The best manga of 2016? Review of A Silent Voice and Yona

In this second part of a two-part blog post (read part 1 here) I’ll review two more manga from 2016, the widely acclaimed A Silent Voice by Yoshitoki Ōima and the ‘dark horse’ Yona of the Dawn by Mizuho Kusanagi.

A Silent Voice (聲の形 / Koe no katachi) vol. 1
Language: German (translated from Japanese)
Author: Yoshitoki Ōima
Publisher: Egmont (originally Kōdansha)
Year: 2016 (originally 2013)
Number of volumes: 4 so far (completed with vol. 7 in Japan)
Pages: 190
Price: € 7
Website: http://www.egmont-manga.de/buch-buchreihe/a-silent-voice/
ISBN: 978-3-7704-8996-1

This is it. This must be the best manga of 2016. While I can’t claim to have read all manga from last year, it’s inconceivable that another manga could be as good as A Silent Voice.

As with Orange, the synopsis didn’t sound that exciting though, which is usually given as something along the lines of ‘deaf girl is bullied by her new classmate but then they get to know each other better’. However, apart from the first 8 pages of a framing narrative, the girl (Nishimiya) doesn’t even appear until page 50. This gives us a lot of space to get acquainted with the compelling character of Shōya, a sixth-grader who (similarly to e.g. Bart Simpson) does evil things without really being evil. Everything he does is motivated by his desire to ‘defeat boredom’ by all means. It’s impossible not to like him when he exclaims, “I declare this day a triumph over boredom!”, and it’s understandable how he immediately sees his new classmate Nishimiya as a remedy for boredom and desperately tries to make use of her to this end.

They way Ōima crafts her story is simple but couldn’t be more effective. By contrasting Nishimiya’s ultimate kindness with Shōya’s ever-increasing meanness while at the same time evoking the reader’s sympathy with Shōya, we experience their conflict as a gut-wrenching lose–lose situation. It can’t get more emotionalising than this. And even though the manga goes on for 6 more volumes, it’s not even all that important whether Nishimiya will ever be able to forgive Shōya – the story as told in vol. 1 is already perfect in itself.

While the script would have been strong enough to work well even if it had been drawn by a lesser artist, the opposite is also true: Ōima could probably illustrate the proverbial phone book and it would still look good. The art of A Silent Voice is absolutely on par with the writing. Of particular ingenuity is the device of repeating panel compositions of certain scenes (Shōya and his mates hanging out in his room, Shōya getting told off by his teacher, Shōya talking at Nishimiya) – not copy-and-pasting but re-drawing them with myriad background details (the amount of which is incredible in many panels anyway) changed.

Rating: ● ● ● ● ●


Yona of the Dawn (暁のヨナ / Akatsuki no Yona) vol. 1
Language: German (translated from Japanese)
Author: Mizuho Kusanagi
Publisher: Tokyopop (originally Hakusensha)
Year: 2016 (originally 2009)
Number of volumes: 3 so far (22 in Japan)
Pages: 190
Price: € 5
Website: http://www.tokyopop.de/manga/tokyopop-manga/shojo/yona-prinzessin-der-morgendaemmerung/
ISBN: 978-3-8420-3143-2

With vol. 1 released in both Germany and the US and vol. 20-22 in Japan last year, plus a popular anime adaptation the year before, I would have thought Yona to be the most talked-about manga of 2016. Instead, I found it on only one best-of-2016 list. Does that mean it’s not actually that good?

Yona is marketed as a fantasy story for the shōjo demographic, which is an interesting niche – although ‘fantasy’ might be somewhat misleading, as there are no supernatural elements (at least in vol. 1), so it’s more of an alternate history story in a vaguely medieval East Asian setting. This genre mix means that the manga has to deliver not only on drama and romance but also on ‘swordplay’. While the drama/romance part works out fine (could there be anything more dramatic than Yona’s father getting killed by the man she is in love with?), the few action scenes seem stiff, especially when compared to manga by masters who appear to feel more at home in the ‘samurai’ genre such as Sanpei Shirato, Gōseki Kojima, or Hiroaki Samura.

Another problem of this volume is its slow pace: at the end, Yona flees from her father’s murderer and embarks on a journey that will surely end in another dramatic confrontation with said killer. It’s palpable that this is the beginning of what will eventually become an epic and probably very exciting and good story – but in vol. 1, we’re simply not there yet.

Rating: ● ● ● ○ ○


To sum up, in my humble opinion, A Silent Voice is the best manga of the year 2016. However, there are several other strong ongoing series with which I have yet to catch up to their 2016 volumes, so maybe there’s going to be a third review post later this year.

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The best manga of 2016? Review of Orange and Knights of Sidonia

Are the manga that almost everyone put on their best-comics-of-2016 lists really so awesome? (Spoiler: yes, they are.) Or was the actually best manga a completely different one that was overlooked by most? In this little two-part blog post [EDIT: read part 2 here] I’ll review two titles from each of those categories.

Orange (orange) vol. 1panel from Orange #1 by Ichigo Takano
Language: German (translated from Japanese)
Author: Ichigo Takano
Publisher: Carlsen Manga (originally Shūeisha and Futabasha)
Year: 2016 (originally 2012)
Number of volumes: 3 so far (completed with vol. 5 in Japan)
Pages: ~190 (+ 30 pages backup story)
Price: € 8
Website: https://www.carlsen.de/serie/orange/72643
ISBN: 978-3-551-71324-7

Orange is the highest-ranked manga in the aggregate ranking of 2016 year-end lists, so it certainly is the most popular among critics. But is it also the best? If you only go by its synopsis, you wouldn’t think so: 16-year old Naho mysteriously starts receiving letters from the future, written by herself at age 26. The letters are mainly concerned with Naho’s new classmate Kakeru, who will die next year, and adult Naho wants teenage Naho to prevent this.

Magically travelling back to one’s teenage days is not a particularly original premise for a manga – cf. the recent ReLIFE by Yayoisō and 31 I Dream by Arina Tanemura, and of course Jirō Taniguchi’s 1990s masterpiece, A Distant Neighborhood. The new spin in Orange is that 26-year old Naho doesn’t travel back in time; she only sends letters but can’t control what her 16-year old self does, and 16-year old Naho doesn’t know anything about her future except for what she reads in the letters.

This makes for an ideal starting point for the compelling exploration of a theme that was also central to Taniguchi: regret. One could even argue this works better in Orange, because although 16-year old Naho knows what she is supposed to do (according to the advice in the letters), she often can’t bring herself to do it, or decides against it, or simply misses the opportunity. The letters don’t change who she is; they don’t turn her into another, more courageous, person.

Add to that some gorgeous artwork (masterly use of screen tones!) and you get an almost perfect manga. Almost, but not quite: what took me by surprise was that the story is partially set in the time of adult Naho, and – not unlike the much-reviled epilogue to the final Harry Potter novel – I don’t think this works all that well. While the manga demographic terms of shōjo and josei are often problematic, this distinction might be at the core of the problem here: a reader can identify with either Naho the wife and mother or Naho the high schooler, but probably not both.

Another potentially problematic element is the unlikely plot device of sending letters back in time in an otherwise realistic setting, which as of vol. 1 hasn’t been explained yet. An unconvincing explanation at the end can still ruin a series that had been good up to this point (I’m looking at you, Nobuaki Kanazawa), so we’ll have to wait and see how this is handled in the four remaining volumes of Orange.

Rating: ● ● ● ● ○

Knights of Sidonia (シドニアの騎士 / Shidonia no kishi) vol. 14
Language: German (translated from Japanese)
Author: Tsutomu Nihei
Publisher: Egmont (originally Kōdansha)
Year: 2017 (originally 2015)
Number of volumes: 14 so far (completed with vol. 15 in Japan)
Pages: ~170
Price: € 7.50
Website: http://www.egmont-manga.de/buch-buchreihe/knights-of-sidonia/
ISBN: 9783-7704-9240-4

Ostensibly, this penultimate volume of Knights of Sidonia has little to do with 2016: the original Japanese tankōbon was published in 2015 already and this German translation only this year. However, the 15th and final volume, which is yet to be published in German, came out in the US last year, so I would have thought the conclusion of the series would make a bigger impact on the Western manga scene.

Instead it seems to have gone by unnoticed – it wasn’t on any of the best manga/comics of 2016 lists -, which is a shame because of the historic significance in the field of science-fiction manga that this series has already earned itself due to its scale (surpassing Tsutomu Nihei’s earlier magnum opus, Blame!, by 5 volumes), its ambitious genre-bending, and its modernisation of the venerable mecha genre.

I’ve sung the praises of the series before, but how does a a single volume hold up when judged individually? In the case of vol. 14, it’s an above-average volume because many exciting things happen in it: there’s an alien infiltrator aboard the mothership Sidonia, Mrs Hiyama the talking bear makes several appearances, we get to know the enigmatic captain Kobayashi better, we even learn something about protagonist Tanikaze’s origin, Tanikaze gets a new mecha model, etc.

That being said, Knights of Sidonia might be a case of the whole being greater than the sum of its parts – or rather, being precisely the sum of its parts, with each new volume adding to the enjoyment of reading, rather than merely replicating it. For each awesome scene, there’s a sequence where it’s hard to figure out what’s going on (particularly the space fights), or an unlikely twist that’s only there for shock value. But put together, there’s a lot of awesomeness over the course of this series.

Rating: ● ● ● ● ○


Tokyopop loves shōjo, but Kōdansha doesn’t love Tokyopop

I Love Shojo logo

Some weeks ago, manga publisher Tokyopop Germany launched a website, <http://iloveshojo.tokyopop.de>, as part of a promotional campaign for their shōjo manga titles. Readers can ask questions by using a form on this site, which are then answered publicly by Tokyopop staff. Without counting them, I guess the topics most frequently brought up by readers are:

  1. recommendations which new manga Tokyopop should publish next (which the fans, I believe, have discovered via illegal scanlations);
  2. questions around promotional items, such as “ShoCo Cards” (“Shojo Collectors Cards”);
  3. publication of drawings, a.k.a. fan art.

Many postings contain an awful lot of typos, which makes me believe that these are real readers’ writings and there is not much editing going on. I guess the published posts are carefully filtered by the Tokyopop editors, though.

Occasionally, some really interesting information can be found amidst all this fannish chatter. For instance, about a week ago, there was this question:

Screenshot from iloveshojo.tokypop.de

My translation: “I keep hearing you’re unable to publish works by Kōdansha, why is that?” – “The publisher Kōdansha told us some time ago that they had decided to let the contracts for all current series expire, and that they won’t license any new series to us. We weren’t given any reasons for this decision. We were only told that the decision was unrelated to the previous collaboration between Kōdansha and Tokyopop Germany. Therefore we won’t publish any new Kōdansha titles for the time being. If the situation changes, we’ll inform you immediately!”

A few days later, a similar question was posted:

Screenshot from iloveshojo.tokypop.de

My translation: “Which Japanese publishers collaborate with you?” – “Basically all the major ones – except for Kōdansha and Square Enix… Of course there are still many smaller ones from which we haven’t requested any titles yet – but this is always worth a try.”

In other words, some Japanese publishers license their manga to some Western publishers and some don’t. This means that the selection of manga that get translated into European languages often appears, for all intents and purposes, to be random. For if the business decisions of Japanese publishers are apparently inscrutable even to their Western partners, how are we researchers supposed to comprehend them?


Shōjo manga roundup: Tempest, Namida Usagi, Kimi ni todoke

Continuing from last week, here are some more short reviews of current (or at least recently translated) shōjo manga.
Hime from Tempest despairs of his male body.

Hime despairs of his male body in Tempest.

Title: Sonnensturm (テンペスト / Tempest)
Language: German (translated from Japanese)
Author: Yuiji Aniya
Year: 2013 (originally 2011)
Publisher: Egmont Manga (originally Kōdansha)
Pages: 158
Price: €6.50 (D)
Website (German): http://www.manganet.de/buch-buchreihe/sonnensturm/
Volumes reviewed: 1 (of 3 volumes in German so far; volume 4 is scheduled for May)
ISBN: 978-3770481514

In the near future, earth’s entire male population is wiped out by a solar storm – that’s probably the eponymous Tempest (not to be confused with the manga Blast of Tempest / Zetsuen no Tempest). However, the remaining women figure out how to reproduce by hybridising egg cells. Only female children are born this way, until the 40th century, when a boy is born – our protagonist Hime. Trying to fit into this all-female world, he pretends to be a girl. Which goes well until his friend Kou wants to have children with him…
Such a story must be a real treat for anyone interested in gender issues. Homosexuality, social pressure and acceptance, radical feminism, family and reproduction politics, it’s all in there. It’s also interesting from a reception perspective: how easily does the reader “forget” that Hime is a boy? Can it be read as a yuri manga? On the other hand, Tempest doesn’t work well as a science fiction manga. Apart from some advanced data visualisation technology, we don’t see much that tells us we’re in the future at all.
Rating: ● ● ○ ○ ○
There's also a subplot on photography in Namida Usagi, but that's quickly forgotten by the 2nd volume.

There’s also a subplot around photography in Namida Usagi, but that’s quickly forgotten by the 2nd volume.

Title: Namida Usagi – Tränenhase (なみだうさぎ ~ 制服の片思い / Namida Usagi – Seifuku no kataomoi)
Language: German (translated from Japanese)
Author: Ai Minase
Year: 2013-2014 (originally 2009)
Publisher: Egmont Manga (originally Shōgakukan)
Pages: 192
Price: €6.50 (D)
Website (German): http://www.manganet.de/buch-buchreihe/namida-usagi-traenenhase/
Volumes reviewed: 1-2 (of 2 volumes in German so far; vol. 3 is scheduled for March)
ISBN (vol. 1): 978-3770481347

Ai Minase’s name might ring a bell, as she was an assistant to Arina Tanemura on the classic magical girl manga Kamikaze Kaitō Jeanne. Namida Usagi was off to a good start: in this high school love story, the stereotypical roles of powerless girl and powerful boy are reversed when Momoka, a fairly average girl, falls in love with her reclusive and unpopular classmate Narumi. However, this setup is already revised at the end of the first volume. After the holidays, Narumi returns to school with shorter hair and without glasses, and suddenly he’s popular with all the girls. This makeover (which the author claims to have made by popular demand) ruins the whole manga for me, as it looks like it continues from this point as just another bog-standard romance manga.
Rating: ● ● ○ ○ ○
Scary Sawako from Kimi ni todoke.

Scary Sawako from Kimi ni todoke.

Title: Nah bei dir – Kimi ni todoke (君に届け / Kimi ni todoke)
Language: German (translated from Japanese)
Author: Karuho Shiina
Year: 2010 (originally 2005)
Publisher: Tokypop (originally Shūeisha)
Pages: 192-208
Price: €6.95 (D)
Website (German): http://www.tokyopop.de/manga-shop/index.php?cPath=875_742
Volumes reviewed: 1-2 (of 18 volumes in German so far; vol. 19 is scheduled for April)
ISBN (vol. 1): 978-3-8420-0071-1

Her classmates avoid 15-year old Sawako because she looks like Sadako from The Ring. The only one who doesn’t find her scary is Kazehaya, the most popular boy in class – but then again, Kazehaya is nice to everyone…
I learned about Namida Usagi through a review in AnimaniA, which said that is was nowhere near as good as Kimi ni todoke. In the end I checked out both series, and AnimaniA was right. Although the character constellation in Kimi ni todoke (shy girl meets popular boy) seems generic at first, the subtle storytelling makes more than up for that. Particularly by the second volume, the focus is more on the girls Sawako tries to become friends with than Kazehaya. In other words, this manga is more about friendship than romance, at least so far. Will this series continue to be as enjoyable over the course of more than 20 volumes? I’m willing to give it a try.
Rating: ● ● ● ● ○

Shōjo manga roundup: Crayon Days, Pocha Pocha, Kase-san

It’s been a long time since I posted a straightforward review of a comic. The last one was actually from June 2013 (of Before Watchmen). All the while I’ve been reading comics, of course, some of which I found noteworthy. Here are three short reviews of some of them, united only by the fact that they are all shōjo manga from the last few years.
Painting is still very much a physical activity in Crayon Days.

Painting is still very much a physical activity in Crayon Days.

Title: Kreidetage (くれよん でいず ~ 大キライなアイツ / Crayon Days – Daikirai na Aitsu)
Language: German (translated from Japanese)
Author: Kozue Chiba
Year: 2013-2014 (originally 2012)
Publisher: Tokyopop (originally Shōgakukan)
Pages: 192-196
Price: €6.50 (D)
Website (German): http://www.tokyopop.de/manga-shop/index.php?cPath=872_901
Volumes reviewed: 1-3 (of 3 volumes in German so far; vol. 4 is scheduled for April)

Shima is a 16-year old girl who likes to paint, but is otherwise unremarkable. The story starts with her changing from a regular high school to an art school. A fairly standard love story ensues, her (main) love interest being a rough and unfriendly schoolmate who is already an acclaimed painter. While I can’t say I find the depiction of high school life in Crayon Days convincing, it might be an interesting manga from an art historian’s perspective, as we get to see people painting and talking about painting. For instance, in the world of Crayon Days, abstract expressionism still seems to be en vogue. However, as in many other manga, the setting isn’t all that important here – it just serves as a backdrop for the characters and the story.
Rating: ● ● ○ ○ ○
Katsuyo being caught at what she's best at.

Katsuyo being caught at what she’s best at in Pocha Pocha Swimming Club.

Title: Pocha Pocha Swimming Club (ぽちゃぽちゃ水泳部 / Pocha Pocha Suieibu)
Language: German (translated from Japanese)
Author: Ema Tōyama
Year: 2014 (originally 2011)
Publisher: Egmont Manga (originally Hōbunsha)
Pages: 112
Price: €7 (D)
Website (German): http://www.manganet.de/buch-buchreihe/pocha-pocha-swimming-club/
Volumes reviewed: 1 (1 volume in German so far; vol. 2 is scheduled for March)

When overweight Katsuyo finds out that the boy she fancies only likes slim girls, she decides to lose weight and joins the swimming club of her school. I must admit I hadn’t read a yonkoma (4-panel) manga before, mainly because I thought that format was employed only for gag strips. As Pocha Pocha shows, longer stories can be told just as well in such a rigid layout of 2 × 4 panels per page. I’m not even sure  whether I find ‘comedy’ the right genre designation (though I suspect some of the humour gets lost in translation). Then again, romance isn’t the decisive element either here, as the story revolves rather around swimming, eating, and losing weight.
Rating: ● ● ● ○ ○
Yamada and Kase, our soon-to-be lovers from Asagao to Kase-san.

Yamada and Kase, our soon-to-be lovers from Asagao to Kase-san.

Title: Ipomoea (あさがおと加瀬さん / Asagao to Kase-san)
Language: German (translated from Japanese)
Author: Hiromi Takashima
Year: 2013 (originally 2012)
Publisher: Egmont Manga (originally Shinshokan)
Pages: 159
Price: €7 (D)
Website (German): http://www.manganet.de/buch/ipomoea/
Volumes reviewed: 1 (only 1 volume in German so far)

The shy schoolgirl Yamada meets her athletic schoolmate Kase when watering flowers (ipomoea or morning glories, asagao in Japanese) at their school and gradually falls in love with her. Yuri (Girls’ Love) is another kind of manga that I’ve shied away from in the past, finding it somewhat creepy for adult men to read about lesbian teenage love. Kase-san, however, handles the topic sensitively, as there is no nudity at all in this manga. It is quite similar to a heterosexual romance story, except that the protagonist Yamada struggles to come to terms with her sexuality and that of the eponymous Kase. Their homosexual love is still experienced as a somewhat ‘forbidden love’, which adds an interesting twist to this story. Hopefully Egmont will translate more of this series.
Rating: ● ● ● ● ○

Daisy Yamada’s Boyfriend and the purported superficiality of Japanese pop culture (review of vol. 1-3)

Detail of a page from Boyfriend vol. 2 by Daisy Yamada (via http://mangamoon.com/)
Language: German (translated from Japanese)
Author: Daisy Yamada
Publisher: EMA (originally Kodansha)
Pages: 160-176
Price: €6.50 (D)
Website (German): http://www.manganet.de/index.php/cat/C882_boyfriend.html

(This is the first reviewed item here that actually costs 650 cents, by the way.)

Japanese popular culture is often accused of being superficial, shallow or hollow (probably most entertainingly so in an episode of Andreas Michalke’s comic strip Bigbeatland). While I don’t want to discuss this hypothesis now, Daisy Yamada’s manga Boyfriend is a pop cultural work that could easily be seen as an example of this alleged superficiality. At least that’s what I took it for at first.

The German publisher’s promotional text is titled “Boyfriend – bullying concerns everyone”, and reads: “Hijiki leaves everything behind, the cruelties of her schoolmates, the dreadful helplessness. She starts anew, with new classmates. But can Hijiki make true new friends with her faked cheerful self? Maybe even a boyfriend?”

So I thought this three-volume series was about a girl being bullied at school. But let’s see what actually happens:

Vol. 1: Hijiki starts 8th grade at a new school, but we don’t know why she changed school until towards the end of the volume. She is a somewhat insecure girl, but nevertheless quickly makes new friends and even falls in love with the haughty Horai. In the last chapter, we learn that she has been bullied at her former school, and now the girls in her new class turn against her because she has become too popular with the boys. However, there’s not much bullying going on so far.

Vol. 2: In the beginning of this volume, three girls attack Hijiki verbally, break her mobile phone, and lock her up in some sort of shed or warehouse. That’s bullying alright, but the remaining 160 pages focus on the budding romance between her and Horai.

Vol. 3: This volume is shorter than the others (or rather, there’s a long backup story after the end of Boyfriend on page 116) and is primarily about Hijiki’s and Horai’s families standing in the way of their relationship. Apart from a two-page scene at Hijiki’s old school to which she briefly returns (plus two flashback scenes), there’s no bullying in here.

If we assume that this manga is meant to have bullying as its central topic, then we can call this treatment of bullying superficial indeed, in the same vein in which, e.g., Masami Tsuda’s Kare Kano might be seen as a superficial treatment of teenage pregnancy, or Setona Mizushiro’s X-Day as a superficial treatment of parental abuse. Those and other comics don’t give enough room to such problematic topics to provide the reader with several points of view and background information, thus degrading them to cheap plot devices. However, who says that Boyfriend is supposed to be a profound and comprehensive discussion of bullying? Actually no one does. It’s just what I expected after reading the promo text – paratextual evidence at best.

To expect Boyfriend to teach you something about bullying is like expecting Maid Sama to teach you about maid cafés, or Twinkle Stars about astronomy (cf. my review of Daisuki): these themes are present in the comics, and you get pieces of information about them, but they are only one subject among several. So you can’t say Yamada did anything wrong, unless you take Boyfriend for something it isn’t. It’s just a nice, compact (if somewhat generic) high school romance manga, nothing more and nothing less – and with beautiful artwork at that.

Rating: ● ● ● ○ ○


Review: Daisuki 11/2011-01/2012

Language: German (translated from Japanese)
Authors: various
Publisher: Carlsen (originally Hakusensha)
Pages: 256
Price: €5.95 (D)
Website: http://www.daisuki-online.de/

Despite the importance of the anthology magazine format for the Japanese manga industry, it failed to catch on in Germany. Banzai (published by Carlsen) was cancelled in 2005 (although it had carried both Naruto and One Piece), Manga Power (which was able to feature a considerable variety of manga genres, due to its “telephone book” size) and Manga Twister (both published by EMA) ran until 2004 and 2006, respectively. So Daisuki remains as the sole survivor (apart from Paper Theatre) in the German scene, even though it’s a shōjo magazine and thus caters to a niche market. Granted, that’s still quite a large niche, and apparently that market is sizeable enough to keep the title running since it was launched in 2003 as a sister title to Banzai. Due to a licensing deal between Carlsen and the Japanese publisher Hakusensha, almost all series in Daisuki were first published by this venerable company (which apparently belongs to the same publishing group as Shogakukan and Shueisha). Starting from its very first issue, I read Daisuki for a year or two, but for some reason (maybe the cancellation of Kare Kano?) I stopped reading it for years until I recently thought I’d give it another try.

Daisuki 11/2011-01/2012 still look very much like the issues from eight years ago. Each issue contains 1-2 episodes (of about 30 pages) from 6 series. The main difference is that one episode in each issue is printed in monochrome colour, e.g. magenta on white instead of black on white. Whatever. The series currently featured in Daisuki are, roughly from best to worst (in my opinion): Twinkle Stars (Hoshi wa Utau, by Natsuki Takaya, the author of Fruits Basket which also ran in Daisuki), in which the initial premise of a highschool stargazing club is all but neglected in favour of a straightforward tale of friendship and romance. Not the worst thing that can happen. Maid-Sama (Kaichō wa Maid-sama!, by Hiro Fujiwara) exploits the maid café phenomenon quite cleverly by having the tough and feisty protagonist lead a double life as a submissive waitress. But, again, by Act 46 (Daisuki 11/2011) this premise doesn’t play much of a role. Mishonen Produce (by Kaoru Ichinose) is the most accessible series, due to its overall shortness (4 volumes) and the fact that we’re starting at “Produce 4” (i.e. episode 4) here. There’s also a nice, almost metafictional element in the references to the fictitious shōjo manga series the heroine is inspired by. Skip Beat! (by Yoshiki Nakamura) seems to have been running since forever – we’re at Act 128 now. I still remember it from when I first read Daisuki, years ago. I didn’t like this superficial breaking-into-showbusiness tale then, and I don’t like it much now. The tankōbons of Vampire Knight (by Matsuri Hino) have been quite successful in Germany, but I guess reading only episodes 62-64 is not the best way to grasp an epic mystery tale. Alice Academy (Gakuen Alice, by Tachibana Higuchi) is another mystery series that I don’t really get, and the fact that it’s centered around pre-teens doesn’t make it more appealing to me.

So what to make of Daisuki? Do people read it to select the series they’re going to buy, or do they enjoy and collect it for its own sake? Does it have enough influence to twist the German-language market in favour of Hakusensha titles, or do similar publisher deals have this effect anyway? Is Daisuki a representative showcase of the Japanese shōjo scene, or even of all the titles that get translated into German? Is the German manga anthology magazine an endangered species that needs to be protected, or is it just a dinosaur, a relic from a bygone age that doesn’t really fit in today’s market? Anyway, I think I’m going to read the next issue too.

Rating: ● ● ● ○ ○