Upcoming 12/16/2009

I was right. There have been a number of great new manga series this year. A cursory glance at some of the new volumes included in this week’s ComicList proves it.

The founder of the feast this week’s is Viz’s Signature imprint, which leads things off with the second volume of Daisuke Igarashi’s Children of the Sea. It’s easily one of the most beautiful comics you’ll read this year, and Igarashi seems to be building an interesting contemporary fable about mysterious children and disappearing fish. You can read it online for free at Viz’s SIGIKKI site, but I like holding the actual object. Also, if lots of people buy Children of the Sea, we might get Igarashi’s Witches sometime in the future.

Please don’t misunderstand me. I think Naoki Urasawa’s Pluto is a fine comic in every respect, easily one of the best of the year. It’s a wonderfully constructed thriller with a higher-than-average number of important things on its mind. I admire it tremendously, I really do. But I love Urasawa’s 20th Century Boys with its twists and turns, healthy doses of humor and wistfulness, and its energetic quirkiness. I also think it’s one of the best comics of the year, and the fact that it’s more… well… fun than Pluto pushes it just a note higher on my personal scale. The sixth volume of 20th Century Boys arrives this week.

I’m still not entirely sure why the phrase “Fumi Yoshinaga’s most ambitious work to date” doesn’t make people lift their heads like deer becoming aware of a mighty predator crashing through the forest. Even her lighthearted comics have an enduring quality that’s kind of rare in mainstream entertainment. So I’m a little disappointed that Yoshinaga’s Ôoku: The Inner Chambers hasn’t cast a wider net among critics. Yes, bits of the translation are awkward, but for my money, there are few finer working cartoonists than Yoshinaga, and the opportunity to enjoy the acclaimed apex of her career to date is just so damned cool. The second volume of Ôoku graces better comic shops on Wednesday.

I’m finally getting used to actually looking at Image’s listings, since they’re publishing some comics I’m really enjoying. (I thought I’d never have to do that again after they gave up on Glister. Who knew?) This week, it’s the fourth issue of spelunking thriller Underground, written by Jeff Parker, illustrated by Steve Leiber, and colored by Ron Chan. A determined ranger tries to protect a pristine cave from an unscrupulous developer and his well-armed minions.

Oh, and while I’m not following the series myself, manga karma points must go to Del Rey for its rescue of Akimine Kimiyo’s Samurai Deeper Kyo. For those of you who don’t remember, Tokyopop had reached the thirty-fourth volume of this thirty-eight volume series before Kodansha reclaimed rights to all of its properties from Tokyopop. Lest its fans become profoundly (and understandably) embittered by that turn of events so close to the finish line, Del Rey is publishing two-volume collections of the final six volumes, the first of which arrives Wednesday.

This would be on it

No, don’t ignore him! Pictured above is Yuki, the protagonist of Taiyo Matsumoto’s fascinating GoGo Monster (Viz), which is the subject of this week’s Flipped. I have to say, there’s been a ferocious quantity of really good manga this year, and GoGo Monster is certainly in that category.

Given that ferocious quantity, I do find myself wondering why so little of it is making its way onto year-end lists of incredible comics. It’s reaching the point that I really feel compelled to come up with some craven way to do a “Best of” list without actually describing as such, leaving me the kind of plausible deniability that is my watchword as a blogger. I mean, I’m not remember 2009 incorrectly, am I? There was an avalanche of great stuff, right?

Weekend reading, viewing

A quick overview of some of the entertainment consumed over the weekend:

The Graveyard Book, written by Neil Gaiman with illustrations by Dave McKean, HarperCollins: I don’t know why I tend to forget that Gaiman is a very successful prose author in addition to a lionized comics creator. I’ve read some of his novels and liked them very much. Maybe I just have a fixed impression of him as a comics creator, or maybe I just don’t read that much prose fantasy. The Graveyard Book is about a human boy whose family is murdered and who’s subsequently raised by the denizens of a rustic local resting place. Nobody Owens, as his ghostly guardians name him, has a childhood populated with vampires, werewolves, ghouls, witches and malevolent human forces, though it feels perfectly normal to him. That’s the key to the book’s appeal for me; “Bod” doesn’t know how weird his life is, so he tends not to overreact. The plot feels casual, almost lazy, which fits right in with the novel’s undemanding charm. It’s a great choice for a rainy afternoon.

Julie and Julia, directed by Nora Ephron, based on a book by Julie Powell, Sony Pictures: I have an abiding fondness for Julia Child. As a result, I have an abiding dislike of much of what passes for food television these days. So any opportunity to celebrate this culinary icon is welcome, even if Meryl Streep’s performance seems more like an impersonation than the creation of a character. It’s a good impersonation, capturing Child’s fluty charm and imposing sturdiness. As I suspected, I could have been perfectly happy skipping over the parts of Julie Powell, who kept a blog about her attempts to cook every recipe in Child’s Mastering the Art of French Cooking. Powell’s blog turned into a book, which turned into this movie, though not without a great deal of mewling self-pity, apparently. I couldn’t make it through more than a third of Powell’s book, and I strongly suspect Ephron and company didn’t care for it much more than I did. Amy Adams, who is a fine and versatile actress, has been criticized for not holding up her end of the film, and that strikes me as unfair. She’s playing Powell as a selfish, immature opportunist, which can’t be accidental, and she’s doing it well. How entertaining could such accuracy possibly be?

Only One Wish, written and illustrated by Mia Ikumi, Del Rey: If you’re absolutely manic about episodic comics that suggest you be careful what you wish for, then perhaps completism will demand that you give this bland outing a whirl. Completism has its costs, though, and subjecting yourself to dull manga may be one of them. Anyway, there’s this complicated urban legend about text-messaging and getting your wish, and teen-agers here do a number of predictable things with their good fortune. Absolutely nothing unexpected happens, though Ikumi seems convinced that her twists and turns will startle. Maybe I’ve read too much manga of this kind and my startle threshold is higher. I must give thumbs up to the great design on the wish-granting witch, though. (Review based on a complimentary copy provided by the publisher.)

License request day: Shôjo Manga

While perusing the list of Jury Recommended Works from this year’s Media Arts Festival Awards (thoughtfully provided by Scott Green), one title in particular struck me with its utter baldness. “What,” I asked myself, “could something called Shôjo Manga, written and illustrated by Naoko Matsuda, be about? Is it a parody? A history?” Since I love a lot of lower-case shôjo manga, I had to learn more.

There isn’t an abundance of information available, but even that scant quantity is enough to convince me that this book belongs in the license request roster. First of all, it’s from the underrepresented josei category, serialized in Shueisha’s Chorus magazine. It’s apparently only one volume long, which minimizes the risk for some stateside publisher who might be interested in testing the josei waters (like, for example, the stateside publisher Shueisha co-owns, which has recently demonstrated an interest in just such toe-dipping). And then there’s the plot, found via this item about a live-action adaptation:

“29-year-old Lena Tanaka will star in Haken no Oscar ~’Shōjo Manga’ ni Ai o Komete, the tentatively titled television adaptation of Matsuda’s comedy manga. The six-episode mini-series will premiere on August 28. Tanaka plays a temp worker who finds inspiration in the Lady Oscar heroine of The Rose of Versailles to take on corporate management.”

Did anyone else just pull a brain muscle because they don’t know what to enthuse about first? Or is it just me? I mean, a josei comedy about a salarywoman obsessed with one of the greatest shôjo manga of all time sounds like the answer to multiple, simultaneous prayers for some of us. Of course, it would only be sensible if the publisher who licensed Shôjo Manga would also release The Rose of Versailles, you know, just for context. (How transparent am I being here?)

You can click here to see some preview pages of the book. And if you can’t quite wait to read something about the nostalgic power of shôjo, I recommend you check out the sixth chapter of Kingyo Used Books, which dramatizes that very thing.

Famine looms

Oh, I am not happy to see this press release.

FINAL VOLUME OF THE ULTIMATE FOOD MANGA – OISHINBO RELEASING JANUARY 19TH!

The Last Hand-Selected Volume Out Of A 100+ Volume Hit Series Exploring Essential Elements Of Japanese Cuisine is coming to an end.
Volume 7 Izakaya-Pub Food Is Here!

DECEMBER 10, 2009 – VIZ Media announced today the release of the final volume of the mega hit food manga by Tetsu Kariya, OISHINBO due out on January 19th. Volume 7, Izayaya-Pub Food is rated ‘T’ for Teens and carries an estimated retail price of $12.99 US and $16.99 CAN.

Izakaya occupies the same vital space in the Japanese culinary landscape as tapas bars in Spain or tavernas in Greece. Unpretentious and frequently boisterous, they’re places to meet with friends or business partners to unwind over drinks and small dishes that range from hearty standards to refined innovations. In this volume of OISHINBO, Yamaoka and Kurita investigate classic Izakaya foods such as edamame and yakitori, devise new dishes to add to the menu of an old shop, and discover how the concept of “play” is essential to the enjoyment of food.

OISHINBO creator Tetsu Kariya, writer and essayist extraordinaire graduated from prestigious Tokyo University. Kariya was employed with a major advertising agency before making his debut as a manga writer in 1974 when he teamed up with legendary manga artist Ryoichi Ikegami to create Otoko Gumi (Male Gang). The worlds of food and manga were forever changed in 1983 when Kariya, together with artist Akira Hanasaki, created the immensely popular and critically acclaimed OISHINBO.

“Fans of Japanese cuisine and culture have been delighted with every volume of the critically acclaimed OISHINBO series and we are excited to bring them this final volume that covers the excitement of izakaya,” says Evelyn Dubocq, Sr. Director of Public Relations, VIZ Media.

OISHINBO (or “The Gourmet”) depicts the adventures of journalist Shiro Yamaoka, who writes for the fictional newspaper Tozai News. When the paper’s top executives decide to create “The Ultimate Menu” to celebrate the paper’s 100th anniversary, Yamaoka, known for his reputation as a foodie with culinary skills to match, is given the daunting assignment. With the help of his coworker Kurita, Yamaoka begins an epic saga to find unique and tasty dishes that will compose this ultimate bill of fare. Each volume of OISHINBO focuses on specific foods and culinary trends such as sake, sushi, vegetables, rice dishes, ramen, and Izakaya (pub food). VIZ Media has served up selected highlights from this epic 100+ volume series and compiled them into seven a la carte editions that can be enjoyed individually or as a series. OISINBO has further inspired a 136-episode anime series, a live-action film and TV dramas, video games, recipe collections, and TV shows in Japan.

For more information on OISHINBO and other VIZ Media titles please visit www.Viz.com.

It’s a good thing it’s about pub food, since I’ll need a drink or two to ease the pain. I’ve really enjoyed this series, and I hope Viz decides to do a second round. There are currently 50 volumes in the A la Carte series in Japan.

From the stack: Butterflies, Flowers

Sometimes, I don’t read alone. I’ll find myself accompanied by those opinionated shoulder-dwellers, angelic and diabolical, vigorously arguing the merits of whatever I happen to have in my hands at the time. “And you pretend to care about issues of equality and social justice,” Shoulder Angel will tut at me. “What does liking this book say about you that you like this?“ “Dude, lighten up. It’s awesome,” Shoulder Devil will retort.

In my defense, I often side with Shoulder Angel. I feel like I owe him after shutting him down during the whole Hot Gimmick thing. And I vividly remember Shoulder Angel and me staring at Shoulder Devil, waiting for him to launch some defense of Gakuen Prince, but he just shrugged: “I got nothing. That’s just nasty.” Even Shoulder Devil knows when to keep mum.

The three-way discourse didn’t get particularly heated as we were considering Yuki Yoshihara’s Butterflies, Flowers (Viz), but it did get somewhat spirited. I mean, there’s some desperately inappropriate workplace behavior, and the relationship dynamic between the two protagonists is an absolute minefield, but it’s really pretty funny. Even Shoulder Angel chuckled a little bit.

It’s about a former rich girl who must enter the office grind after her family loses their fortune. The economy being what it is, she can’t be picky about which job she takes, even if she is asked if she’s a virgin during her job interview. (Tip: if that happens to you in real life, document the exchange, then sue.) The inappropriate interviewer ends up being her direct supervisor and, coincidentally, the son of one her family’s domestics. He doted on her when she was a kid, but now he’s the boss from hell.

Domoto, the ex-servant, now-boss, whiplashes between domineering and capricious and subservient and solicitous, and office newbie Kuze doesn’t know what to make of it. (Who would?) Her sudden promotion has alienated her from her co-workers, and while she’s mostly hopeless as an office lady, there’s enough of the aristocrat left in her that she can muster unexpected authority in a pinch. Her work life is complicated by the fact that, against all good sense, she’s afraid she actually might be in love with her bipolar boss.

Okay, so the overall premise is kind of gross, what with the power disparity and the hostile work environment. But moment by moment, Butterflies, Flowers is very, very funny. The supporting characters are particularly delightful. I love Kuze’s younger brother, who never got over his brief taste of the good life and talks like he’s a refugee from a costume drama. Suou, a senior member of Domoto’s department, is one of those deliciously snarky frienemies that improve just about any story. Their absurdity heightens the atmosphere and helps the reader ignore the stuff that’s creepy when stripped of Yoshihara’s context.

So it’s a guilty pleasure, but it’s undeniably pleasurable. Viz is positioning it as a bridge title for shôjo readers into the more mature realm of josei, and its rapid-fire humor, stylish look and twisted romance make it a good choice for that. It’s not the most sophisticated josei in the world, but it’s a sensible starting point for a tricky demographic, and it’s funny much more often than it’s squirmy.

(This review is based on a complimentary copy provided by the publisher.)

The Shôjo-Sunjeong Alphabet: I

“I” is for…

And a special yaoi supplement:

What are some of your favorite shôjo and sunjeong titles that start with the letter “I”? (And don’t worry. I’m saving the various “I’m not an/no angel” titles for “T.”)

Previews review December 2009

Why just look at what’s arriving when you can look three months… into the future? Yes, it’s time to peruse the December 2009 edition of Diamond’s Previews catalog.

New shôjo from CMX is always worth a look. This month’s offering is My Darling! Miss Bancho, written and illustrated by Mayu Fujikata. It’s a reverse-harem romantic comedy about a girl whose dreams of starting a new life go south when she realizes she’s the only female student at her new technical school. It was originally published by Hakusensha in LaLa, which has also given the world Ouran High School Host Club, Penguin Revolution, Venus in Love, and Vampire Knight, among others. That would make the magazine what one might call a “reliable source.” (Page 119)

On the ongoing front, we have the second volume of Asuka Izumi’s adorable The Lizard Prince and the 15th volume of Yasuko Aokie’s mad classic, From Eroica with Love. (Page 121)

CLAMP fans, rejoice! Not only is Del Rey publishing CLAMP in America, a richly detailed history of the manga-making super-group, it’s being written by the inimitable Shaenon Garrity. Del Rey also promises “a detailed guide to their work; a rare behind-the-scenes look at their creative process, together and separately; CLAMP’s role in the explosion of manga in America; interviews, and more.” Sounds like an essential for CLAMP fans, Garrity fans, and manga watchers in general. So that’s basically everyone, right? (Page 224)

I loved Raina Telgemeier’s Smile mini-comics, so I’m thrilled that they’ve turned into a new graphic novel to be published by Graphix. Publishers Weekly calls it a “charming addition to the body of young adult literature that focuses on the trials and tribulations of the slightly nerdy girl.” Graphix doesn’t seem to have added it to its web site, so I’ll point you toward the Barnes & Noble listing. (Page 236)

NBM has been translating a series of graphic novels created in conjunction with the Louvre museum in Paris. I loved the first, Nicolas De Crécy’s Glacial Period, and thought the second, Marc-Antoine Mathieu’s The Museum Vaults: Excerpts from the Journal of an Expert, was intriguing but problematic. But honestly, I’ll buy any of these books that NBM chooses to publish. Next up is Eric Liberge’s On the Odd Hours, about “a deaf night watchman who somehow manages to communicate with the souls of these ethereal and timeless works of art.” (Page 256)

Oni offers a softcover edition of Scott Chantler’s terrific historical adventure, Northwest Passage. I’ve already reviewed the hell out of this series, so I’ll link instead of repeating myself. (Page 257)

While I don’t usually point out books that are being offered again without any significant format changes, I have to make an exception for Osamu Tezuka’s demented bit of gekiga brilliance, MW (Vertical). If you missed it the first time around, now’s your chance. (Page 272)

Viz sent me a preview copy of Natsume Ono’s not simple, and I’m even more convinced that 2010 will be the year she explodes in stateside critical (and hopefully consumer) consciousness. It’s an amazing book. This edition of Previews brings the happy news that Ono’s Ristorante Paradiso will soon be in our hands (if you consider three months soon). It’s about family secrets and a restaurant in Rome staffed by hunky men of a certain age. I can’t wait. (Page 277) You can check out Ono’s splendid House of Five Leaves on Viz’s SIGIKKI site.

Other noteworthy Signature arrivals include the fourth volume of Detroit Metal City and the eighth and final volume of Pluto. (Page 277)

And speaking of Viz’s online initiatives, a Shonen Sunday title sees print. It’s shôjo superstar Yuu Watase’s shônen debut, Arata: The Legend. (Page 280)

More MAF

Over at AICN Anime, Scott Green’s latest column includes the list of 19 Jury Recommended Works from this year’s Media Arts Festival Awards. The license request pool is deep and wide,

Upcoming 12/09/2009

Time for a look at this week’s ComicList:

Digital Manga brings us a little of that old-school shôjo charm in the form of Itazura na Kiss, written and illustrated by Kaoru Tada. The book has already received warm welcomes from the likes of Danielle Leigh, Johanna Draper Carlson and Kate Dacey, which is a very promising sign indeed.

Viz unleashes the third volume of one of my favorite new series of 2009, Detroit Metal City, written and illustrated by Kiminori Wakasugi. Viz’s solicitation text is on the oblique side, as always (“Death metal screams the despair of dying heathens! What the hell kind of song would you sing?!”), but I feel safe in promising hilariously distasteful mistaken identity satire.

There’s a lot of other stuff apparently on the way from Viz, much of it wonderful, but it’s all got the disclaimer, “release not confirmed by Diamond Distribution.” Chances are it’s already in bookstores but won’t be in comic shops for a week or so.

Yen Press will make fans of funny manga very happy this week with two by Kiyohiko Azuma. They’ve taken a crack at an omnibus collection of Azuma’s hilarious comic strip, Azumanga Daioh, featuring the highs and lows of a group of high-school girls. ADV published something similar a couple of years back, but Yen is promising a fresh translation. I’m undecided as to whether or not to buy it over again.

Also from Azuma is the seventh volume of the charming and witty Yotsuba&!, which Yen also rescued from ADV limbo. If there was a comics industry award for good karma, Yen would be the frontrunner.