My Week in Manga: October 30-November 5, 2017

My News and Reviews

Last week at Experiments in Manga I announced the winner of the Oresama Teacher giveaway. The post also includes a select list of some of the manga released in English that have notable delinquents (and in some cases ex-delinquents) in them. In licensing news, Dark Horse recently announced that it will be releasing The Flame Dragon Knight, a novel by Makoto Fukami which is based on Kentaro Miura’s manga series Berserk. Also, Yen Press is adding more yuri to its catalog: the manga anthology Eclair and the light novel adaptation of Napping Princess will both be released in English in 2018.

Quick Takes

Yokai Rental Shop, Volume 1Yokai Rental Shop, Volume 1 by Shin Mashiba. I greatly enjoyed Mashiba’s earlier manga series Nightmare Inspector: Yumekui Kenbun and so was very excited when Yokai Rental Shop was licensed. I have been looking forward to giving the manga a try not only because of Mashiba’s involvement but also because yokai play a prominent role. Hiiragi is a public servant who recently learned, on his mother’s deathbed, that he has a half-brother. Initially he’s thrilled, but then he actually meets Karasu, a man who doesn’t hesitate to help his customers realize their darkest desires. So far, Yokai Rental Shop has yet to really distinguish itself from any number of other horror series featuring a supernatural boutique. Additionally, one of the things that made Nightmare Inspector so engaging–the use of a wide variety of illustration styles–is largely missing from Yokai Rental Shop. The major exception to this is how most of the yokai in the spirit district are drawn to be more reminiscent of traditional ink drawings, an artistic touch that I particularly appreciated. While at this point Nightmare Inspector would seem to be the stronger manga of the two, there’s enough about Yokai Rental Shop that interests me that I plan on continuing the short series.

Otomo: A Global Tribute to the Mind Behind AkiraOtomo: A Global Tribute to the Mind Behind Akira edited by Julien Brugeas and Ben Applegate. In 2015, Katsuhiro Otomo won the Angoulême International Comics Festival’s Grand Prix, a prestigious award recognizing comics creators for their lifetime achievements. As part of the celebration, an art exhibition showing work by creators from around the world in a tribute to Otomo was held. A limited-edition catalog of illustrations was also produced at that time, becoming the basis for the Otomo artbook. The English-language edition expands upon the original and includes contributions from more than eighty creatives, resulting in an attractive, oversized, 168-paged hardcover volume. Otomo is probably best known as the creator of Akira, so it isn’t too surprising that most of the artwork in Otomo make reference to either the anime or manga version of that story, but other works like Domu also provide a source of inspiration. There is a fantastic variety and a great range of styles represented in Otomo; some of the individual pieces are truly stunning. Accompanying each illustration is a short biography of the artist. Some also include a section in which the contributors write about their encounters with Otomo and his work. (I wish there were more of these.)

Juni Taisen: Zodiac WarJuni Taisen: Zodiac War written by Nisiosin, illustrated by Hikaru Nakamura. My interest in the Juni Taisen novel largely stemmed from creators associated with it. Nisiosin seems to be something of a cult favorite and has had a fair number of stories translated recently (Juni Taisen is actually the first that I’ve read, however) and Nakamura is the creator of Saint Young Men and Arakawa Under the Bridge (it turns out Nakamura’s contributions to the novel are fairly limited). On top of having notable creators, the physical production and design of Viz Media’s release of Juni Taisen is beautiful. I have also been known to enjoy battle royale-type stories. Sadly, Juni Taisen is rather unsatisfactory as a novel and comes across as superficial, though I suspect the related manga and anime will be more successful. Twelve characters, none of them particularly likeable, are brought together in a battle to the death known as the Zodiac War. The winner will be granted a single wish, although there’s an even greater purpose to the contest. Juni Taisen has potential. The various super powers and abilities of the characters result in tactics and strategies that are interesting and even clever. Unfortunately, the coolness factor is undermined by inconsistent logic, repetitiveness, predictable narrative developments, and a sore lack of worldbuilding and a meaningful context.

Adaptation Adventures: Mushishi

Mushishi, Volume 1After revisiting and reviewing each volume of Yuki Urushibara’s Mushishi for my horror manga review project, by now it’s probably readily clear that I greatly enjoy the series. I love the influence of traditional Japanese folklore on the stories. I love the manga’s subtle creepinesss. I love the exploration of the relationship between humans and the rest of nature. I love how the series delves into the connections that exist between people. I love the importance placed on the search for knowledge. The storytelling in Mushishi is atmospheric, beautiful, and frequently unsettling as individuals struggle with themselves and with the unknown. There is darkness and tragedy in Mushishi but there is also hope—one of the major themes in the manga is that for better or for worse, life will ultimately persevere.

Mushishi is a largely episodic series following Ginko, a mushishi, who travels the Japanese countryside studying mushi and trying to help people who have fallen under their influence. Mushi are described as creatures which are very close to the original form of life. Their presence is fundamental and necessary to the living world, but depending on the circumstances they may either be beneficial to or negatively impact humans. Mushi are frequently at the heart of unusual natural phenomenon or may cause otherwise unexplainable illnesses. Within the context of the series mushi can be taken literally, but they can also be read as metaphors for many conditions experienced in reality.

MushishiAnime1Urushibara’s ten-volume Mushishi, originally serialized in Japan between 1999 and 2008, was first released in print in English by Del Rey Manga between 2007 and 2010. Soon after, Del Rey’s manga imprint was closed and Mushishi subsequently went out of print. Unsurprisingly, the print edition of Mushishi has become increasingly difficult to find over time, but in 2014 Kodansha Comics released the entire series digitally. In addition to earning multiple awards and honors over the course of its publication, Mushishi was also the basis for multiple anime adaptations and a live-action film (most of which are available digitally if not physically in North America), as well as a variety of other media.

The first Mushishi anime series, directed by Hiroshi Nagahama, aired in Japan in 2005 and 2006. At twenty-six episodes, it only adapted a portion of the original manga. (Granted, the manga hadn’t yet been completed at that point.) Since I love the Mushishi manga, it probably doesn’t come as much of a surprise that I love the anime as well. Although the first Mushishi anime adaptation isn’t necessarily my favorite series, or even the anime that means the most to me personally, it is the series that I’ve seen the most number of times; I return to it frequently. Eventually, nearly a decade after the first Mushishi anime series, an animated television special was released which was followed a few months later by a second anime series. This twenty-episode series, also directed Nagahama, aired in Japan between 2014 and 2015 and adapted most of the remaining stories found in the manga. (A second animated television special was released during this time as well.) Despite the number of years that passed between the first and the second anime series, they are both very similar in tone and style. Nagahama also directed the Mushishi animated film released in 2015 which adapted the manga’s final story arc. Since I loved both the original manga and the first anime series, I was very happy to see so much more Mushishi anime produced.

MushishiAnime2-17The various Mushishi anime are very faithful adaptations of the manga. Frequently the scenes in the anime follow the scenes in the manga frame by frame and panel by panel, though occasionally the order that events appear in the narrative is slightly altered. Where the anime distinguish themselves is in their color and sound, especially in the establishment of the backgrounds and settings. Urushibara’s color artwork is lovely, but except for the covers of the individual manga volumes, very few examples of it officially appeared in North America. (I imported Urushibara’s 2015 Mushishi artbook which is filled with color illustrations and I adore it.) The anime bring the world of Mushishi to life. While the actual animation can at times be fairly simple and limited, the environments are always absolutely gorgeous and beautiful in their detail. The sound design in the anime adaptations is great, too, adding spectacularly to the overall atmosphere. The music by Toshio Masuda (which I’m constantly listening to) makes extensive use of bells, chimes, and other percussion along with unobtrusive synthesized and acoustic instruments, creating a beautiful soundtrack that is in turns ethereal and dramatic. Much like the original, the Mushishi anime creates an experience that can be calming and soothing as well as unsettling and disturbing.

MushishiMovieUrushibara’s manga series was also the inspiration for Katsuhiro Otomo’s award-winning 2006 live-action film Mushishi. For the most part the film was received very well both inside and outside of Japan. Though overall it’s palette tends to be darker and more subdued than the anime adaptations, the visuals can be quite stunning; the special effects hold up surprisingly well even a decade after it was first released. I actually only very recently watched Otomo’s Mushishi for the first time. From the standpoint of someone who is very familiar with the original manga and its anime adaptations, the live-action movie is somewhat disorienting and perhaps even shocking. Though it begins much as one would expect, it ultimately deviates a fair amount from its source material even to the point of changing some of the underpinning mythologies and characterizations of the original. It’s clear that Urushibara’s manga provides the basis for the movie, but many details have been reimagined or remixed in some way. The narrative is still interesting, though. Otomo successfully weaves together several stories from the manga series and makes references to many others before taking the film in an entirely new and different direction. While the original Mushishi tends to be episodic, Otomo’s film is self-contained and provides a single cohesive story. In part this is accomplished placing a significant focus on Ginko’s past and what it means for his present and future, providing a framework for the film as a whole. Instead of simply wandering the countryside helping other people, Ginko has the additional motivation of trying to solve the mystery of who he really is and to reclaim his missing memories.

MushishiLiveActionWhile I would consider the Mushishi manga and anime to be horror, albeit fairly subtle and subdued horror, the film is much more obviously so. Many of the underlying elements are the same, but the film focuses more directly on the aspects of traditional, supernatural horror. However, this does mean some of the more nuanced themes found in the manga and anime are missing. Otomo’s film is a much darker incarnation of Mushishi. The movie, especially towards its end, is incredibly creepy and extraordinarily disconcerting in both imagery and story. It’s so different in tone and narrative that it might actually be better described as a portrayal of an alternate universe of Mushishi rather than being a strict adaptation. It certainly won’t be to everyone’s taste, especially if viewers are expecting something more akin to the gentler (though still disquieting) anime adaptations, but I actually quite liked the movie. For me though, it’s really more of a horror film before it’s a Mushishi film. Still, I feel that the live-action film, the anime adaptations, and the original manga are all well worth checking out and are all fascinating in their own rights. And of course, although unlikely, I’d love to see more Mushishi media and merchandise released in North America.

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Library Love, Part 8

Support manga, support your library!

Here’s what I’ve been reading:

Akira, Volumes 3-6 by Katsuhiro Otomo. These last four books of Akira are significantly different from the anime adaptation. While I didn’t enjoy them as much as the first two volumes in the series, they are still fascinating post-apocalyptic, science fiction. Frankly, the manga makes more sense to me than I remember the anime making (which I really should watch again). The characters are much more developed, and the story more thoroughly explained. Art-wise, Otomo’s scenes of destruction are particularly noteworthy. Even after it looks like he’s completely destroyed the city, he still finds ways to do more damage and devastation.

Hikaru No Go, Volumes 8-12 written by Yumi Hotta and illustrated by Takeshi Obata. So, while I still haven’t learned how to play Go very well, I do understand the basic rules. But even when I don’t know exactly what is going on, Hotta and Obata have made me care immensely. Just watching the characters reactions shows how seriously they are taking things. I never thought I would get so worked up rooting for and wishing for the success of the players. Waiting for the results of the various tournaments and games was nerve-wracking and even heart-breaking! Hikaru and Sai’s relationship is starting to become strained now that Hikaru has become so determined and serious about playing Go.

Naruto, Volumes 2-5 by Masashi Kishimoto. As much as I enjoyed the first volume of Naruto, the next few volumes didn’t really do much for me. I was, however, very pleased to find that Sakura is actually a competent character who isn’t just there to pine after Sasuke. Kishimoto introduces a lot of material in these few volumes, including a whole slew of new characters with their own unique and unusual ninja powers. While this is rather fun, it does mean that already established characters don’t get much more development. It also seems like Kishimoto is just making things up as he goes, although there are are some good ideas in there.

The Wallflower, Volumes 1-4 by Tomoko Hayakawa. I was actually somewhat reluctant to pick up The Wallflower. The premise of a group of young men trying to turn female classmate into a “perfect lady” at the request of her aunt (and with the potential reward of free rent) worried me a bit. Fortunately, it turns out they are quite happy to allow Sunako to be who she is although they do encourage her to pay more attention to her appearance. Sunako can be absolutely gorgeous when she puts her mind to it, she’s simply more interested in her horror movie addiction. She also happens to be smart, a great fighter, and a good cook, too. Initially very withdrawn, she is steadily developing a relationship with her new housemates.

Library Love, Part 7

Support manga, support your library!

Here’s what I’ve been reading:

Akira, Volumes 1-2 by Katsuhiro Otomo. Several years ago I watched the anime of Akira and enjoyed it. I think I like the manga it’s based on even better. I find it to be a marvelous, page-turning, science fiction romp. And because it’s an entire series, Otomo is able to explore aspects of the story that he wasn’t able to include in the two hour film; I feel like I can connect with the characters more and understand them and their actions better. There’s plenty of action and violence with all of the delinquent youths, bike gangs, military forces, and resistance organizations, but the manga also has a fair amount of humor to it too that prevents things from getting too dark.

Banana Fish, Volumes 18-19 by Akimi Yoshida. I had a feeling that things weren’t going to turn out well, but damn this is still heartbreaking. The ending is appropriate and the two side stories included in the final volume were a very nice touch. Yoshida ties up everything by the end, sometimes in surprising ways, but the result is very satisfying. The relationships, good and bad, are what this manga is all about and they are intense. Ash is an extremely charismatic character who profoundly affects those around him. Although the plot developments felt a bit repetitive at times, overall Banana Fish is a great series and I’m really glad that I read it.

Godchild, Volume 6-8 by Kaori Yuki. I think that these last three volumes of this manga are also the best in the series. The plot has gotten very dark, and very cruel, but things are starting to make some sense and are pulled together nicely by the end. Cain’s father and his family history are more thoroughly explained although I still don’t understand everything that’s going on. There are some characters that seem to be introduced out of nowhere to force the plot along, and there are still some developments that I’m not entirely convinced by, but for the most part I liked how things ended and how references to earlier volumes were incorporated.

Hana-Kimi: For You in Full Blossom, Volumes 20-23 by Hisaya Nakajo. While I am satisfied for the most part with the ending of Hana-Kimi, the series is definitely a fantasy and not at all how things would have really turned out. The manga seemed to go on a bit too long with a bit too much filler, and the climax was a bit anti-climatic, but it did make me happy to some extent in the long run. However, I will be the first to admit that how Ashiya is finally discovered and outed to be posing as a guy at an all boys school is really, really stupid. I don’t need to read the series again, and a lot of things frustrated me about the manga, but it was kinda fun while it lasted.