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18 September 2013 6 Comments

No. 6, Volume 2

No. 6, Volume 2Creator: Hinoki Kino
Original story: Atsuko Asano
U.S. publisher: Kodansha
ISBN: 9781612623566
Released: August 2013
Original release: 2011

My introduction to Atsuko Asano’s No. 6 was through the anime adaptation of the original novels. I enjoyed the setting and characters, but was disappointed in the anime’s rushed, original ending. Asano’s No. 6 novels are unlikely to be released in English, so I was glad when Kodansha licensed Hinoki Kino’s manga adaptation of the series. The second volume of the No. 6 manga, originally published in Japan in 2011, was released in English in 2013. Although Kino’s character designs are based on the same ones used for the anime and many of the underlying elements are the same (they are both adaptations of the No. 6 novels after all), Kino’s version of the story is different. The first volume of the manga was a little too quickly paced for my taste, but for the most part I still enjoyed it. However, I did have hopes that the second volume would slow down a bit after the first volume‘s rush to establish the characters, story, and setting.

After barely escaping from the holy city of No. 6, Shion is now a fugitive hiding in West Block, a dangerous area outside of the city walls and No. 6’s dumping grounds. Although he is out of immediate danger, he still has a lot to learn about West Block if he hopes to survive there. The violent and bleak conditions outside the city are very different from the peaceful and pampered life that Shion led in No. 6. The only reason he’s made it this far is thanks to the help of Rat, the young man whose life Shion once saved as a boy. The two make an unusual pair. Shion is altruistic and slow to doubt people, characteristics which could get him into big trouble in West Block, while Rat only looks out for himself and is much more wary of others. Saving Shion’s life was a way for Rat to repay his debt, but in the process he has begun to open up to another person. For the time being Rat persists in watching over the other young man, but he is also capable of turning on Shion at any moment.

One of my favorite things about the No. 6 anime was the relationship between Rat and Shion. I’ve happily found this to be the case with the manga as well. Even though it’s only the second volume, there has already been some very nice character development. Both Shion and Rat are beginning to change due to the circumstances surrounding Shion’s escape from No. 6 and their continued association with each other. As Shion is faced with the harsh realities of living in West Block and Rat’s seemingly uncaring attitude, he is learning to stand up for himself and what matters to him. In turn, Shion is also influencing Rat to a much greater extent than either of them at first realize. When it comes to Shion, Rat finds himself acting out of character and letting his guard down. It understandably bothers and worries him, but it’s also rather touching from an outsider’s perspective. I’m really enjoying watching their relationship evolve in No. 6.

In addition to character development, the second volume of the No. 6 manga also reveals more about No. 6 and West Block. As Shion experiences West Block first hand, nearly getting killed in the process, the readers are also introduced to the world in which he now lives through the people he meets—the children who are starving, the marketplace vendors who are quick to pull guns on thieves, the prostitutes and pimps. Everyone is struggling to get by in any way that they can. It also reveals in part why Rat has the personality that he does. To survive in West Block requires people to place their own needs above those of others. Simply trusting another person means taking a huge risk. It’s a hard lesson for Shion with his innocent nature and privileged upbringing. The second volume of No. 6 does build and improve on the first in its pacing, characterization, and world-building. I can honestly say that I’m looking forward to the next volume of Kino’s adaptation.

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7 July 2013 Leave a Comment

Sankarea: Undying Love, Volume 1

Creator: Mitsuru Hattori
U.S. publisher: Kodansha
ISBN: 9781612623511
Released: June 2013
Original release: 2010

Mitsuru Hattori’s Sankarea: Undying Love, Volume 1 was originally published in Japan in 2000. The manga was licensed in English by Kodansha Comics and released in 2013. The English release caused a small amount of controversy among some fans of the series as Kodansha used a significantly different cover than was used for the original Japanese edition. Personally, I like the English cover which emphasizes the series’ horror and zombie elements, downplaying the romantic comedy aspects. Granted, this does mean that unsuspecting readers unfamiliar with Sankarea may be surprised by the series’ less serious nature and fanservice. To be honest, I wasn’t planning on reading Sankarea; lately, I’ve become a little burned out on zombie fiction, even if the manga promised to be an atypical take on the subgenre. But when a review copy of the first volume unexpectedly showed up on my doorstep, I figured I may as well give Sankarea a try.

Furuya Chihiro is obsessed with zombies. In fact, he loves them. When his beloved pet cat Bub is hit by a car, he decides to try to reanimate the corpse by following the instructions in an obscure tome he found. Unfortunately, the book is falling apart and difficult to read; Chihiro’s attempts at bringing Bub back to life have all ended in failure. He’s about to give up when he meets Sanka Rea, the daughter of a prominent local family who insists on helping him. She also makes him promise to bring her back as a zombie should she ever die. It’s an odd request, but Rea feels trapped in a life where she is expected to be the perfect daughter. Chihiro and Rea develop an odd sort of friendship as they try to revive Bub, but it becomes even stranger when it looks like Chihiro might actually need to make good on his promise to her. He might not have much interest in the living, but the undead are another matter entirely.

Sankarea leans more towards dark romantic comedy than it does towards horror. The creepiest part of the manga actually isn’t dead cats or Chihiro’s zombie fetish, it’s Rea’s over-controlling and abusive father. Fortunately, their relationship doesn’t seem to be played for laughs. It does, however, serve as the catalyst for Rea’s despair and her desired and ultimate transformation. Wanting to become a zombie is an absurd way to escape her circumstances, which is where some of the humor in Sankarea comes from even if Rea’s situation isnt’ all that funny in and of itself. Chihiro, too, is rather absurd and a bit of a space case. Although he admits what he’s doing is shady at best, it becomes very clear that he hasn’t thoroughly considered all of the implications of bringing someone or something back from the dead. Since he’s such a zombie aficionado, I would think he would be a bit more concerned, but it doesn’t seem that he has put much thought into what would happen should he actually succeed. But this, too, is a source of amusement.

It’s probably not too surprising, but Chihiro and Rea are easily the most interesting characters in Sankarea, mostly because they are a bit odd and just a little off from what would be considered normal. (The undead little Bub is pretty great, too, though.) Chihiro’s older cousin Ranko does at least share a passing interest in zombies with him, but after only one volume it seems that she’s included in the series to provide a little extra fanservice more than anything else. Yasutaka and Mogi, two of Chihiro’s friends and classmates, haven’t gotten to do much yet either except be astounded at how their weirdo buddy somehow manages to make friends with all these cute girls and amazed that it hasn’t occurred to him to care. Sankarea: Undying Love, Volume 1 is an unusual take on zombies with a few nods to some of the classics. It has yet to be seen just how much trouble Chihiro’s abnormal but earnest proclivities will get him in. I’ll admit, I actually am a little curious to find out.

Thank you to Kodansha for providing a copy of Sankarea: Undying Love, Volume 1 for review.

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19 June 2013 Leave a Comment

Japan Sinks

Author: Sakyo Komatsu
Translator: Michael Gallagher
U.S. publisher: Kodansha
ISBN: 9784770020390
Released: September 1995
Original release: 1973
Awards: Mystery Writers of Japan Award, Seiun Award

Sakyo Komatsu is considered to be one of Japan’s masters of science fiction and is highly regarded as an author. Probably his most well-known and influential work was Japan Sinks, an earthquake disaster novel that he wrote between 1964 and1973. Published in Japan in 1973, Japan Sinks earned Komatsu both a Mystery Writers of Japan Award and a Seiun Award. The novel has since inspired a sequel (which Komatsu coauthored with Kōshū Tani), two live-action films, a television series, and even a manga adaptation by Takao Saito. Michael Gallagher’s abridged English translation of the novel was first published by Harper & Row in 1976 and became the basis for translations in eleven more languages. Kodansha International brought the novel back into print in 1995 with an additional author’s note from Komatsu. Unfortunately, that edition has gone out of print as well and Japan Sinks is now somewhat difficult to find—a shame for such a notable work.

Earthquake and tsunamis are not unusual occurrences in Japan. They are something that the country has faced for centuries and has made preparations to deal with. But an increase in seismic and volcanic activity has many scientists concerned, especially when an entire island off the southern coast of Japan disappears over night. An investigation is subsequently launched into the incredible event. As hard as it is to believe, the island has sunk. What is even more terrifying is the discovery of unprecedented tectonic plate movements that will result in increasingly violent and destructive earthquakes and volcanic eruptions. It is theorized that within a few years the entire Japanese archipelago will be lost. The real question is what can be done about Japan’s impending doom. The geological event cannot be stopped, but no one wants to believe that it will actually happen, either.

The narrative in Japan Sinks is a bit disjointed, particularly early on in the novel. I assume this is at least in part due to the abridgement, but I’m not entirely sure how much or even what was cut from the original Japanese edition of Japan Sinks. The beginning of the novel seems like a sequence of scenes that aren’t directly related, but most are eventually revealed to be needed for the story as a whole. It’s as if the connecting material is missing, though. However, as the novel progresses, the disparate story elements are tied together. By the end of Japan Sinks the only things that seemed tacked on and largely unnecessary were the romantic subplots; I can only imagine that these were more thoroughly developed in the original, but once again I’m not certain. For the most part, the unconnected nature of the storytelling was only a minor annoyance.

Although the narrative is somewhat fragmented, there is one thing that Komatsu excels at in Japan Sinks—he takes into consideration all aspects of the impending crisis in a very realistic way. The story is solidly based in real science, which makes it all the more terrifying. Komatsu explores the political maneuverings, both national and international, that are involved in dealing with the disaster as well as its economic implications. The scope of Japan Sinks is both global and personal, but I found the novel to be most engaging when it focused on the experiences of individuals. Granted, these sections were so effective because they took place within a greater context. Widespread death and destruction takes on more significance when it is known what it means for a single person as well as for a country as a whole. Japan Sinks addresses all of these issues and as a result the novel is a chilling account.

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8 June 2013 3 Comments

No. 6, Volume 1

Creator: Hinoki Kino
Original story: Atsuko Asano
U.S. publisher: Kodansha
ISBN: 9781612623559
Released: June 2013
Original release: 2011

Hinoki Kino’s manga adaptation of No. 6 is the second adaptation of Atsuko Asano’s nine-volume series of science fiction novels to be released in English. The first, and my introduction to No. 6, was the 2011 anime adaptation directed by Kenji Nagasaki. While I largely enjoyed the anime, the rushed and fumbled ending left me disappointed. The first volume of the No. 6 manga was originally published in Japan in 2011, a few months before the anime began airing. Kodansha’s English-language edition of No. 6, Volume 1 was released in 2013. It’s highly unlikely that Asano’s original novels (which are really what I would like to read) will ever be licensed in English, and so I was intrigued when Kodansha announced that Kino’s manga adaptation would be published. Since the series is still currently being serialized in Japan, I’m hoping that the story will have a properly executed ending this time around.

On the surface, the city of No. 6 appears to be an ideal, utopic society. The crime rate is negligible. Medical and technological advancements offer its citizens unprecedented comfort and care. Shion is among the elite of the elite. Identified at a young age as a prodigy with a particular affinity for medicine and ecology, he and his mother have their every need provided for by the city. But when Shion saves the life of a young fugitive named Rat, helping him to escape, Shion is stripped of his status and special privileges. He has seen a brief glimpse of the darker side of No. 6. Four years later he’ll see even more when he stumbles upon a pair of bizarre deaths and he becomes the perfect scapegoat for the supposed murders. With his own life now in danger, Shion has a decision to make: flee No. 6 and the only life he knows or remain in a city that no longer considers him human.

The first volume of No. 6 does a nice job of establishing the series’ two main protagonists: Shion and Rat. Although the two young men share an important connection with each other, they come from very different backgrounds and have very different personalities. Shion is intelligent but sheltered and there’s a certain innocence about him. He comes across as a bit naive and socially awkward, but he is intensely curious and searches for the significance behind things. Even though most of Rat’s past hasnt’ been revealed, it is quite clear by the end of the first volume of No. 6 that he has had a much rougher time of it. He is quick-witted but world-weary and cynical. The underlying meaning of a situation isnt’ nearly as important to him as is the immediate reality. It’s simply a matter of survival. In part because they are so different, Rat and Shion find themselves drawn to each other.

After only one volume, No. 6 has yet to really distinguish itself from other dystopian fiction. It’s a fairly standard set up with a seemingly perfect society that’s not quite everything it appears to be. The manga itself often feels very rushed in places and lacking in details in others. There were a few scenes that had I not previously seen the anime would have left me momentarily confused. In the afterword Kino admits to having had to cut much more from the manga than was ideal in order not to surpass page limits. Even so, No. 6, Volume 1 provides the needed introduction to the story and outlines the world in which it takes place. I hope that now that the stage has been set that the manga will have room to breath and slow down a little. It is a different version of the story than was seen in the anime; I’m looking forward to seeing where Kino takes it.

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21 November 2012 Leave a Comment

Remote Control

Author: Kotaro Isaka
Translator: Stephen Snyder
U.S. publisher: Kodansha
ISBN: 9784770031082
Released: October 2010
Original release: 2007
Awards: Honya Taisho Award, Yamamoto Shūgorō Award

Remote Control is the first and so far only novel by Kotaro Isaka to be translated into English. The novel was first published in Japan under the title Golden Slumber in 2007 before Kodansha International released Stephen Snyder’s English translation in 2010. Like several of Isaka’s other works, Remote Control was the subject of a film adaptation: Yoshiro Nakamura’s Golden Slumber, also released in 2010. As far as I know, only one other work written by Isaka is available in English, “The Precision of the Agent of Death,” which was collected in the international mystery and crime short story anthology Passports to Crime. However, some of Isaka’s novels are the basis of Megumi Osuga’s manga series Maoh: Juvenile Remix. Isaka is a popular author in Japan and has been nominated for and has won many awards. In 2008, Remote Control earned him both the Honya Taisho Award and the Yamamoto Shūgorō Award.

When a bomb is detonated during a parade in Sendai, Japan’s newly elected prime minister Sadayoshi Kaneda is killed in the blast. Comparable to the John F. Kennedy assassination, the event shocks the nation. Soon after, the media reveals the identity of the prime suspect in the case—Masaharu Aoyagi, an ex-delivery truck driver who had become a hero when he saved a local celebrity from a botched burglary attempt. Despite all of the evidence that points to Aoyagi as the culprit, his friends and family can hardly believe he could be capable of such a serious crime. And they would be right; Aoyagi has been framed, the victim of a vast conspiracy. With no hope of proving his innocence, all he can do at this point is run, a particularly difficult task since Sendai has been filled with state-of-the-art surveillance and security technology.

In Remote Control, Isaka has created a compelling, highly-monitored, near-future society. This provides plenty of opportunity for pertinent social commentary on the state of society today. Isaka explores concerns of public safety versus personal privacy and the role the media plays in the portrayal and investigation of crimes. Along with the creation of a realistic future, large parts of Remote Control also look to the past as Aoyagi and other characters reminisce. Isaka easily shifts between the different time periods, employing a technique that uses similar phrases and scenarios to naturally trigger the change from the present to the past and back. I appreciated the importance of these memories and reminiscences; Aoyagi’s actions and thoughts as he was avoiding capture were often informed by his past experiences and it showed the importance of his friendships.

Remote Control starts out strongly but unfortunately falls apart about two thirds of the way into the novel. Up until that point, I was really enjoying the work. But suddenly the engaging, suspenseful narrative was overwhelmed by too many convenient coincidences; my suspension of disbelief was shattered. Too often Aoyagi would receive help just when he needed it and in far-fetched ways. But more problematic, I was never completely convinced by the nefarious scheme to frame Aoyagi. So much effort was put into the plan when a less convoluted approach would have been more effective. Every good conspiracy theory, no matter how outlandish, needs at least some sort of logic and reasoning behind it. Despite some vague speculations, Remote Control left me wondering why Aoyagi was being targeted. While there were aspects of Remote Control that I greatly enjoyed and found entertaining, unfortunately I was ultimately frustrated and largely disappointed by the novel.

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