I’m conducting a short poll on manga readership outside of Japan (primarily in English-speaking countries) before 1994. If you have read any manga back then, please take a minute (or five, but it probably won’t take longer) to participate: https://forms.gle/UFmaXR35mrBxPE97A
Please note that there is a German version with different reply options; residents of German-speaking countries who have read manga before 1997 are asked to use this one: https://forms.gle/syHfF1Ew1CukdXAy7
The poll closes on December 15, 2019.
Only one manga this time, but it’s a long one…
Language: English (translated from Japanese)
Author: Osamu Tezuka
Publisher: Vertical (originally Shōgakukan / Akita Shoten)
Year: 2012 (original run 1967-1969)
Number of volumes: 1
Price: US-$ 24.95
The character named Dororo is actually only the sidekick of the real protagonist, Hyakkimaru. In medieval Japan, Lord Daigo strikes a deal with 48 demons: in exchange for one body part of his unborn child for each of the demons, Daigo wants the power to become ruler of all of Japan. And indeed, when Daigo’s son Hyakkimaru is born, he has “no arms or legs, nor eyes or ears, but holes in the face where the eyes, nose and mouth should have been” (p. 60). Daigo and his wife abandon Hyakkimaru, but he is found by a doctor who raises him.
The doctor equips Hyakkimaru with artificial limbs that work just as fine as natural ones – if not better, for when teenage Hyakkimaru sets out to leave his foster father to travel the world, the doctor upgrades the prostheses with gimmicks such as hidden blades, acid jets, and explosives. Furthermore, Hyakkimaru has somehow developed the supernatural ability to communicate telepathically – actively and passively across any distance – as well as read people’s minds. And despite having glass eyes, he can ‘sense’ his surroundings and even detect demons that are invisible to other people. One can easily see the ‘Daredevil problem’ at work here – a disability that doesn’t affect the character at all.
Still, Hyakkimaru is bothered about his condition. “I can’t see, hear, speak, or smell, and lack arms and legs… nothing works” (p. 94). So in order to change that, he becomes a demon slayer, for with each demon he kills he regains a body part. Luckily for him, he only needs half a page (p. 98) of training to become the deadliest swordfighter alive, effortlessly defeating any human opponent (and most non-human ones, for that matter) he encounters. In a way, this is even more boring than shōnen manga nowadays, in which there is at least some development – in One Piece and what have you, the enemies become stronger and stronger, and so does the hero. In Dororo, the hero becomes weaker, if at all.
Thankfully, however, Dororo doesn’t fall into the ‘monster of the week’ trap. There are standalone episodes in which Hyakkimaru and Dororo enter a village where strange things are happening, then they find the demon that’s behind it all, which they then defeat. Most episodes advance an overarching plot though, which eventually reunites Hyakkimaru with his biological parents, and you can bet that this is an awkward meeting.
Despite all this drama and mystery, Dororo is rather light-hearted in tone with lots of visual and textual gags (some of which probably get lost in translation, but the Vertical edition does a good job by providing explanatory footnotes at some points). Published shortly before Kirihito, Dororo is still – expertly – drawn in Tezuka’s idiosyncratic cartoonish style in which all male characters have big legs and no nipples etc., and this style is well suited for a humorous manga. Which isn’t to say that Dororo is kids’ stuff; there is a lot of blood and death shown here.
This is where Dororo excels. It is a no-holds-barred depiction of a grim Japanese ‘Dark Age’ in which samurai mercilessly exploit their peasant serfs and sometimes kill them without a second thought. The peasants are often not much better though: each time Hyakkimaru and Dororo rescue a village from a demon, the villagers chase them away as outcasts and freaks. Rather than giving an accurate account of a historical period, Tezuka gives a powerful reflection about human nature that transcends time and space.
In the end, Dororo is perhaps a typical manga of its time that tries to be many different things and to appeal to many different audiences at once. From the perspective of today, in which we’re used to having our manga genres neatly compartmentalised, such a humor/action/supernatural/drama/history hybrid might be hard to stomach.
Scariest moment: the horror in Dororo is not based on shock but rather on disgust. The countless demons come in all sorts of horrid shapes, some of which are contrasted with disguises as beautiful women. The most hideous of them might be the one in the ‘Bandai’ chapter (pp. 143-176).
Rating: ● ● ○ ○ ○
For Japan, the 2010s were marked by a historic event at the beginning of the decade: the Tōhoku earthquake and tsunami on March 11, 2011, and the ensuing nuclear accident at the Fukushima Daiichi power plant. It’s somewhat surprising that there haven’t been many more manga on this topic, although I bet a lot of manga critics are going to interpret pretty much any manga published afterwards as somehow inspired by the triple disaster, just as they did with the Hiroshima nuclear bombing. Apart from 1F, the other big ‘3.11’ manga is Daisy, created in 2012 but not published in German until 2016 (and not yet available in English as far as I know).
Daisy (デイジー ~3.11女子高生たちの選択~ / Daisy – 3.11 Joshikōseitachi no Sentaku)
Language: German (translated from Japanese)
Author: Reiko Momochi; based on a novel by Teruhiro Kobayashi, Darai Kusanagi, and Tomoji Nobuta
Publisher: Egmont (originally Kōdansha)
Year: 2016 (originally 2013)
Number of volumes: 1
Price: € 14
Website: https://www.egmont-manga.de/buch/daisy-aus-fukushima/ (German), https://www.mangaupdates.com/series.html?id=87087 (Baka-Updates)
On the one hand, Daisy – full title in German: Daisy aus Fukushima (“Daisy from Fukushima”) – is a typical shōjo manga about a group of friends in their last year of high school: Ayaka, Moe, Mayu, and narrator Fumi play in a band, fall in love with boys, worry about which career to pursue after graduation, quarrel and reconcile again. On the other hand, they live in Fukushima-shi (Fukushima City), and after that fateful 11th March their lives are affected in many ways.
Even though Fukushima-shi is well outside of the evacuation zone, radioactivity has become a constant threat. It keeps guests from staying at Ayaka’s parents’ hotel, it deters customers from buying rice from Mayu’s father’s farm, and it makes Moe abandon her home town. Before the disaster, Fumi’s plan had been to go away to Tokyo to university, but now she wonders if leaving Fukushima at this time would make her a traitor.
It’s quite a feat of this manga to make this peculiar feeling palpable; these effects of the disaster that are much more subtle than radiation poisoning; this creeping fear of an invisible danger that is so unlike the blind panic of people running from a tidal wave. Daisy is similar to 1F in this regard: they both don’t show how the tsunami hits the coast or how reactors explode, and both focus on characters from outside of the evacuation zone – the main difference, of course, being that the ones in Daisy are fictional.
Reiko Momochi, who is perhaps best known for her similarly serious shōjo manga series Confidential Confessions (Mondai teiki sakuhinshū), provides solid artwork in which particularly character close-ups excel with discreet shading lines and screen tones.
When talking about the manga of the 2010s, Daisy is definitely one to rank among the most representative of this decade.
Rating: ● ● ● ● ○
Akira Code 7 Alert is an unofficial animated short film by Richard Nyst that went online on YouTube two weeks ago. I hesitate to call it a ‘fan film’ because it looks so professional. The interesting thing about it is that it focuses on characters from the Akira manga that didn’t make it into the anime: the caretaker robots, also known as ‘Security Balls’, which the military employs for riot control. (They are quite relevant though if one reads Akira as a cyberpunk manga, as I have argued elsewhere.) In animation, they are reminiscent of the Tachikoma in the Ghost in the Shell: Stand Alone Complex anime series. Or maybe the other way round: you can see that Masamune Shirow most likely got the inspiration for the Fuchikoma in his Ghost in the Shell manga from Katsuhiro Ōtomo’s Akira manga.
Disclosure: I’m credited as “Japanese script advisor” in the film.
Now that the Reiwa era has begun, some people are compiling lists of the best manga from the Heisei era, even though 1989–2019 seems like a ridiculously long time to do so, and comparisons to the previous Shōwa era (1926–1989) are difficult due to their different lengths. However, towards the end of this year, lots of people are going to wonder what the best manga of the 2010s were, and then it will come in handy that we’ve taken an in-depth look at manga from the middle of this decade (technically speaking its 7th year) in this series of blogposts.
Wolf Girl & Black Prince (オオカミ少女と黒王子 / Ōkami shōjo to kuro ōji) vol. 11
Language: German (translated from Japanese)
Author: Ayuko Hatta
Publisher: Kazé (originally Shūeisha)
Year: 2016 (originally 2011)
Number of volumes: 16
Price: € 7
Website: https://www.kaze-online.de/Programm/Manga/Wolf-Girl-Black-Prince-Band-11.html (German), https://www.mangaupdates.com/series.html?id=66333 (Baka-Updates)
Even people who usually don’t read romance/shōjo stories seem to like this manga (and/or its anime adaptation). For some reason, though, apparently it has never been published in English. In 2016, the final two volumes came out in Japan, but in Germany, that year saw the publication of vols. 6-11, which is why I’ll deal with vol. 11 here.
Previously in Wolf Girl & Black Prince: in order to remain popular among her friends, 17-year old Erika pretends that her attractive classmate Kyōya is her boyfriend. She secretly begs him to play along so that her friends don’t find out that they’re not actually dating. He agrees to act as if they were a couple, but in private he is mean to her. In the end, however, they fall in love with each other and begin an actual relationship.
And that is the plot of about the first three volumes. The series could have ended there, but like with so many other long-running manga, the cash cow wasn’t dry yet. In the case of Wolf Girl & Black Prince, 13 more volumes followed which tell us of the romantic life of Erika and Kyōya, and of course their large cast of friends. In this eleventh volume, for instance, the first chapter is about Erika falling ill and Kyōya reluctantly caring for her, while the second and third chapters deal with romantic rivals (a co-worker at Erika’s job and a classmate who gets closer to Kyōya).
That isn’t to say that these ‘middle volumes’ are entirely without appeal. There are still moments in which Erika and Kyōya come across as compelling characters – she continues to be slightly selfish but also masochistic, he remains cool and distant. What really sets Wolf Girl & Black Prince apart from many other shōjo manga is its relatively mature content. For instance, the characters talk almost openly about sex (and also sometimes explicitly use that word), though sexual acts are never depicted.
One could probably say a lot about this manga from a gender perspective. The way in which Kyōya (“I’m going to steal your virginity!”) treats Erika, and the way in which Erika lets herself be treated by him, makes it clear that we’re not exactly reading a feminist manifesto here.
Another thing worth mentioning is that most volumes (at least in this Kazé edition) contain bonus stories. These can be spin-off stories from the main one, or unrelated one-shots. In the case of vol. 11, it’s a 38-page one-shot high school love story. On the flipside, though, this means that you only get 130 pages of the main story.
The artwork is of an extremely high quality and, in accordance with the humorous tone of this manga, is full of charming cartoonish characters. Too bad the story has lost its drive long ago and seems to go nowhere. Otherwise Wolf Girl & Black Prince would have indeed been one of the best manga of 2016.
Rating: ● ● ● ○ ○
Out of Marie-Laure Ryan’s many narratological works, one of the most cited appears to be “Toward a definition of narrative”, a chapter from The Cambridge Companion to Narrative (ed. David Herman, Cambridge 2007; Ryan’s chapter is on pp. 22–35). Prompted by the “inflation” of the term ‘narrative’ in the wake of the “‘narrative turn in the humanities'”, Ryan begins her text as a review of previous definitions of the concept of narrative, finds them all unsatisfactory and then comes up with her own.
Ryan proposes a “fuzzy-set definition” of narrative. Regardless of how appropriate the term ‘fuzzy set’ is here, the key idea is that this allows for “variable degrees of membership” to the set of narrative texts. In the application of such a definition, it becomes more meaningful to ask questions like “‘is Finnegans Wake more narrative than Little Red Riding Hood?'” rather than binary yes/no questions like “‘is Finnegans Wake a narrative?'”. Such a type of definition makes sense here, as it would for many other concepts, even though it is still met with opposition from many Humanities scholars.
Another feature of Ryan’s definition is that the criteria or conditions it is made of are not of equal value. Instead, they are presented in an order from broadest to narrowest, with each condition presupposing the previous ones, or from most to least necessary. (There are no sufficient conditions in this type of definition.) As these eight conditions are widely available online anyway, I’m going to list them here also, though I recommend reading them in their original context.
- Narrative must be about a world populated by individuated existents.
- This world must be situated in time and undergo significant transformations.
- The transformations must be caused by non-habitual physical events.
- Some of the participants in the events must be intelligent agents who have a mental life and react emotionally to the states of the world.
- Some of the events must be purposeful actions by these agents.
- The sequence of events must form a unified causal chain and lead to closure.
- The occurrence of at least some of the events must be asserted as fact for the storyworld.
- The story must communicate something meaningful to the audience.
Clearly, the further down the list we go, the more debatable the conditions become. However, while one might be able to imagine a narrative without e.g. “intelligent agents”, one cannot deny that these are typical of narratives.
So far, so good, but what does this have to do with comics? Earlier in her text, Ryan calls narrative a “temporally ordered sequence of events” and identifies the lack of “clearly definable ‘narrative units’ comparable to the words or phonemes of language” as one of the main problems in its definition. Couldn’t the sequentially arranged units of comics – the panels – serve as such a narrative unit?
In many cases, this analogy works well. Consider the following panels from Black Magic (ブラックマジック), Masamune Shirow’s first published manga from 1983 (read from right to left):
Each of the panels could be said to depict an action, and we could describe this sequence of events in one sentence each: “Typhon says, ‘here’s to humanity’. Then Yasha says, ‘right’. Then Kongoki says, ‘to my daughter’.” (Of course, that’s just one of many valid possibilities; one could just as well describe it as e.g. “Typhon lifts a bottle, then Yasha turns towards her, then Kongoki raises his glass”.) Not the most interesting narrative, perhaps, but one can easily imagine that these three panels are part of a whole, proper story if preceded and succeeded by many more like them.
However, this only works well because we are dealing with, in the terminology of Scott McCloud, subject-to-subject transitions between these panels. Another type of McCloudian panel transition which can easily be ‘translated’ to a narrative sequence of events is action-to-action (in which the agent stays the same). But what about other transition types? The subsequent panels are quite different in this regard:
The transition from the first to the second panel on this page is an action-to-action transition, but the next one is a little tricky. The perspective shifts from the interior of the bar to an exterior view of the city, and it is day instead of night (assuming that the characters at the bar are meeting for drinks in the evening – then again, the story takes place on Venus, so who knows). The first caption might be understood as an explanation of this shift: “Before anyone awoke the next morning, Duna Typhon left Venus behind.” So this panel shows the city on the next day, and there’s a building labeled “station” from which Typhon might have departed, or maybe she’s leaving the planet right now on one of the aircraft depicted. This would make the transition a scene-to-scene transition, but we could still incorporate it into a narrative structure: “The friends propose toasts. Then they raise their glasses. Then Typhon leaves Venus.”
However, there are two more caption boxes placed in this panel, and they complicate matters quite a bit: the second caption(“Government by humans began…”) extends the time frame to months and the scale from individual characters to the whole Venusian society. The third caption even stretches out chronologically to an entire “period” of possibly many years. This doesn’t change the transition between this panel and the preceding one – still scene-to-scene – but in Ryan’s definition of narrative, the first condition is now threatened as the story shifts its focus from “individuated existents” to more abstract entities (“government”, “Venus”) and from “intelligent agents” (the 4th condition) to seemingly ‘agentless’ actions (“war broke out”).
This doesn’t mean that Black Magic isn’t a narrative. But we can say that in this little six-panel sequence, its “degree of narrativity” decreases slightly towards the end. Such fluctuations in narrativity are nothing unusual and not specific to comics; they occur e.g. in novels too. With her definition of narrative, Ryan gives us a powerful tool to describe such developments and to compare different works in this regard. Even more complex is Ryan’s suggestion of her definition as a “basis for a semantic typology of narrative texts. While degree of narrativity depends on how many of the conditions are fulfilled, typology depends on the relative prominence” of the conditions fulfilled, i.e. not only how many but also which. Thus each work could be thought of as a specific configuration of fulfilled narrative conditions.
When Stan Lee died in November last year, I was reminded of Silver Surfer: Parable again, his collaboration with Mœbius. Another collaboration of similar titanic proportions was Ikaru/Icaro/Ikarus by Mœbius and Jirō Taniguchi.
Ikarus (イカル / Ikaru, English title Icaro)
Language: German (originally Japanese)
Authors: Mœbius, Jean Annestay, Jirō Taniguchi
Publisher: Schreiber & Leser (originally Kōdansha / Bijutsu Shuppan-Sha)
Year: 2016 (original run 1997)
Number of volumes: 1
Price: € 24,95
One memorable line of dialogue in this manga is: “Often the most brilliant ideas are bigger than the man who conceived them. And they can be no longer controlled.”
Who knows, maybe Mœbius thought the same way about Ikaru. According to the interview included in this edition, Mœbius created the initial concept, then wrote a script together with Jean Annestay. As with some others of his comic projects, Mœbius didn’t have time to draw it himself, and in this case he wanted this story to be drawn by Jirō Taniguchi. Taniguchi, however, heavily re-wrote and above all radically shortened the script. Furthermore, the magazine serialisation in Morning was not popular enough with the readers to warrant a continuation, so that instead of the 10.000 pages written by Mœbius and Annestay, these less than 300 pages is everything that has ever been drawn of Ikaru.
The premise is simple and striking: in the near future, a child is born with the ability to levitate and fly through the air. The Japanese government takes the boy away from his mother and locks him up in a remote research facility to study (and ultimately weaponise) him. Twenty years later, Icaro, as he is named, rebels and breaks out of his captivity.
Ikaru could have been (and to some extent is) a fascinating science fiction mystery thriller, with great moments of psychologisation associated with the ‘Kaspar Hauser’ motif of a child growing up in isolation. However, Taniguchi didn’t cut enough from the original script so that the manga is bogged down with unnecessary subplots, such as a rebellion of supernaturally powered clones, or the lesbian relationship of the villainous minister of defence.
There is a lot of Katsuhiro Ōtomo’s Akira in Ikaru (even though Mœbius downplays this in the interview), from the theme of the child with mysterious powers that is experimented on – reminiscent of Tetsuo, Akira, and the ‘numbers’ who also depend on a regularly administered drug – to the depiction of the clones’ psychokinetic powers. Ikaru also shows Taniguchi excel as a draughtsman with subjects not commonly depicted in his other works. The highlights of the art in this manga are the backgounds that show Icaro’s prison, which looks like a huge old greenhouse, and the scenes in which soldiers try to entangle the fleeing Icaro in ropes.
One more particularly clever little scene needs to be pointed out: in the beginning, one of the scientists is told on the phone that a levitating child has been born. The next panel shows him wide-eyed and speechless holding the phone. The panel after that shows him in the same way (from a slightly different angle), but the whole panel is turned upside-down! Then the phone call continues depicted in the usual orientation. This one panel could be interpreted in many different ways, e.g. that the scientist’s world has just been turned ‘upside-down’ through this discovery, or that ‘up’ and ‘down’ are relative directions for someone who can fly.
Within Taniguchi’s oeuvre, Ikaru takes an odd place as it was made in 1997 in between two masterpieces that defined his style: Chichi no koyomi (1994) and A Distant Neighborhood (1998). Both of these are semi-autobiographical, so a science fiction story like Ikaru, at this time in Taniguchi’s career, seems like a throwback to the 1980s when he made Ice Age Chronicle of the Earth, and if I’m not mistaken, he never took on another science fiction project after Ikaru.
So is Ikaru required reading for the Taniguchi enthusiast? On the one hand, it is certainly interesting and relevant given the circumstances of its creation – the rather peculiar nature of this French-Japanese collaboration – as Taniguchi is often said to have been strongly influenced by French comics in general and Mœbius in particular, and also to have been more warmly received in Europe than in his native Japan. On the other hand, this is also a flawed manga and definitely not one of Taniguchi’s best, and not every reader might want to spend € 25 on a 290-page manga.
Rating: ● ● ● ○ ○