My Week in Manga: February 7-February 13, 2011

My News and Reviews

All right! I posted two in-depth reviews last week. Granted, they were for novels and not manga, but the books are still worth checking out. The first review is for Moribito II: Guardian of the Darkness by Nahoko Uehashi. It’s the second book in her ten volume Guardian fantasy series. Only the first two volumes are available in English, but I adore them both. The second review is for Project Itoh’s multiple award winning science fiction novel Harmony; particularly recommended for fans of utopia and dystopia fiction.

The February 2011 Manga Moveable Feast, featuring Keiji Nakazawa’s Barefoot Gen, began yesterday. In addition to the quick takes below of the entire manga series and the two Barefoot Gen anime films, I will also be posting a couple of reviews this week. Sam Kusek at A Life in Panels is hosting the event.

Quick Takes

Barefoot Gen, Volumes 1-10 by Keiji Nakazawa. I finally got around to reading the entire series since Barefoot Gen was selected for February 2011’s Manga Moveable Feast. Barefoot Gen isn’t an easy read due to its subject matter, but that is also what makes it such an important read. Despite all of the terrible things that happen, Barefoot Gen is ultimately an optimistic and inspiring series and carries a heartening anti-war message. Some of the characters come across as much more articulate, capable, and mature than one would expect from people their age, but this can be fairly easily ignored for the sake of the story. Barefoot Gen is a powerful semi-autobiographical work.

Hetalia: Axis Powers, Volumes 1-2 by Hidekaz Himaruya. Hetalia started as a webcomic and quickly became a worldwide phenomenon. Perhaps because of its start online, the image quality varies, especially in the first volume. The manga improves in writing as the series progresses; I frequently found myself laughing out loud. The humor often but not always relies on stereotypes, but I didn’t find it to be offensive. I even learned a thing or to about world history. Much of the manga is presented as yonkoma, but that format is not used exclusively. Ultimately, I think I prefer the anime adaptation of Hetalia, but I still really enjoyed the manga and will be picking up more of the volumes as they are published.

Immortal Rain, Volumes 1-2 by Kaori Ozaki. This is a series I probably wouldn’t have come across except that was featured in Jason Thompson’s House of 1,000 Manga column. I was inspired to pick it up, and I’m so very glad I did; three chapters in and I knew I wanted to invest in the entire series. Immortal Rain (known as Meteor Methuselah in Japan) has wonderful art and fantastic, complex, characters. And the ladies kick ass. Rain, the titular immortal, is still mostly a mystery at this point in the story. The plot, too, is in its beginning stages and there are more questions than answers, but I’m really looking forward to seeing where it goes. The frequently melancholy mood is balanced nicely with plenty of action sequences.

J-Boy by Biblos by Various. According to Digital Manga, J-Boy was the first yaoi anthology to be released in the United States. It collects nineteen short one-shots, spin-offs, and side-stories by sixteen contributors, totaling over 340 pages of manga. Most of the stories are simply okay, but there are a few gems hidden in the volume. One favorite was the absolutely ridiculous story “Neko Samurai – Ocean of Barrier” by Kyushu Danji. The stories are pretty varied, some are goofy while others are more heartfelt. However, some plots were too complicated to be effectively captured in short form. There’s very little sex in the book, and many stories don’t even to get to the point of kissing.

Barefoot Gen: The Movies 1 & 2 produced by Keiji Nakazawa. Barefoot Gen has been the subject of several adaptations, including two anime films released in the 1980s. The first, directed by Mori Masaki, is probably the most well known—particularly for it’s depiction of the dropping of the bomb. The second, directed by Toshio Hirata, takes place three years after the first. It deviates somewhat from the manga in its details, but it’s heart is unquestionably the same. While I think everyone should read the manga, I think the anime is definitely worth watching as well and it may even be more accessible overall.

Late Bloomer directed by Go Shibata. I first learned about this film because it features music by World’s End Girlfriend. Late Bloomer is probably best described as an arthouse horror film. It follows Sumida, whose cerebral palsy forces him to lead a very lonely life. Eventually his anger and frustration drives him to commit a series of murders. The cinematography is very interesting and movie is filmed in a grainy black and white. The music meshes with the film incredibly well and is integral to many shots. I can’t really say I enjoyed Late Bloomer, it’s an unusual film and definitely not for everyone, but I am glad that I took time to watch it.

Random Musings: The Androids of Karakuri Odette and the Three Laws of Robotics

When you talk about androids in science fiction, it doesn’t take too long for Isaac Asimov and the Three Laws of Robotics to come up. Asimov was an extremely prolific and important author in both fiction (particularly science fiction) and non-fiction. His Three Laws of Robotics form the foundation of most if not all of his robot stories and have been applied by many other creators to their own works. His laws have even been considered and reflected upon while developing robots and artificial intelligences in real life. At first glance, the laws seem fairly clear-cut and simple. However, there’s actually quite a bit of grey area and assumptions involved, which is what makes Asimov’s robot stories so fascinating.

Asimov’s Three Laws of Robotics
First Law: A robot may not injure a human being or, through inaction, allow a human being to come to harm.
Second Law: A robot must obey orders given it by human beings except where such orders would conflict with the First Law.
Third Law: A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

Now, I realize it’s kind of silly to apply the rules created by one author to another author’s work. However, Julietta Suzuki never really spells out exactly what the laws are for the androids in Karakuri Odette or if there even are any regulations. Quite a bit can be gleaned from context though and a few of the androids do explicitly indicate whether they have restrictions regarding the harming of humans. So, using the Three Laws of Robotics as a starting point, I’d like to take a closer look at the androids of Karakuri Odette. (Warning: Spoilers up through Volume 5 may be involved.)

Odette (developed by Hiroaki Yoshizawa): Odette is probably the android that most closely adheres to both the spirit and letter of the three laws. Compliant to the First Law, her programming explicitly forbids actions that would harm a human. Throughout Karakuri Odette she is also seen taking deliberate action to protect the well-being of the humans around her. She tends to follow the Second Law, although she may argue or put up a fight when given an order. So far, Odette hasn’t really had to worry about self-preservation much but I think it would be pretty safe to say that she also conforms to the Third Law.

Chris series/Chris No. 2 (developed by Alex Owen): Also known as “Bomb Boys,” this series of androids was specifically created to self-destruct in the presence of a specified target. As designed, the Chris series does not take into consideration bystanders and may cause them injury as well. Obviously, this violates the First Law and causes a tension between the Second and Third since self-destructing and self-preservation can create a conflict.

Chris No. 7 (developed by Alex Owen,  modified by Hiroaki Yoshizawa): Chris No. 7 exhibits unanticipated variations from the Chris series due to faulty programming or some other flaw. He knows he is to self-destruct, but takes steps to protect Odette, who at the time he believes is human, meaning he does follow the First Law to the extent he is able. However, contrary to his programming and the Second Law, he never does self-destruct. Otherwise, he will and does carry out orders given to him. After Yoshizawa’s upgrades Chris No. 7 can be seen to be completely First Law compliant. Chris No. 7 is unique in that he is the only android in Karakuri Odette who is clearly concerned with and actively pursues his own self-preservation.

Chris No. 10 (developed by Alex Owen): Another interesting deviation from the Chris series, Chris No. 10 was unable to successfully complete his original programming due to unforeseen circumstances and is largely left to his own devices. He does end up having to deal with one of the classic First Law conflicts. (Sorry to be vague, but I’m trying not to be too spoilery.) Chris No. 10 is shown to follow orders and the Second Law although his compliance to the Third Law is suspect, something that is somewhat expected for the Chris series.

Asia (developed by M. Nichol): Whether the extraordinary capability of massively creeping out a person counts as an injury to a human or not is up for debate. Otherwise, it would appear that Asia follows all three laws, although too little is known about her to say for sure.

Alice 2500T (developed by Hiroaki Yoshizawa): Technically, Alice is a prototype body that Odette uses while her original body being repaired. She exhibits the same concern that Odette does for others, but she is also capable of getting into scuffles and therefore is probably not completely First Law compliant. She’s also a bit flaky when it comes to the Second and Third Law, but after all she is only a prototype.

Travis (developed by Alex Owen): Almost the complete opposite of Odette, the only law that Travis seems to follow is self-preservation. He specifically states that he has no restrictions against harming humans and is repeatedly seen physically intimidating them. Although he may start by following instructions given to him, in the end he usually ends up doing whatever it is he wants. Since he violates both the First and Second Law, Travis is highly unpredictable and is actually pretty scary, especially as he seems to have a significant attitude problem, too.

Grace (developed by Alex Owen): Grace is equipped with weaponry, but when she uses it in Karakuri Odette she does not cause injury to any of the humans nearby. However, it is implied that she could have and so like Travis probably does not have restrictions in place to prevent this. Grace appears to be compliant to the Second Law, doing what she is told as long as it is an explicit order. She most likely follows the Third Law of self-preservation as well.

So, I readily admit that this exercise was questionable and frivolous, although I don’t think it was completely pointless. Obviously, the Three Laws of Robotics do not apply to Karakuri Odette. But, it did allow me to think about Suzuki’s androids in a structured manner, and I feel like that I’ve gotten to know them better in the process. Upon close examination, it doesn’t appear that there are any overarching laws when it comes to the androids in Karakuri Odette. However, individual creators seem to have their own styles and self-imposed rules. And on that note: will someone please stop Alex Owen from designing robots?

This post is part of the Karakuri Odette Manga Moveable Feast.

Karakuri Odette, Volume 1

Creator: Julietta Suzuki
U.S. Publisher: Tokyopop
ISBN: 9781427814074
Released: September 2009
Original release: 2006
Awards: Hakusensha Athena Newcomers’ Award

I was very excited when Julietta Suzuki’s Karakuri Odette was selected for the January 2011 Manga Moveable Feast. I had seen positive reviews for the series, but hadn’t gotten around to actually reading it yet. Plus, I have a thing for androids and advanced artificial intelligences (which are often, but not always the same thing)—they are some of my favorite tropes when it comes to science fiction. At six volumes Karakuri Odette was Suzuki’s first completed series. The collected volumes were published in Japan between 2006 and 2008 and the series won her a Hakusensha Athena Newcomers’ Award for Outstanding Debut. Tokyopop began the English publication of Karakuri Odette in 2009. So far, five of the six volumes have been released and the final volume is scheduled to be published later this year. After reading the first volume, I’m looking forward to reading the rest of the series.

A few weeks after she was built, Odette convinces her creator, the roboticist Professor Yoshizawa, to enroll her in a local high school. She’s a state of the art android and wants to understand just what the difference is between her and humans. Thinking he might be able to get some good data for his research out of it, Yoshizawa agrees. But her requests don’t stop there and Odette continues to ask for modifications that will make her more human-like. None of the students are supposed to know that Odette is a robot, although that doesn’t last for long; but for the most part, everyone treats her like she’s a normal high school girl. And as Odette learns more about humans, she also learns more about herself and other androids.

No in-depth explanation is given regarding Odette’s creation other than Professor Yoshizawa is a specialist in robotics and that he considers her his masterpiece. He also appears to find her useful to have around, but no details are really given about that, either. Personally, I would have liked to know a bit more about Odette’s development. While I found Suzuki’s artwork and character designs in Karakuri Odette to be appealing, I don’t think I would describe them as particularly stunning. However, she has done some really nice things with the art. Odette’s eyes and subdued facial expressions visually set her apart from her classmates, but the effect is marvelously subtle. Suzuki also is able to capture the good-natured eccentricity of the professor in how he dresses and behaves—an aspect of his character that isn’t immediately obvious from dialogue alone. And both his and other characters’ (especially Asao’s) frequently over-the-top reactions are a lot of fun to see.

Although there is nothing really new or groundbreaking about the first volume of Karakuri Odette when it comes to robot stories, I still found it to be quite charming and very enjoyable. Suzuki explores what it means to be human and the existence of free will which is fairly standard for the genre and somewhat expected. Even telling the story primarily from the androids’ perspectives, while slightly less common in my experience (although not by much), isn’t that unusual. However, the balance Suzuki strikes between Karakuri Odette’s more humorous elements and the serious nature of the questions it raises is utterly delightful. The story never gets too heavy, but neither is it ever too silly. Odette is closer to being human than she knows and doesn’t realize that some of the things that distinguish her as an android also help define her as a decent person. That right there is probably one of the reasons I enjoyed Karakuri Odette as much as I did and why I’ll be following the series to the end.

One Piece, Volume 1: Romance Dawn

Creator: Eiichiro Oda
U.S. publisher: Viz Media
ISBN: 9781569319017
Released: June 2003
Original run: 1997-ongoing (Weekly Shōnen Jump)

One Piece by Eiichiro Oda is an extremely popular series in both Japan and the United States. It is also a long running series. Publication of the collected volumes began in 1997 in Japan; the manga is currently up to sixty volumes and it’s still going. The English translation by Viz Media first began in 2003 and the fifty-fifth volume was released in October 2010. Despite the manga’s popularity, I’m actually not very familiar with it at all, although I have seen bits and pieces of a few of the anime episodes. I was surprised to discover that my local library currently only has the first volume of the series, Romance Dawn, although there are plans to purchase more of the books. I was happy when One Piece was selected for the Manga Moveable Feast because it gave me an excuse to finally get around to reading a well-loved series that I’ve heard so much about.

Ever since he was small, Monkey D. Luffy has been determined to become King of the Pirates. This is a rather ambitious and daunting proposition since just about every other pirate out there is after the same thing. Starting out with nothing more than a rowboat, Luffy heads off to assemble his pirate crew. But he does have one advantage. After eating a gum-gum fruit his body gained rubber-like properties, making him difficult to injure and virtually impervious to bullets. Luffy is also a bit odd and shows absolutely no fear; understandably, some people think he’s not quite right in the head. Undeterred, he throws himself wholeheartedly into his quest and the first person he targets to recruit is none other than the dreaded pirate hunter Roronoa Zolo. He might take some convincing though—who ever heard of a bounty hunter teaming up with a pirate?

Oda’s artwork in One Piece is energetic and bombastic, nicely pairing with the absurdity of the manga’s story. Character designs are cartoonish with exaggerated facial features and expressions. I absolutely adore Luffy’s ecstatic grins, for one. So far, the more over-the-top and extreme designs are reserved for the series’ villains. Sound effects play a pretty substantial role in Oda’s work and are often quite prominent. There is plenty of silliness in both the story and the art (frequently, I was reminded of Akira Toriyama’s Dragon Ball) and even the more serious parts have a fair bit of levity. Even considering the joyful ridiculousness of the manga, I can’t quite get over the fact that Luffy, having eaten the fruit of the gum-gum tree, will never be able to swim. Though, seeing as the fruit basically turns his body into rubber (which Oda uses to great effect), I’m assuming that he can at least float.

Romance Dawn was fun, but it didn’t make much of a lasting impression on me. I enjoyed the manga, but I wasn’t really grabbed by it. Not that I would turn away subsequent volumes, I just don’t see myself investing in such a lengthy series based on the first volume alone. However, as with most series, some story arcs are just going to be better than others. Romance Dawn provides the backstory for two of the main protagonists in the series, Luffy and Zolo, which I quite enjoyed. However, I was less engaged by the story that connected the two. A third protagonist, Nami, also makes a brief appearance in this volume, but little is actually known about her yet other than she is quite capable and cunning. I do like the characters and so far the manga is entertaining. While I might not feel compelled right now to go out and read every single volume of One Piece, I do think it would be worth pursuing some of the later books to see if it can capture my interest.