Random Musings: Toronto Comic Arts Festival 2015

TCAF 2015 Poster


2015 marks the third time that I’ve been able to attend the Toronto Comic Arts Festival (TCAF). I generally don’t go to very many conferences, festivals, or conventions unless it’s for work, but I had such a phenomenal experience at TCAF 2013 that it’s become an annual event for me. TCAF is totally worth me pushing through all of my social anxieties and general awkwardness. This year was great, too, and for the most part I handled it pretty well. I don’t know if it’s just that I’m getting used to the trip and generally know what to expect from the event or what, but TCAF’s expansion into more areas of the Toronto Reference Library made the crowds feel less, well, crowded which probably also helped.

I’ve actually been trying to make TCAF a family trip since 2013 and this year it finally happened. Everyone, including the nine-month old, was able to make it to Toronto. We set out from Michigan on Friday and arrived in Toronto in time for me to go to Sparkler Monthly‘s Manga Mixer. I went last year, too, and enjoyed myself, so I was looking forward to it even though I’m not much of a party person. I enjoyed the mixer this year as well and had the opportunity to talk about manga, comics, and all sorts of things with all sorts of people. I was particularly happy to chat with Lissa Pattillo and the rest of the folk at Chromatic Press again. And I met several of my fellow manga and comics enthusiasts in person for the first time, like Linda/animemiz, Ysabet MacFarlane, and Alex Hoffman, which was great. Later on in the evening Jason Thompson showed up and we talked for a bit, which was pretty exciting for me since he played a large role in introducing me to manga. He seemed to know who I was, too, even though we’d never met before.

Actually, people recognizing me or Experiments in Manga after I introduced myself was something that happened several times over the course of TCAF, which was an odd but kind of thrilling experience. (I guess “Ash Brown” is a name that tends to stick with people?) Another odd thing to happen was that a lot of people assumed I was one of the exhibitors or an artist myself. Granted, considering how many creators visit TCAF as exhibitors or attendees, it’s a pretty safe guess for someone to make and still end up being correct much of the time. Anyway. Some of my personal social highlights over the course of TCAF in addition the Manga Mixer: I had a nice conversation with Ryan Sands, said hello to the MASSIVE crew, ran into fellow Manga Bookshelf blogger Sean Gaffney, had the chance to meet Amanda Cosmos, briefly chatted with Jocelyne Allen, and talked with Ken Niimura and Aya Kanno at their respective signings. And there were plenty of other smaller interactions throughout the festival, too.

Manga Mixer presented by Sparkler

TCAF 2015 Manga Mixer presented by
Sparkler Monthly

I like to start off TCAF proper bright and early on Saturday morning by visiting the exhibitor areas. This has a few advantages: the crowds are relatively small and manageable, exhibitors haven’t sold out of anything yet (although, not everything is available for sale right away), and most of the festival programming for the day hasn’t started. I generally have a few tables that I know I want to stop by and a few things that I know I want to check out, but I also wander around to see everything that’s there. For me, part of TCAF is learning about and discovering new things; I always make a point to come home with some comics and artwork by artists whose work I’m completely unfamiliar with. If I could I’d bring home everything that caught my interest. I have to give myself a strict budget for TCAF to keep things from getting out of hand. I focus my purchases on independent creators and small publishers while at TCAF, but I also end up making a very lengthy list of comics and other books to obtain at a later date. Even after it’s over, TCAF continues to influence what I buy. This year I got my hands on almost everything that I really wanted, but there were a few things I’m still kicking myself for missing out on, like Gengoroh Tagame’s new artbook. Hopefully I’ll have the chance to pick some of those things up in the near future, though.

On Saturday, I attended a total of six (six!) panels. I basically found a seat in the Marriott’s High Park Ballroom and didn’t move for the rest of the day. (Should you ever attempt this yourself, I highly recommend bringing your own water and snacks with you.) One of the most challenging parts of TCAF is deciding which programs to go to because it is literally impossible to do everything. There are so many fantastic panels and creators that there are always going to be conflicts. But, rest assured, whatever you choose, it will be great. I have yet to leave a TCAF event disappointed or dissatisfied.

My first panel of the day was “Subscription Comics.” Moderated by Brigid Alverson, the discussion featured Box Brown of Retrofit Comics, Ryan Sands of Youth in Decline, Jordan Shiveley of Uncivilized Books, and Lianne Sentar of Chromatic Press. Although the models are different from one publisher to another, each of them features a subscription service of some sort. (I’m currently a Chromatic Press and Youth in Decline subscriber; next year I’ll probably be a Retrofit subscriber, too, considering the number of comics I buy from the publisher anyway.) The panel’s conversation focused on the benefits provided and challenges presented by subscriptions not just for publishers, but for creators and readers as well. Subscriptions get money to the publisher quickly and can help pay for upfront costs. It can be incredibly useful for publishers to know that there will be definite revenue when planning the year’s finances, too. For creators, publishers’ subscriptions can provide an appealing outlet for experimentation, a way to do something for fun on the side, and not have to worry about marketing and other aspects of promotion. The panelists tended to agree that an ideal subscription service would feature both big and small names. The more well-known artists provide the initial draw for readers and help support the publication of the rest of the comics. Subscriptions can provide the curatorial guidance needed in the astoundingly large world of comics which can frequently be overwhelming, especially for newer readers.

TCAF 2015 Poster - Pascal Blanchet

©Pascal Blanchet

Brigid Alverson was also involved with the next event, serving as the interviewer for Aya Kanno’s Spotlight with Jocelyne Allen interpreting. The discussion largely focused on Kanno’s two most recent series to have been released in English, Otomen and Requiem of the Rose King. She got the idea for Otomen when she realized that a lot of the men around her were otomen, but that in Japan a boy liking girlish things is still looked down upon, more so than a girl liking boyish things. Her editor at the time was a little uneasy about the series because Kanno had never done a comedy manga before; it took about a year to convince him. Being true to oneself is a theme that is particularly important in Otomen, and one that deeply resonates with Kanno. As for Requiem of the Rose King, there is an exaggerated element in Shakespeare’s plays that she doesn’t often see in modern works that she finds very appealing. Kanno described her version of Richard as a mix of all of the good parts of Shakespeare’s Richard, characteristics of the historical Richard III, and some of her own fantasy. Kanno did read a fair number of history books when conducting research for the series, but not much on the time period is available in Japanese, so the visuals of the manga tend to be heavily influenced by Shakespearian stage productions and much of the story comes from within Kanno herself as she creates her own personal interpretations of history. Kanno has always been interested in sex, gender, and sexuality, so it isn’t too surprising that those subjects play an important role in her work; both Otomen and Requiem of the Rose King deal with those subjects in different ways.

Next up was “Gay Comics Art Japan with Gengoroh Tagame,” featuring Gengoroh Tagame, the first commercially successful creator of gay manga, Anne Ishii and Graham Kolbeins of MASSIVE, and Leyla Aker, one of the editors at Viz Media and SuBLime Manga. Tagame was one of the featured guests at TCAF in 2013 and he is an extremely knowledgeable and charming individual, so I was very happy to see him return again this year. The panelists discussed queer comics, gay manga, and BL, the fluidity of the boundaries between the genres, and the usefulness and limitations of labels. It’s becoming more and more difficult to definitively draw a line between gay manga and BL. Many complicated factors influence how a person approaches a particular work: the style of the art, the gender and sexuality of the creator (which in and of itself is very complicated), the emphasis placed on romance or sex, and the intended audience, among many other things. Generally, fifteen to twenty percent of SuBLime’s readership, and up to fifty percent for some titles (usually the romance-oriented manga), are men and Tagame has a large number of fans who are women, so even the boundaries between expected audiences are blurring. Complicating matters even further is the fact that the different categories and genres applied to manga in Japan do not necessarily have exact equivalents to those used in other countries and vice versa. Categorization can be useful for marketing purposes, publishers, and readers, but it can also create situations in which the content or creators are being marginalized or pigeonholed simply because of the label that is being used. Aker mentioned that there were two major BL mangaka whose work is often requested by fans who ultimately did not want to be published by SuBLime specifically for those reasons.

Ken Niimura Sketch

Ken Niimura likes cats

Despite being a huge fan of Avatar: The Last Airbender, I’ve never actually read any of the comics. And so before attending Gurihiru’s Spotlight, I wasn’t particularly familiar with the work of the two Japanese artists who make up the illustration team: Chifuyu Sasaki, who focuses on design, pencils, and inks, and Naoko Kawano, who focuses on design and colors. Along with their agent Akihide Yanagi, who helped to interpret, the two women were interviewed by Deb Aoki. Sasaki and Kawano became friends in college and soon after began collaborating on artwork together. Although they each have their specialty, their creative process has always been a team effort. Previously, they both worked as office ladies and did some local illustration work on the side; it wasn’t until they responded to Marvel’s search for Japanese creators that their career as artists really took off. They still haven’t been published much in Japan—their style is considered “too Western” by some—however, they have found success in other parts of the world. One of the reasons they submitted their work to Marvel was to try to reach an audience that would better appreciate their style. Marvel has never asked them to change how they draw and they have been given a lot of freedom with the series that they have been involved with. In addition to Marvel and Dark Horse Comics, Gurihiru has also worked with Scholastic and Pearson Education as illustrators and colorists. Their two biggest influences when it comes to how they approach their art? Disney animation and Todd McFarlane’s Spawn. One day Gurihiru would like to try creating their own stories, but in the meantime they’re so busy as artists that they haven’t had a good opportunity to develop those skills.

Noelle Stevenson’s Spotlight conflicted with Ed Luce’s Spotlight, which I was also very interested in. But, because Gurihiru’s session went over its time, I was already in the room, and I wanted to be there for the next panel as well, I decided to continue my siege of the High Park Ballroom. Stevenson was on a panel that I attended last year at TCAF and I was looking forward to reading her debut graphic novel Nimona which debuted at TCAF this year, so I was glad to have the chance to hear her interviewed by Robin Brenner (another manga-savvy librarian that I look up to a great deal). Stevenson is an engaging, intelligent, and well-spoken young creator. Topics of the casual conversation included Nimona, working as part of a team as a writer for Lumberjanes, and the importance of diversity in comics. Before being picked up by HarperCollins, Nimona started as a webcomic that was a part of Stevenson’s senior thesis. The first thing she knew about the story was its ending, but she actually began posting the comic online before the script had been finalized. As a result, the comic changed some as it progressed, and additional revisions needed to be made for the print edition. Stevenson first became widely known for her fanart, which is how her agent, who approached her directly, discovered her. Her work on Nimona and as a writer for Lumbarjanes has allowed her to create something of her own which subsequently led to other projects. As Stevenson describes it, “the writing was an accident,” but she is now being hired for her own unique voice rather than as someone to mimic an existing tone or story. She finds it very satisfying to be in the position to create something that isn’t just more of the same, feeling that diversity in comics makes for better stories in addition to challenging readers to expand both their worldviews and their capacities for empathy.

Aya Kanno Chibis

Chibi Richard and Asuka by Aya Kanno

One of the most popular events at TCAF in 2014 was “What Do Women Want? Writing Comics For A Female Audience” and so this year Lianne Sentar facilitated a reprise of the panel. Joining her this time around was Sam Maggs, Sandra Bell-Lundy, Brenden Fletcher, Svetlana Chmakova, and Sydney Padua. The group provided a nice range of perspectives on the subject as the panelists are all involved in different parts of the comics industry: publishing, journalism, syndicated comics, mainstream comics, manga-influenced comics, and webcomics. The panelists argue, and I agree with them, that by expanding the range of stories being told about and for women in addition to increasing the diversity of their representation in comics, men’s stories and representation are inherently expanded and increased as well. Stories aimed at straight, white men are often the default in mainstream media, but if allowed, women-oriented stories can be just as universal. Last year the panel included a lot of angry ranting, but this year tended to be much more positive in tone, a good indication that the state of the comics industry is already beginning to change for the better. The group hypothesized that the Internet has a played a critical role in allowing this to happen. Social media and webcomics in particular have provided platforms for creators to freely express themselves, reach a widespread audience, and form communities and support networks even when working on a comic that is especially niche. The big publishers are paying attention to these developments and taking note of what readers want, but the inertia of a well-entrenched industry used to telling a particular kind of story can be difficult to overcome and there will continue to be missteps. The road may be bumpy, but it is improving, and there are now other viable options for creators and readers outside of mainstream publication, as well.

I thought about going to the Queer Mixer again this year but ultimately ended up hanging out in the city with the family, finding plenty of good food to eat and beer to drink, enjoying the pleasant weather outside, and visiting Toronto’s public parks. Because TCAF starts a couple of hours later on Sunday than it does on Saturday, we were able to sleep in a bit on Sunday morning before heading out for brunch. Afterwards I made my way back to the Marriott and the Reference Library while the rest of the family explored the Royal Ontario Museum. Compared to Saturday, at first it seems like I hardly did anything at all on Sunday since I only attended three panels. But, I also made it to Ken Niimura and Aya Kanno’s signings, and spent some more time in the exhibitor areas talking to and collecting signatures from some of the other creators. The other three-fourths of family wandered around the library for a bit as well, tracking down some of their favorite artists and adding to the pile of comics that were coming back to the United States with us.

My first panel of the day was “Get Published In Japan!,” moderated by Deb Aoki and featuring Yuri Yamamoto (an editor at Akita Shoten for Princess magazine who is working with Aya Kanno on Requiem of the Rose King among other series), Ken Niimura, Abby Denson and independent manga artist Yuuko Koyama (who self-published some work together in Japan), and Gurihiru’s agent Akihide Yanagi. While the panel addressed some of the more technical issues and challenges that confront non-Japanese creators when trying to break into the manga industry in Japan—such as language barriers and the lack of support for submitting materials digitally—much of the discussion actually focused on the importance of the relationship between an editor and creator. In Japan, editors tend to play a much more prominent role in the creation of comics than they do in most other countries; editors are often considered a part of the creative team, and some even act as the writers for the artists they work with. It’s a relationship dynamic which may take some foreign creators, many of whom are used to working more independently, time to adjust to. As Niimura puts it, “Finding the right editor is like finding the right girlfriend or boyfriend,” a good match is required to really make the relationship work. The panelists agreed that one of the most important traits for creators to have is the ability to positively take critique and criticism in stride, always working to improve based on those comments with the knowledge that even if they are severe they are intended to help them better themselves and their work. Of course, the advice that creators receive, even for the same comic, will differ depending on the editor they are working with. Some editor’s in Japan intentionally seek out foreign talent, while others still show some discrimination towards non-Japanese creators. But, as long as a submission to a manga magazine is in Japanese, it will always be reviewed for consideration.

TCAF 2015 Haul

Most, but not quite all, of my TCAF haul

It was then back to the Reference Library for the “Manga Translation” panel facilitated by Robin Brenner and featuring translators Kumar Sivasubramanian (who has done manga translation for Dark Horse and Vertical) and Jocelyne Allen (who has worked with Drawn & Quarterly, Digital Manga, Viz Media, and others) as well as Deb Aoki (who has served as one of the judges for the Manga Translation Battle sponsored by Japan’s Agency for Cultural Affairs). Over the course of the discussion, the panelists identified some of the things that make manga translation particularly challenging, such as sound effects, the size and shape of word balloons and the limited space for text, choosing appropriate gendered pronouns, puns and wordplay, culturally specific concepts and jokes, and so on. Both accuracy and readability are important for any translation; the audience must always be kept in mind since translation choices and tone will change depending on what the publishers and readers want or need. Some series, like Blade of the Immortal, demand a “rawer” translation with much of the Japanese terminology left intact because that is what the audience has come to expect. Different publishers have different policies and requirements for their translations, too. For example, some allow translation notes while others do not. Many manga fans may not realize that the translators ultimately aren’t the only ones responsible for a manga’s translation—adapters and editors, as well as the original publishers and creators, are also involved in the decisions that are made. More than one translator may work on the same series, too, so additional effort is needed in order to maintain a consistent translation over multiple volumes. It’s also worth noting that it’s very rare that a translator has the opportunity to work directly with creators or to ask them questions about their manga. Generally translators don’t know anything more than any other reader and they can be taken by surprise by the manga’s developments, which can present problems for translation.

Although the Comics vs Games showcase has been a part of TCAF for four years now, 2015 was the first time that I had the chance to attend any of its programming, largely because much of it was actually located in the Reference Library this year. At one point in time, my love of games rivaled my love of comics, so I was particularly looking forward to it. “Comics vs Games: Microtalks!” featured eleven speakers: David Calvo, Alfe Clemencio, Amanda Cosmos, David Hellman, Andrew Hlynka, Kim Hoang, Rachel Kahn, Xin Ran Liu, Matthew Ritter, Jason Shiga, and Miguel Sternber. The group included game developers, artists, and aficionados, as well as comics creators, each of whom gave a very short presentation discussing various aspects of comics and games, generally touching upon the similarities and differences between the mediums and what creators working in one could learn from the other. Both comics and games can be a form of storytelling that requires a reader or player to actively engage in the creation of a narrative from disparate images and moments. Of the two, generally games are considered to be more interactive, which greatly impacts the experience of the story, even if it’s a linear one. But the incredibly innovative work being done by Jason Shiga proves that comics can be interactive as well. Art obviously serves a function in comics where it is a critical part of the narrative, but it’s also important in games where the artwork is responsible for creating and establishing a setting and environment. Traditional illustration techniques can be used to inform game art and design, and even three-dimensional games can successfully incorporate two-dimensional artwork and animation.

Believe it or not, the above is just a small fraction of what I could have written about TCAF. Each of the individual panels and spotlights could have easily had an entire essay devoted solely to them; I merely expressed some of my own thoughts and experiences, and touched upon a few and not by any means all of the major themes and topics addressed at the various programs at the festival. TCAF is an absolutely fantastic comics event. If you ever have the opportunity to attend, I highly recommend it. I know that I certainly plan on returning every year that I possibly can.


HenshinCreator: J. M. Ken Niimura
U.S. publisher: Image Comics
ISBN: 9781632152428
Released: January 2015
Original release: 2014

J. M. Ken Niimura is probably best known for his collaboration as an illustrator with writer Joe Kelly on I Kill Giants, an award-winning American comic that was completed in 2008. Among many other honors, the work earned Niimura and Kelly the top International Manga Award in 2012. A Spanish artist of Japanese descent, Niimura currently lives and works in Tokyo. Henshin is his first major Japanese publication. The collection includes thirteen short manga that were originally released online between 2013 and 2014 on the website for Ikki, a magazine that has been the home to some of my favorite mangaka, before finally being collected into a single volume. (An interesting sidenote: I Kill Giants was also published in Japan by Ikki Comix.) Henshin was subsequently released in Spanish in 2014 by Norma Editorial and in English by Image Comics in 2015. Out of the three print releases of Henshin, the English-language edition has the largest trim size.

The manga collected in Henshin are short, anywhere from twelve to twenty-eight pages in length. Although there are a variety of genres and styles, the stories generally fall into one of two broad categories: those that are semi-autobiographical, focusing on either Niimura’s creative processes or his love of cats, and those that are fictional narratives largely set in or near Tokyo or otherwise featuring Tokyoites. For the most part, the individual manga are unrelated and stand perfectly well on their own, but the first and last stories do share the same lead characters and there is a running episodic story about Niimura and a cat that lives near his apartment. Henshin includes slice-of-life manga, as well as manga with science fiction and fantasy elements, pieces infused with nostalgia, family and friends, pieces where loneliness and missed connections predominate, stories with a bit of humor, and stories with a bit of sadness.

MerciAlthough the manga in Henshin are all different, they do share some thematic and narrative similarities. The first story, “No Good,” perfectly captures the tone of the volume as a whole. It starts out as a seemingly innocent tale but it suddenly shifts into something completely unexpected and outlandish. Most of the stories in Henshin have some sort of twist to them that require the reader to reconsider and reevaluate everything that has come before. Those surprising plot developments may be humorous, touching, absurd, disconcerting, or even morbid, in any combination. In Japanese, “henshin” means transformation, metamorphosis, or change, which is exactly what the stories collected in the volume have to offer—pivotal moments in which all of a sudden things are no longer the same, demanding a new and different understanding of reality.

Niimura exhibits a range of art styles in Henshin, drawing influence from Asian, European, and American comics traditions. Some of the illustrations are simple caricatures while others are more detailed or involved, some even reminiscent of classic ink wash paintings. The artwork in each of the short manga is tailored to fit the specific story and its mood, but in every case Niimura’s illustrations show impressive narrative strength. In general, Henshin uses minimal text and dialogue—one manga is even completely wordless—relying on the artwork (which performs magnificently) to actively aid in the telling of the stories. Henshin is an excellent and rather delightful collection of charming and quirky short manga that, in all of its strangeness and occasional absurdity, remains emotionally relevant and carries an impact. I enjoyed Henshin immensely and hope to have the opportunity to read more of Niimura’s comics and manga in the future.

My Week in Manga: April 1-April 7, 2013

My News and Reviews

Last week was one of the slower weeks at Experiments in Manga. I announced the winner of the historical manga giveaway and took the opportunity to ramble on a bit about historical manga as well. I also posted the Bookshelf Overload for March, if you’re interested in seeing the embarrassing amounts of manga and such that I managed to acquire over the month. The honor of the first in-depth manga review for April goes to Baku Yumemakura and Jiro Taniguchi’s The Summit of the Gods, Volume 2. It’s a fantastic series with stunning artwork. It looks like the fourth and penultimate volume might be released in English this year; I’m really looking forward to it.

I believe I’ve mentioned in the past my love for Jen Lee Quick’s Off*Beat. The first two volumes were originally published by Tokyopop and the series was sadly never completed. Happily, the newly established Chromatic Press is bringing Off*Beat back into print and fans will finally see the third and final volume published. A pre-order Kickstarter has been launched for the new Chromatic Press editions, which include bonus material. Any extra funds raised will be going towards the launch of Sparkler Monthly, Chromatic Press’ digital anthology, and Jen Lee Quick will get a nice bonus, too.

I’m starting to really take notice of PictureBox and its planned manga releases. For starters, The Passion of Gengoroh Tagame is one of my most anticipated English manga releases of the year (it should be out later this month.) The publisher also recently confirmed that in addition to its new “Ten-Cent Manga” line, it will also start a “Masters of Alternative Manga” series. I’m very interested in seeing how PictureBox’s manga plans continue to develop.

As for other good stuff online: The newest of Jason Thompson’s House of 1000 Manga columns, which is always worth a read, features Shin Mashiba’s Nightmare Inspector: Yumekui Kenbun. (I quite like the series and wrote a little about it myself a while back—Random Musings: Nightmare Inspector.) The Comic Book Legal Defense Fund has a short documentary that’s well worth watching—Defending Manga: The Ryan Matheson Story. Over at Good E-Reader, Brigid Alverson posted an insightful interview with Ed Chavez on Vertical’s Digital Manga Strategy. And finally, the call for participation for April’s Manga Moveable Feast has been posted! The Feast, held from April 20 through 26, will feature Kaori Yuki and her work. The Beautiful World will be hosting for the first time.

Quick Takes

20th Century Boys, Volumes 17-19 by Naoki Urasawa. The series is nearing it’s conclusion, but that’s okay: 20th Century Boys is starting to feel rather drawn out. I’ll admit that I am still enjoying it, though. Urasawa employs a really interesting narrative technique in 20th Century Boys that I haven’t seen used very often. The manga has its cast of main characters, but the series frequently follows their story indirectly by following the secondary characters instead. The plot is often seen from their perspective. This can be a little messy at times though since it introduces even more characters that readers need to keep track of and 20th Century Boys is fairly complicated to begin with.

Boy Princess, Volumes 1-5 by Seyoung Kim. When the princess elopes with a stable boy two days before a crucial arranged marriage between two kingdoms the youngest prince is disguised and sent in her place. Not surprisingly, it doesn’t take long for the switch to be discovered. Boy Princess starts out as a comedy but at the point where I stopped reading it seems to be veering off towards something more tragic. Personally, I think the series works best when it’s being a little silly. Boy Princess has a nice fantasy setting with a good if often confusing attempt at court intrigue. Kim’s artwork is unfortunately uneven, but improves immensely as the series progresses. Some panels are frankly gorgeous and the costume designs are consistently lovely.

Genshiken, Omnibus 3 (equivalent to Volumes 7-9) by Shimoku Kio. When I wasn’t paying close attention, Genshiken naturally developed into a full-fledged otaku love story. And it’s absolutely wonderful. Much of this third and final omnibus is devoted to Ogiue, her backstory and self-hatred, and her changing relationships with the other members of the Genshiken. There are plenty of serious and touching moments, but the humor and goofiness of the series are still there, too. I’ll admit, I’ve grown rather fond of the characters in Genshiken and all of their quirkiness; I think we’d probably get along pretty well in real life. I’ve really enjoyed this series and look forward to continuing it with Genshiken: Second Season.

I Kill Giants written by Joe Kelly and illustrated by J. M. Ken Niimura. Last year, I Kill Giants became the first comic from the United States to win the International Manga Award. With bullies at school and problems at home, Barbara is going through some very difficult times. A bit of misfit and an outsider, her fantasies give her a way to escape some very harsh realities. It’s easier to hunt and kill giants than it is to face the truth, but some things in life simply can’t be stopped or ignored. Niimura’s art and Kelly’s writing are great and mix Barbara’s fantasies together with her reality in very effective ways. Her confrontation and showdown with the Titan in particular is phenomenal. At times dark and disconcerting, I Kill Giants is a very powerful and personal work.

Blue Submarine No. 6 directed by Mahiro Maeda. Discotek announced earlier this year that it had rescued the license for Blue Submarine No. 6 (originally released by Bandai), so I was curious. The four-episode OVA adapts a manga by Satoru Ozawa from 1967. The series is a bit confusing and rushed in places, and almost none of the characters were as well developed as I wanted them to be, but it pulls itself together pretty nicely in the end. I particularly liked the series’ post-apocalyptic ocean setting. Despite the occasionally awkward computer graphics, there were still some very nice visuals and great character designs. I enjoyed Blue Submarine No. 6 well enough, but it’s not a series that I’ll need to own.

Shigurui: Death Frenzy directed by Hiroshi Hamasaki. Based on a manga by Takayuki Yamaguchi, which in turn adapts a novel by Norio Nanjō, Shigurui is an extremely brutal, graphic, and violent series. Nearly all of the characters are detestable and their actions are appalling. The series definitely isn’t for everyone and will offend many. To say it’s intense is to put it mildly. After the first episode, most of the anime is a long flashback; unfortunately, the bloody tale of power and revenge never quite comes full circle. Visually, the series is very distinctive in its style with creepy motifs and merciless fight scenes. I found Shigurui to be incredibly absorbing and even compelling. It’s been a while since an anime has left such a profound impression on me.