selected for their battle prowess.

I was actually a little surprised by the introduction of the Rokki-dan in Footsteps. Samura already included one group of death row assassins in Blade of the Immortal—the Mugai-ryū. However, the Mugai-ryū has been disbanded. The Rokki-dan is a similar group with a similar goal—to annihilate the Ittō-ryū. At this point, the only difference between the two is that the elite of the Rokki-dan are implied to be even more badass than the members of the Mugai-ryū. This would certainly be impressive if true. Skill-wise, its top fighters may even be able to hold their own against some of the Ittō-ryū’s. The lower ranking members of the Rokki-dan are nothing more than faceless cannon fodder, though. In many ways the Rokki-dan’s introduction does seem to be more of the same, but there should at least be some fantastic confrontations and battles in the next volume, Scarlet Swords, as a result.

Blade of the Immortal, Volume 21: Demon Lair II

Creator: Hiroaki Samura
U.S. publisher: Dark Horse
ISBN: 9781595823236
Released: July 2009
Original release: 2006
Awards: Eisner Award, Japan Media Arts Award

Demon Lair II is the twenty-first volume in the English-language release of Blade of the Immortal, Hiroaki Samura’s long-running, award-winning manga series. Along with the previous volume, Demon Lair, it forms the conclusion to the series’ fourth and penultimate major story arc. Demon Lair II was published by Dark Horse in 2009. The chapters collected in Demon Lair II are the same as those found in the twentieth volume of the Japanese release of Blade of the Immortal, published in 2006. In addition, Demon Lair II also includes a glossary (useful since many terms in Blade of the Immortal are left untranslated, or simply don’t have an exact equivalent in English) and a translation of a parody article about Samura originally found in the September 2003 issue of Afternoon, the magazine in which Blade of the Immortal was serialized.

Somehow, Rin and Dōa have successfully fought their way into the secret underground dungeons of Edō Castle. There they have found what, or rather who, they have been looking for: Manji and Isaku, who have both been subjected to cruel experiments meant to find a way to transfer Manji’s near-immortality and regenerative abilities to another person. Now the real trick will be getting everyone back out alive and ideally in one piece. As challenging as it was for Rin and Dōa to infiltrate the castle grounds, escaping will be even more problematic. The tunnels underneath the complex are flooding and are ready to collapse; standing between them and their way out are armed guards as well as crazed inmates. The situation above ground, assuming that they can make it that far, is chaos with countless escaped prisoners inside the castle complex and their families outside of its walls on the verge of rioting.

Much like its companion volume Demon Lair, Demon Lair II is largely one long action sequence. There are some important plot revelations and character moments, but for the most part Demon Lair II is made up of one fight after another. What sets Demon Lair II apart form previous volumes, and one of the things that I like the most about the volume, is Samura’s use of water. The flooding of the dungeons is a violent event in and of itself. The water is extraordinarily destructive and its effect upon those unlucky enough to be caught up in it is extremely detrimental. Generally speaking, Samura has always made good use of the environment and surroundings as part of his battles in Blade of the Immortal. Demon Lair II is no different and he has given special consideration to the sorts of problems and opportunities fighting in high, cold water would present.

Many of the recent volumes in Blade of the Immortal have focused on the human costs and failures surrounding the immortality experiments. Demon Lair II reveals that some of the successes that Burando, the doctor in charge of the investigation, has had are just as horrifying—he has literally created monsters. To some extent, that particular development wasn’t foreshadowed as well as it could have been, but it does go to show just how far Burando has strayed from his ideals. The conclusion of Demon Liar II also brings together a few of the stray plot lines and characters in Blade of the Immortal in preparation for the next and final story arc. Samura introduces a surprise or two along the way, too. I am very curious to see how things begin to play out in the next volume, Footsteps.

Blade of the Immortal, Volume 20: Demon Lair

Creator: Hiroaki Samura
U.S. publisher: Dark Horse
ISBN: 9781595821997
Released: December 2008
Original release: 2005-2006
Awards: Eisner Award, Japan Media Arts Award

Demon Lair is the twentieth volume in the English-language release of Hiroaki Samura’s manga series Blade of the Immortal. Published by Dark Horse Comics in 2008, Demon Lair is most closely equivalent to the nineteenth volume of the Japanese edition of the series published in 2006, although it includes a couple of chapters from the eighteenth volume released in 2005 as well. Demon Lair is also the first volume in which none of the chapters were previously released by Dark Horse in a monthly format. In general, Blade of the Immortal has been well received. In 1998 the series won a Japan Media Arts Award and in 2000 it received an Eisner Award for Best U.S. Edition of International Material. The series also happens to be a personal favorite of mine. Demon Lair marks the beginning of the end of the fourth major story arc in Blade of the Immortal.

Following rumors of an immortality experiment, Rin and Dōa have successfully penetrated the first level of Edo Castle’s defenses. It wasn’t easy—Rin in particular isn’t in the best physical condition after a brutal run in with the guards in the secret tunnels leading to the castle—but the two young women are determined to find Manji and Isaku. Not that they have any hard evidence that the men are being held within the castle complex; their insider information is sketchy at best. Rin and Dōa are so focused on finding and rescuing Manji and Isaku that many of the finer points of their plan have been neglected, which is bound to get them into more trouble along the way. But for two fighters in over their heads, they have done remarkably well to have made it as far as they have.

From beginning to end, Demon Lair is one long, non-stop sequence of battles, fights, and near escapes. The plot might not move forward much, but there is certainly plenty of action to be had. The last few volumes of Blade of the Immortal have really been building up to and setting the stage for Demon Lair. Some of the developments in Demon Lair may not be particularly unexpected, but there are still some nice twists and surprises in store as Manji’s storyline and Rin’s storyline finally collide again. Samura even mangaes to work in a few brief sweet and touching moments amid all the chaos of Demon Lair. Some of the series’ humor also returns; this is welcome even if it does feel a bit out of place—lately Blade of the Immortal has been pretty dark.

One of the things that stands out in Demon Lair is Rin’s reactions to what she and Dōa discover in the dungeons and tunnels of Edo Castle. Up until now, the rumours of the immortality experiments have just been rumors. Readers of Blade of the Immortal are well aware of the horrifying experiments, but Rin and Dōa are facing the results of the atrocities for the very first time. Slowly Rin is able to piece together what has been going on underneath the castle and she is outraged. It’s a very nice character moment. At the series’ start, Rin was concerned about her own personal revenge. More recently, she has been focused on Manji’s plight. But now in some small way she is also fighting for the people of Edo. Of course, if she plans on making any sort of difference, she’ll need to escape from the castle first.

The Summit of the Gods, Volume 2

Author: Baku Yumemakura
Illustrator: Jiro Taniguchi

U.S. publisher: Fanfare/Ponent Mon
ISBN: 9788492444328
Released: January 2010
Original release: 2001
Awards: Angoulême Prize, Japan Media Arts Award

The second volume of The Summit of the Gods, a five volume manga series written by Baku Yumemakura and illustrated by Jiro Taniguchi, was originally released in Japan in 2001. The English-language release of The Summit of the Gods, Volume 2 was published by Fanfare/Ponent Mon in early 2010. The series is based on Yumemakura’s 1997 award-winning novel The Summit of the Gods and has won several awards itself, including a Japan Media Arts Excellence Award in 2001 and an Angoulême Prize for Artwork in 2005. I will admit right now that I love Yumemakura and Taniguchi’s The Summit of the Gods. The manga is easily my favorite work that Taniguchi has collaborated on. The series has gorgeous artwork, characters that are larger than life but who remain human in their imperfections, and an engaging story.

After returning to Japan from Nepal, journalist Makoto Fukamachi has been doggedly pursuing the enigma of the man he believes he met there—a legendary Japanese mountain climber named Jouji Habu. Initially, Fukamachi was interested in a camera he is convinced is in Habu’s possession. It may very well be the same camera that George Mallory brought with him on his assault on Everest in 1924. If true, Habu has his hands on an important piece of mountaineering history. But as Fukamachi’s investigation proceeds he becomes more and more interested in Habu himself and what drives the man as a climber. While Fukamachi’s personal life is unraveling he throws himself into his research, tracking down anyone who might know anything about Habu and his current whereabouts.

While I personally find Fukamachi’s persistent research to be interesting as he slowly pieces together disparate clues and leads, what I really love about The Summit of the Gods, Volume 2 are the stories that he uncovers. As unlikeable as Habu can be, and with as many enemies as he has made, his accomplishments as a mountain climber are unquestionably phenomenal. Fukamachi delves into many of Habu’s feats: his disastrous and yet astonishing foray climbing the Grandes Jorasses as well as his notorious participation in a group summit assault on Everest and several unfortunate incidents relating to it. But as amazing as Habu’s achievements are as a climber, it’s Taniguchi’s stunning artwork that makes them a reality for the reader. From the largest mountain vistas to the smallest crack in ice or rock, Taniguchi’s attention to detail is superb. The pacing and timing of his panels make the climbs both exhilarating and terrifying.

Nature and the mountains can be glorious, but they can also be extraordinarily dangerous. Taniguchi’s artwork expertly conveys this. Both the figurative and literal gravity of the situations that the climbers face can almost be felt reading The Summit of the Gods. When something goes wrong, even the smallest something, the repercussions can be devastating. And at times the events that unfold are entirely outside of human control. Saying that a climber fell—such a small and simple word—is easy enough. But the enormity of the human drama and the story surrounding that fall, what happened to cause it, and what happens as a result of it, is intensely engrossing. It is clear that the characters in The Summit of the Gods are effected deeply; the impacts can be seen in their changing relationships to each other, to climbing, and to the mountains themselves. The Summit of the Gods is an incredible work.

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.